Music Curriculum. Grade 5: Unit Two. 1 P a g e

Transcription

1 Music Curriculum Grade 5: Unit Two 1 P a g e

2 Course Description The goal of Unit Two is to take the concepts students have learned in Unit One and begin to see how they are used to create musical compositions. Music is sound organized to be expressive and in Unit Two we begin to explore how sounds are organized. Students will compose a song in the style of an ism of their choice, which was studied in Unit One. 2 P a g e

3 Pacing Chart Unit 2 # Standards Student Learning Objective Focus 1 NJCCCS The Creative Process MU:Cr1 Generate and conceptualize artistic ideas and work. MU:Cr1.1 Imagine Generate musical ideas for various purposes and contexts. 2 NJCCCS The Creative Process MU:Cr2 Organize and develop artistic ideas and work. MU:Cr2.1 Plan and Make Select and develop musical ideas for defined purposes and contexts. 3 NJCCCS The Creative Process MU:Cr3 - Refine and complete artistic work. MU:Cr3.1 Evaluate and Refine Evaluate and refine selected musical ideas to create musical work that meets appropriate criteria. Instruction: 8-9 weeks 4 NJCCCS The Creative Process MU:Cr3 - Refine and complete artistic work. MU:Cr3.2 Present Share creative musical work that conveys intent, demonstrates craftsmanship, and exhibits originality. 5 NJCCCS 1.2 History of the Arts and Culture MU:Cn10 - Synthesize and relate knowledge and personal experiences to make art. MU:Cn10.1 Connect Synthesize and relate knowledge and personal experiences to make music. 6 NJCCCS History of the Arts and Culture MU:Cn11 - Relate artistic ideas and works with societal, cultural, and historical context to deepen understanding. MU:Cn11.1 Connect Relate musical ideas and works with varied context to deepen understanding. 3 P a g e

4 Educational Technology Standards A.1, A.2, A.3, B.1, C.1, D.1, D.2, D.3, D.4, E.1, F.1 Technology Operations and Concepts Select and use the appropriate digital tools and resources to accomplish a variety of tasks including solving problems. Format a document using a word processing application to enhance text and include graphics, symbols and/or pictures. Use a graphic organizer to organize information about a problem or issue. Creativity and Innovation Collaborate to produce a digital story about a significant local event or issue based on first-person interviews. Communication and Collaboration Engage in online discussion with learners of other cultures to investigate a worldwide issue from multiple perspectives and sources, evaluate findings and present possible solutions, using digital tools and online resources for all steps. Digital Citizenship Understand the need for and use of copyrights. Analyze the resources citations in online materials for proper use. Demonstrate an understanding of the need to practice cyber safety, cyber security, and cyber ethics when using technologies and social media Understand digital citizenship and demonstrate an understanding of the personal consequences of inappropriate use of technology and social media. Research and Information Literacy Use digital tools to research and evaluate the accuracy of, relevance to, and appropriateness of using print and non-print electronic information sources to complete a variety of tasks. Critical Thinking, Problem Solving, Decision Making Apply digital tools to collect, organize, and analyze data that support a scientific finding.

5 Career Ready Practices Standards: CRP1, CRP2, CRP4, CRP6, CRP8, CRP11, CRP12 CRP1 Act as a responsible and contributing citizen and employee. CRP2 Apply appropriate academic and technical skills. CRP4 Communicate clearly and effectively and with reason. CRP6 Demonstrate creativity and innovation. CRP8 Utilize critical thinking to make sense of problems and persevere in solving them. CRP11 Use technology to enhance productivity. CRP12 Work productively in teams while using cultural global competence. 5 P a g e

6 Differentiated Instruction Accommodate Based on Students Individual Needs: Strategies Time/General Processing Comprehension Recall Extra time for assigned tasks Extra Response time Precise step-by-step directions Teacher-made checklist Adjust length of assignment Have students verbalize steps Short manageable tasks Use visual graphic organizers Timeline with due dates for reports and projects Communication system between home and school Provide lecture notes/outline Repeat, clarify or reword directions Mini-breaks between tasks Provide a warning for transitions Reading partners Brief and concrete directions Provide immediate feedback Small group instruction Emphasize multi-sensory learning Reference resources to promote independence Visual and verbal reminders Graphic organizers Assistive Technology Tests/Quizzes/Grading Behavior/Attention Organization Computer/whiteboard Tape recorder Spell-checker Extended time Study guides Shortened tests Consistent daily structured routine Simple and clear classroom rules Individual daily planner Display a written agenda Note-taking assistance Audio-taped books Read directions aloud Frequent feedback Color code materials 6 P a g e

7 Enrichment Accommodate Based on Students individual Needs: Strategies Adaption of Material and Requirements Evaluate Vocabulary Elevated Text Complexity Additional Projects Independent Student Options Projects completed individual or with Partners Self Selection of Research Tiered/Multilevel Activities Learning Centers Individual Response Board Open-ended activities Community/Subject expert mentorships 7 P a g e

8 Assessments Suggested Formative/Summative Classroom Assessments Timelines, Maps, Charts, Graphic Organizers Unit Assessments, Chapter Assessments, Quizzes DBQ, Essays, Short Answer Accountable Talk, Debate, Oral Report, Role Playing, Think Pair, and Share Projects, Portfolio, Presentations, Prezi, Gallery Walks Homework Concept Mapping Primary and Secondary Source analysis Photo, Video, Political Cartoon, Radio, Song Analysis Create an Original Song, Film, or Poem Glogster to make Electronic Posters Tumblr to create a Blog 8 P a g e

9 Grade: 5 Unit: Two Topic: The Organization of Sound New Jersey Core Curriculum Content Standards (NJCCCS) and Related National Core Arts Standards (NCAS): NJCCCS: 1.1 The Creative Process; NCAS: MU.Cr1, MU.Cr2, MU.Cr3 NJCCCS: 1.2 History of the Arts and Culture; NCAS: MU.Cn10, MU.Cn.11 Enduring Understandings and Essential Questions NJCCC Standard The Creative Process NCAS Process Component Enduring Understanding(s) Essential Question(s) MU:Cr1.1 Imagine Generate musical ideas for various purposes and contexts. NCAS - The creative ideas, concepts, and feelings that influence musicians work emerge from a variety of sources. NCAS - How do musicians generate creative ideas? 9 P a g e

10 New Jersey Core Curriculum Content Standard: 1.1 The Creative Process Related National Core Arts Standard: MU.Cr1 - Generate and conceptualize artistic ideas and work. Student Learning Objective: MU:Cr1.1 - Imagine - Generate musical ideas for various purposes and contexts. (Using Level 7 Vocabulary Overview) Modified Student Learning Objective: MU:Cr1.1 - Imagine - Generate musical ideas for various purposes and contexts. (Using concepts at the appropriate level) ESL Student Learning Objective: MU:Cr1.1 - Imagine - Generate musical ideas for various purposes and contexts. (Using concepts at the appropriate level) Student Population Skills, Strategies, & Concepts Sample Activities/ Lesson Starters General Education Special Education Students High Group ESL WAPT MU:Cr1.1.5a - Improvise rhythmic, melodic, and harmonic ideas, and explain connection to specific purpose and context (such as social, cultural, and historical). MU:Cr1.1.5b - Generate musical ideas (such as rhythms, melodies, and accompaniment patterns) within specific related tonalities, meters, and simple chord changes. Echo rhythm patterns in a variety of meters and melodic patterns with a variety of intervals using appropriate instruments and voice. Add expression through the use of different dynamics, tempi, and articulations. (1.3.2.B.5) After students have gained some rhythmic and melodic ideas, have students improvise answers to the teacher s questions. Advanced students can ask the questions for their peers to answer. (1.3.2.B.5) Special Education Students Mid Group 10 P a g e MU:Cr1.1.5a [With limited guidance,] improvise rhythmic, melodic, and harmonic ideas, Echo rhythm patterns in a variety of meters and melodic patterns with a variety of intervals using appropriate instruments and voice. Explore

11 ESL WAPT 0-10 and explain connection to specific purpose and context (such as social, cultural, and historical) MU:Cr1.1.5b [With limited guidance,] generate musical ideas (such as rhythms, melodies, and accompaniment patterns) within specific related tonalities, meters, and simple chord changes. expression by changing the dynamic, tempo, or articulation. (1.3.2.B.5) After students have gained some rhythmic and melodic ideas, have students improvise answers to the teacher s questions. Provide visual cues for rhythmic and melodic ideas the students can use. (1.3.2.B.5) Special Education Students Low Group MU:Cr1.1.5a [With guidance,] improvise rhythmic, melodic, and harmonic ideas, and explain connection to specific purpose and context (such as social, cultural, and historical) Echo rhythm patterns in a variety of meters and melodic patterns with a variety of intervals using appropriate instruments and voice. Explore expression by changing the dynamic, tempo, or articulation. (1.3.2.B.5) After students have gained some rhythmic and melodic ideas, have students improvise answers to the teacher s questions. Provide up to three choices for the students to choose from. (1.3.2.B.5) MU:Cr1.1.5b [With guidance,] generate musical ideas (such as rhythms, melodies, and accompaniment patterns) within specific related tonalities, meters, and simple chord changes. 11 P a g e

12 Enduring Understandings and Essential Questions NJCCC Standard The Creative Process NCAS Process Component Enduring Understanding(s) Essential Question(s) MU:Cr2.1 - Plan and Make Select and develop musical ideas for defined purposes and contexts. NCAS - Musicians creative choices are influenced by their expertise, context, and expressive intent. NJCCCS Music composition is governed by prescribed rules and forms that apply to both improvised and scored music. (e.g., CPI#: B.3) NCAS - How do musicians make creative decisions? 12 P a g e

13 New Jersey Core Curriculum Content Standard: 1.1 The Creative Process Related National Core Arts Standard: MU.Cr2 - Organize and develop artistic ideas and work. Student Learning Objective: MU:Cr2.1 - Plan and Make - Select and develop musical ideas for defined purposes and contexts. (Using Level 7 Vocabulary Overview) Modified Student Learning Objective: MU:Cr2.1 - Plan and Make - Select and develop musical ideas for defined purposes and contexts. (Using concepts at the appropriate level) ESL Student Learning Objective: MU:Cr2.1 - Plan and Make - Select and develop musical ideas for defined purposes and contexts. (Using concepts at the appropriate level) Student Population Skills, Strategies, & Concepts Sample Activities/ Lesson Starters General Education Special Education Students High Group ESL WAPT MU:Cr2.1.5a - Demonstrate selected and developed musical ideas for improvisations, arrangements, or compositions to express intent, and explain connection to purpose and context. MU:Cr2.1.5b - Use standard and/or iconic notation and/or recording technology to document personal rhythmic, melodic, and two- chord harmonic musical ideas. CPI#: B.3 - Improvise and score simple melodies over given harmonic structures using traditional instruments and/or computer programs. o Improvise a vocal melody over a given harmonic progression (blues, I/IV/V7 folk song, etc.); compose, notate, and perform a twosection piece (AB, ABA, etc.) for barred instrument or recorder, using a variety of note values and pentatonic pitches, over a bass melody. o Improvise a melody on a barred instrument, recorder or nontraditional instrument using a diatonic scale played over a given harmonic progression using I-IV-V7, and ending on the home tone. o Compose and score an 8-bar melody in either a major or minor key, using note and rest values as small as the 16th note played in 3/4 and/or 4/4 time, and resolving to the home tone. Special Education MU:Cr2.1.5a [With limited guidance,] demonstrate 13 P a g e CPI#: B.3 - Improvise and score simple melodies over given harmonic

14 Students Mid Group ESL WAPT 0-10 selected and developed musical ideas for improvisations, arrangements, or compositions to express intent, and explain connection to purpose and context. MU:Cr2.1.5b [With limited guidance,] use standard and/or iconic notation and/or recording technology to document personal rhythmic, melodic, and two- chord harmonic musical ideas. structures using traditional instruments and/or computer programs. o Improvise a vocal melody over a given harmonic progression (blues, I/IV/V7 folk song, etc.); compose, notate, and perform a twosection piece (AB, ABA, etc.) for barred instrument or recorder, using a variety of note values and pentatonic pitches, over a bass melody. o Improvise a melody on a barred instrument, recorder or nontraditional instrument using a diatonic scale played over a given harmonic progression using I-IV-V7, and ending on the home tone. o Compose and score an 8-bar melody in either a major or minor key, using note and rest values as small as the 16th note played in 3/4 and/or 4/4 time, and resolving to the home tone. Special Education Students Low Group MU:Cr2.1.5a [With guidance,] demonstrate selected and developed musical ideas for improvisations, arrangements, or compositions to express intent, and explain connection to purpose and context. MU:Cr2.1.5b [With guidance,] use standard and/or iconic notation and/or recording technology to document personal rhythmic, melodic, and two- chord harmonic musical ideas. CPI#: B.3 - Improvise and score simple melodies over given harmonic structures using traditional instruments and/or computer programs. o Improvise a vocal melody over a given harmonic progression (blues, I/IV/V7 folk song, etc.); compose, notate, and perform a twosection piece (AB, ABA, etc.) for barred instrument or recorder, using a variety of note values and pentatonic pitches, over a bass melody. o Improvise a melody on a barred instrument, recorder or nontraditional instrument using a diatonic scale played over a given harmonic progression using I-IV-V7, and ending on the home tone. o Compose and score an 8-bar melody in either a major or minor key, using note and rest values as small as the 16th note played in 3/4 and/or 4/4 time, and resolving to the home tone. 14 P a g e

15 Enduring Understandings and Essential Questions NJCCC Standard The Creative Process NCAS Process Component Enduring Understanding(s) Essential Question(s) MU:Cr3.1 - Evaluate and Refine Evaluate and refine selected musical ideas to create musical work that meets appropriate criteria. NCAS - Musicians evaluate and refine their work through openness to new ideas, persistence, and the application of appropriate criteria. NJCCCS Criteria for determining the aesthetic merits of artwork vary according to context. Understanding the relationship between compositional design and genre provides the foundation for making value judgments about the arts. (e.g., CPI#: A.3) NJCCCS Identifying criteria for evaluating performances results in deeper understanding of art and art-making. (e.g., CPI#: B.1) NJCCCS Decoding simple contextual clues requires evaluation mechanisms, such as rubrics, to sort fact from opinion. (e.g., CPI#: B.2) NJCCCS Levels of proficiency can be assessed through analyses of how artists apply the elements of art and principles of design. (e.g., CPI#: B.4) NCAS - How do musicians improve the quality of their creative work? 15 P a g e

16 New Jersey Core Curriculum Content Standard: 1.1 The Creative Process Related National Core Arts Standard: MU.Cr3 - Refine and complete artistic work. Student Learning Objective: MU:Cr3.1 - Evaluate and Refine - Evaluate and refine selected musical ideas to create musical work that meets appropriate criteria. (Using Level 7 Vocabulary Overview) Modified Student Learning Objective: MU:Cr3.1 - Evaluate and Refine - Evaluate and refine selected musical ideas to create musical work that meets appropriate criteria. (Using concepts at the appropriate level) ESL Student Learning Objective: MU:Cr3.1 - Evaluate and Refine - Evaluate and refine selected musical ideas to create musical work that meets appropriate criteria. (Using concepts at the appropriate level) Student Population Skills, Strategies, & Concepts Sample Activities/ Lesson Starters General Education Special Education Students High Group ESL WAPT MU:Cr Evaluate, refine, and document revisions to personal music, applying teacher-provided and collaboratively- developed criteria and feedback, and explain rationale for changes. CPI#: 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). o Demonstrate an understanding of how music reflects the ideas of a composer and/or performer based on the historical, cultural, and personal characteristics of each musician. Make connections to the pieces when warranted. CPI#: 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. o Describe what constitutes a quality vocal performance (e.g., posture, breath support, intonation, diction, vowel placement, etc.) and interpretive elements (e.g., dynamics, phrasing, emotion, etc.) and apply these attributes to performance. 16 P a g e

17 CPI#: B.2 Use evaluative tools, such as rubrics, for self-assessment and to appraise the objectivity of critiques by peers. o Evaluate a student group performance on three criteria using a student created vocabulary list (e.g., interpretation, articulation, technique, intonation). CPI#: B.4 Define technical proficiency, using the elements of the arts and principles of design. o Use a graphic organizer or other tool to show common performance traits (e.g., technical fluency, rhythmic accuracy, intonation, etc.) in generally accepted great performances of music. Choose performances in three different styles (e.g., YoYo Ma s recording of a Bach Cello Suite, John Coltrane s Giant Steps, Ravi Shankar in a traditional Hindustani sitar raga). Special Education Students Mid Group ESL WAPT 0-10 MU:Cr3.1.5 [With limited guidance,] evaluate, refine, and document revisions to personal music, applying teacherprovided and collaborativelydeveloped criteria and feedback, and explain rationale for changes. CPI#: 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). o Demonstrate an understanding of how music reflects the ideas of a composer and/or performer based on the historical, cultural, and personal characteristics of each musician. Make connections to the pieces when warranted. CPI#: 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. o Describe what constitutes a quality vocal performance (e.g., posture, breath support, intonation, diction, vowel placement, etc.) and interpretive elements (e.g., dynamics, phrasing, emotion, etc.) and apply these attributes to performance. 17 P a g e

18 CPI#: B.2 Use evaluative tools, such as rubrics, for self-assessment and to appraise the objectivity of critiques by peers. o Evaluate a student group performance on three criteria using a student created vocabulary list (e.g., interpretation, articulation, technique, intonation). CPI#: B.4 Define technical proficiency, using the elements of the arts and principles of design. o Use a graphic organizer or other tool to show common performance traits (e.g., technical fluency, rhythmic accuracy, intonation, etc.) in generally accepted great performances of music. Choose performances in three different styles (e.g., YoYo Ma s recording of a Bach Cello Suite, John Coltrane s Giant Steps, Ravi Shankar in a traditional Hindustani sitar raga). Special Education Students Low Group MU:Cr3.1.5 [With guidance,] evaluate, refine, and document revisions to personal music, applying teacherprovided and collaborativelydeveloped criteria and feedback, and explain rationale for changes. CPI#: 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). o Demonstrate an understanding of how music reflects the ideas of a composer and/or performer based on the historical, cultural, and personal characteristics of each musician. Make connections to the pieces when warranted. CPI#: 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. o Describe what constitutes a quality vocal performance (e.g., posture, breath support, intonation, diction, vowel placement, etc.) and interpretive elements (e.g., dynamics, phrasing, emotion, etc.) and apply these attributes to performance. 18 P a g e

19 CPI#: B.2 Use evaluative tools, such as rubrics, for self-assessment and to appraise the objectivity of critiques by peers. o Evaluate a student group performance on three criteria using a student created vocabulary list (e.g., interpretation, articulation, technique, intonation). CPI#: B.4 Define technical proficiency, using the elements of the arts and principles of design. o Use a graphic organizer or other tool to show common performance traits (e.g., technical fluency, rhythmic accuracy, intonation, etc.) in generally accepted great performances of music. Choose performances in three different styles (e.g., YoYo Ma s recording of a Bach Cello Suite, John Coltrane s Giant Steps, Ravi Shankar in a traditional Hindustani sitar raga). 19 P a g e

20 Enduring Understandings and Essential Questions NJCCC Standard The Creative Process NCAS Process Component Enduring Understanding(s) Essential Question(s) MU:Cr3.2 Present Share creative musical work that conveys intent, demonstrates craftsmanship, and exhibits originality. NCAS - Musicians presentation of creative work is the culmination of a process of creation and communication. NCAS - When is creative work ready to share? 20 P a g e

21 New Jersey Core Curriculum Content Standard: 1.1 The Creative Process Related National Core Arts Standard: MU.Cr3 - Refine and complete artistic work. Student Learning Objective: MU:Cr3.2 - Present - Share creative musical work that conveys intent, demonstrates craftsmanship, and exhibits originality. (Using Level 7 Vocabulary Overview) Modified Student Learning Objective: MU:Cr3.2 - Present - Share creative musical work that conveys intent, demonstrates craftsmanship, and exhibits originality. (Using concepts at the appropriate level) ESL Student Learning Objective: MU:Cr3.2 - Present - Share creative musical work that conveys intent, demonstrates craftsmanship, and exhibits originality. (Using concepts at the appropriate level) Student Population Skills, Strategies, & Concepts Sample Activities/ Lesson Starters General Education Special Education Students High Group ESL WAPT MU:Cr Present the final version of personal created music to others that demonstrates craftsmanship, and explain connection to expressive intent. Compare and contrast examples of the finished product for each level of the rubric. Check the work against the rubric and determine what, if any, changes need to be made. Compare self-evaluation with that of the teacher s. Perform for the class and/or record the piece. Special Education Students Mid Group ESL WAPT 0-10 MU:Cr3.2.5 [With limited guidance,] present the final version of personal created music to others that demonstrates craftsmanship, and explain connection to expressive intent. Compare and contrast examples of the finished product for each level of the rubric. Check the work against the rubric and determine what, if any, changes need to be made. Compare self-evaluation with that of the teacher s. Perform for the class and/or record the piece. Special Education MU:Cr3.2.5 [With Compare and contrast examples of the finished product for each level of the 21 P a g e

22 Students Low Group guidance,] present the final version of personal created music to others that demonstrates craftsmanship, and explain connection to expressive intent. rubric. Check the work against the rubric and determine what, if any, changes need to be made. Compare self-evaluation with that of the teacher s. Perform for the class and/or record the piece. Enduring Understandings and Essential Questions NJCCC Standard History of the Arts and Culture NCAS Process Component Enduring Understanding(s) Essential Question(s) MU:Cn10.1 Connect Synthesize and relate knowledge and personal experiences to make music. NCAS - Musicians connect their personal interests, experiences, ideas, and knowledge to creating, performing, and responding. NCAS - How do musicians make meaningful connections to creating, performing, and responding? 22 P a g e

23 New Jersey Core Curriculum Content Standard: 1.2 History of the Arts and Culture Related National Core Arts Standard: MU.Cn10 - Synthesize and relate knowledge and personal experiences to make art. Student Learning Objective: MU:Cn10.1 Connect Synthesize and relate knowledge and personal experiences to make music. (Using Level 7 Vocabulary Overview) Modified Student Learning Objective: MU:Cn10.1 Connect Synthesize and relate knowledge and personal experiences to make music. (Using concepts at the appropriate level) ESL Student Learning Objective: MU:Cn10.1 Connect Synthesize and relate knowledge and personal experiences to make music. (Using concepts at the appropriate level) Student Population Skills, Strategies, & Concepts Sample Activities/ Lesson Starters General Education Special Education Students High Group ESL WAPT MU:Cn Demonstrate how interests, knowledge, and skills relate to personal choices and intent when creating, performing, and responding to music. Fill out a self-evaluation for composition projects. Special Education Students Mid Group ESL WAPT 0-10 MU:Cn [With limited guidance,] demonstrate how interests, knowledge, and skills relate to personal choices and intent when creating, performing, and responding to music. Fill out a self-evaluation for composition projects. Special Education Students Low Group MU:Cn [With guidance,] demonstrate how interests, knowledge, and skills relate to personal choices and intent when creating, performing, and responding to music. Fill out a self-evaluation for composition projects. 23 P a g e

24 Enduring Understandings and Essential Questions NJCCC Standard History of the Arts and Culture NCAS Process Component Enduring Understanding(s) Essential Question(s) MU:Cn11.1 Connect Relate artistic ideas and works with societal, cultural, and historical context to deepen understanding. 24 P a g e NCAS - Understanding connections to varied contexts and daily life enhances musicians creating, performing, and responding. NJCCCS Art and culture reflect and affect each other. (e.g., CPI#: A.1) NJCCCS Characteristic approaches to content, form, style, and design define art genres. (e.g., CPI#: A.2) NJCCCS Sometimes the contributions of an individual artist can influence a generation of artists and signal the beginning of a new art genre. (e.g., CPI# A.3) NJCCCS Works of art may be organized according to their functions and artistic purposes (e.g., genres, mediums, messages, themes). (e.g., CPI#: A.1) NJCCCS Formalism in dance, music, theatre, and visual arts varies according to personal, cultural, and historical contexts. (e.g., CPI#: A.2) NJCCCS While there is a shared vocabulary among the four arts disciplines of dance, music, theatre, and visual art, each also has its own discipline-specific arts terminology. NCAS - How do the other arts, other disciplines, contexts, and daily life inform creating, performing, and responding to music?

25 (e.g., CPI# B.3) NJCCCS Artists and audiences can and do disagree about the relative merits of artwork. When assessing works of dance, music, theatre, and visual art, it is important to consider the context for the creation and performance of the work (e.g., Who was the creator? What purpose does the artwork serve? Who is the intended audience?). (e.g., CPI#: B.5) 25 P a g e

26 New Jersey Core Curriculum Content Standard: 1.2 History of the Arts and Culture Related NCAS: MU.Cn11 - Relate artistic ideas and woks with societal, cultural, and historical context to deepen understanding. Student Learning Objective: MU:Cn Connect Relate musical ideas and works with varied context to deepen understanding. (Using Level 7 Vocabulary Overview) Modified Student Learning Objective: MU:Cn Connect Relate musical ideas and works with varied context to deepen understanding. (Using concepts at the appropriate level) ESL Student Learning Objective: MU:Cn Connect Relate musical ideas and works with varied context to deepen understanding. (Using concepts at the appropriate level) Student Population Skills, Strategies, & Concepts Sample Activities/ Lesson Starters General Education Special Education Students High Group ESL WAPT MU:Cn Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and daily life. CPI#: A.1 Recognize works of dance, music, theatre, and visual art as a reflection of societal values and beliefs. o Compare and contrast the function of music from various and distinct historical periods (e.g., music from the Revolutionary War with music from the Civil War). CPI#: A.2 Relate common artistic elements that define distinctive art genres in dance, music, theatre, and visual art. o Compare and contrast how rhythm, melody, and harmony are utilized in a variety of genres and cultures (e.g., European classical music, jazz, Hindustani, West African Rock etc.). CPI#: A.3 Determine the impact of significant contributions of individual artists in dance, music, theatre, and visual art from diverse cultures throughout history. o Identify major characteristics of Baroque, Classical, Romantic, 26 P a g e

27 and early modern music as impacted by famous composers representative of their era (e.g., Baroque composers such as Vivaldi, Handel, or Bach; Hayden, Mozart, Beethoven, or Schubert as exemplifying the Classical period; Romantic composers such as Chopin, Brahms, Dvorak, Tchaikovsky or Rachmaninoff; and Modern composers such as Debussy, Ravel, Stravinsky, Copeland, or Gershwin). CPI#: A.1 Employ basic, discipline-specific arts terminology to categorize works of dance, music, theatre, and visual art according to established classifications. o Categorize a series of 8-10 pieces into different styles (e.g., jazz, classical, romantic, folk, patriotic, popular music, etc.) using graphic organizers, manipulatives, or other tools. CPI#: A.2 Make informed aesthetic responses to artworks based on structural arrangement and personal, cultural, and historical points of view. o Identify/analyze the structure of various musical forms (e.g., verse/refrain, chorus format, sonata, etc.) from varied cultures, time periods or musical genres. CPI#: B.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). o Use a graphic organizer or other tool to show common performance traits (e.g., technical fluency, rhythmic accuracy, intonation, etc.) in generally accepted great performances of music. Choose performances in three different styles (e.g., YoYo Ma s recording of a Bach Cello Suite, John Coltrane s Giant Steps, Ravi Shankar in a traditional Hindustani sitar raga). CPI#: B.5 Distinguish ways in which individuals may disagree about the relative merits and effectiveness of artistic choices in the creation and 27 P a g e

28 performance of works of dance, music, theatre, and visual art. o Describe three ways that individuals can agree or disagree about the merits of a musical performance based on technical and interpretive perspectives, the composer and his/her intent, and if the intent was realized. Special Education Students Mid Group ESL WAPT 0-10 MU:Cn [With limited guidance] demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and daily life. CPI#: A.1 Recognize works of dance, music, theatre, and visual art as a reflection of societal values and beliefs. o Compare and contrast the function of music from various and distinct historical periods (e.g., music from the Revolutionary War with music from the Civil War). CPI#: A.2 Relate common artistic elements that define distinctive art genres in dance, music, theatre, and visual art. o Compare and contrast how rhythm, melody, and harmony are utilized in a variety of genres and cultures (e.g., European classical music, jazz, Hindustani, West African Rock etc.). CPI#: A.3 Determine the impact of significant contributions of individual artists in dance, music, theatre, and visual art from diverse cultures throughout history. o Identify major characteristics of Baroque, Classical, Romantic, and early modern music as impacted by famous composers representative of their era (e.g., Baroque composers such as Vivaldi, Handel, or Bach; Hayden, Mozart, Beethoven, or Schubert as exemplifying the Classical period; Romantic composers such as Chopin, Brahms, Dvorak, Tchaikovsky or Rachmaninoff; and Modern composers such as Debussy, Ravel, Stravinsky, Copeland, or Gershwin). CPI#: A.1 Employ basic, discipline-specific arts terminology to categorize works of dance, music, theatre, and visual art according to 28 P a g e

29 established classifications. o Categorize a series of 8-10 pieces into different styles (e.g., jazz, classical, romantic, folk, patriotic, popular music, etc.) using graphic organizers, manipulatives, or other tools. CPI#: A.2 Make informed aesthetic responses to artworks based on structural arrangement and personal, cultural, and historical points of view. o Identify/analyze the structure of various musical forms (e.g., verse/refrain, chorus format, sonata, etc.) from varied cultures, time periods or musical genres. CPI#: B.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). o Use a graphic organizer or other tool to show common performance traits (e.g., technical fluency, rhythmic accuracy, intonation, etc.) in generally accepted great performances of music. Choose performances in three different styles (e.g., YoYo Ma s recording of a Bach Cello Suite, John Coltrane s Giant Steps, Ravi Shankar in a traditional Hindustani sitar raga). CPI#: B.5 Distinguish ways in which individuals may disagree about the relative merits and effectiveness of artistic choices in the creation and performance of works of dance, music, theatre, and visual art. o Describe three ways that individuals can agree or disagree about the merits of a musical performance based on technical and interpretive perspectives, the composer and his/her intent, and if the intent was realized. Special Education Students Low Group MU:Cn [With guidance] demonstrate CPI#: A.1 Recognize works of dance, music, theatre, and visual art as a reflection of societal values and beliefs. 29 P a g e

30 30 P a g e understanding of relationships between music and the other arts, other disciplines, varied contexts, and daily life. o Compare and contrast the function of music from various and distinct historical periods (e.g., music from the Revolutionary War with music from the Civil War). CPI#: A.2 Relate common artistic elements that define distinctive art genres in dance, music, theatre, and visual art. o Compare and contrast how rhythm, melody, and harmony are utilized in a variety of genres and cultures (e.g., European classical music, jazz, Hindustani, West African Rock etc.). CPI#: A.3 Determine the impact of significant contributions of individual artists in dance, music, theatre, and visual art from diverse cultures throughout history. o Identify major characteristics of Baroque, Classical, Romantic, and early modern music as impacted by famous composers representative of their era (e.g., Baroque composers such as Vivaldi, Handel, or Bach; Hayden, Mozart, Beethoven, or Schubert as exemplifying the Classical period; Romantic composers such as Chopin, Brahms, Dvorak, Tchaikovsky or Rachmaninoff; and Modern composers such as Debussy, Ravel, Stravinsky, Copeland, or Gershwin). CPI#: A.1 Employ basic, discipline-specific arts terminology to categorize works of dance, music, theatre, and visual art according to established classifications. o Categorize a series of 8-10 pieces into different styles (e.g., jazz, classical, romantic, folk, patriotic, popular music, etc.) using graphic organizers, manipulatives, or other tools. CPI#: A.2 Make informed aesthetic responses to artworks based on structural arrangement and personal, cultural, and historical points of view. o Identify/analyze the structure of various musical forms (e.g., verse/refrain, chorus format, sonata, etc.) from varied cultures, time

31 periods or musical genres. CPI#: B.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). o Use a graphic organizer or other tool to show common performance traits (e.g., technical fluency, rhythmic accuracy, intonation, etc.) in generally accepted great performances of music. Choose performances in three different styles (e.g., YoYo Ma s recording of a Bach Cello Suite, John Coltrane s Giant Steps, Ravi Shankar in a traditional Hindustani sitar raga). CPI#: B.5 Distinguish ways in which individuals may disagree about the relative merits and effectiveness of artistic choices in the creation and performance of works of dance, music, theatre, and visual art. o Describe three ways that individuals can agree or disagree about the merits of a musical performance based on technical and interpretive perspectives, the composer and his/her intent, and if the intent was realized. 31 P a g e

32 Bold print indicates new terminology A * indicates a new concept/term which is introduced at this level Vocabulary Overview for Grade 5 (Level 7 Introduced) Rhythm - Concepts that explain what occurs to sound over time, using the beat as a frame of reference. Meter (L5 3 rd ) Label the meter classification of each song (e.g., duple simple, triple compound, etc.). (L5 3 rd ) Introduce time signatures by writing the meter classification over the symbol for the beat. (L6 4 th ) Replace the terms and symbols with numbers for writing the time signature. * (L7 5 th ) - Identify (through movement, verbal, and written responses), notate (through pictorial representation), and perform (with voice and instruments) poems, stories, and repertoire which has borrowed divisions: duplets and/or triplets. * (L7 5 th ) Introduce traditional notation for common time and cut time. (L8 6 th ) - Identify (through movement, verbal, and written responses), notate (through pictorial representation), and perform (with voice and instruments) poems, stories, and repertoire that contain mixed meters. (L9 7 th ) - Identify (through movement, verbal, and written responses), notate (through pictorial representation), and perform (with voice and instruments) poems, stories, and repertoire that contain irregular meters. Patterns (L5 3 rd ) - Use the whole note, half note, and quarter note to represent the beat and the half note, quarter note, and eighth note to represent the beat division, along with the corresponding rests to represent beats with no sound. (L5 3 rd ) - Use ties to represent sound that lasts longer than a beat. (L6 4 th ) - Identify (through movement, verbal, and written responses), notate (through traditional notation), and perform (with voice and instruments) poems, stories, and repertoire in which there are up to four sounds on a beat; (L6 4 th ) Notate the beat with the whole note, half note, or quarter note, and the appropriate corresponding symbol to represent the beat division and subdivision (including the sixteenth note), along to with the corresponding rests to represent beats with no sound. (L6 4 th ) Replace ties with whole notes, half notes, and quarter notes (depending on the symbol for the beat) and their dotted versions to represent sounds that last longer than a beat 32 P a g e

33 (L6 4 th ) Use ties to represent syncopated rhythms. * (L7 5 th ) Identify (through movement, verbal, and written responses), notate (through traditional notation), and perform (with voice and instruments) poems, stories, and repertoire in which there are borrowed divisions: duplets and triplets. (L8 6 th ) - Identify (through movement, verbal, and written responses), notate (through traditional and/or non-traditional notation), and perform (with voice and instruments) poems, stories, and repertoire that includes metrical rhythms. (L9 7 th ) - Identify (through movement, verbal, and written responses), notate (through traditional and/or non-traditional notation), and perform (with voice and instruments) poems, stories, and repertoire that includes free rhythms. Tempo (L5 3 rd ) Identify (through movement, verbal, and written responses), notate (through traditional notation), and perform (with voice and instruments) poems, stories, and repertoire using tempo terms and/or metronome markings. (L6 4 th ) Identify (through movement, verbal, and written responses), notate (through traditional notation), and perform (with voice and instruments) poems, stories, and repertoire using tempo terms and/or metronome markings. * (L7 5 th ) Identify (through movement, verbal, and written responses), notate (through traditional notation), and perform (with voice and instruments) poems, stories, and repertoire using tempo terms and/or metronome markings. (L8 6 th ) Identify (through movement, verbal, and written responses), notate (through traditional and non-traditional notation), and perform (with voice and instruments) poems, stories, and repertoire using tempo terms and/or metronome markings. (L9 7 th ) Identify (through movement, verbal, and written responses), notate (through traditional and non-traditional notation), and perform (with voice and instruments) poems, stories, and repertoire using tempo terms and/or metronome markings. Dynamics (L5 3 rd ) Identify (through movement, verbal, and written responses), notate (through traditional notation), and perform (with voice and instruments) poems, stories, and repertoire using dynamic terms and/or symbols. (L6 4 th ) Identify (through movement, verbal, and written responses), notate (through traditional notation), and perform (with voice and instruments) poems, stories, and repertoire using dynamic terms and/or symbols. 33 P a g e

34 * (L7 5 th ) Identify (through movement, verbal, and written responses), notate (through traditional notation), and perform (with voice and instruments) poems, stories, and repertoire using dynamic terms and/or symbols. (L8 6 th ) Identify (through movement, verbal, and written responses), notate (through traditional and non-traditional notation), and perform (with voice and instruments) poems, stories, and repertoire using dynamic terms and/or symbols. (L9 7 th ) Identify (through movement, verbal, and written responses), notate (through traditional and non-traditional notation), and perform (with voice and instruments) poems, stories, and repertoire using dynamic terms and/or symbols. Articulation (L5 3 rd ) Identify (through movement, verbal, and written responses), notate (through traditional notation), and perform (with voice and instruments) poems, stories, and repertoire in which the sounds last their full value and seem to be connected to one another (identified as legato), as well as songs where the sounds are not held their full value and seem to be separated from one another (identified as staccato). (L6 4 th ) Identify (through movement, verbal, and written responses), notate (through traditional notation), and perform (with voice and instruments) poems, stories, and repertoire in which accents occur on unaccented beats (for example, sforzando). * (L7 5 th ) Identify (through movement, verbal, and written responses), notate (through traditional notation), and perform (with voice and instruments) poems, stories, and repertoire that includes notes that are slurred and phrasing marks are indicated. (L8 6 th ) Identify (through movement, verbal, and written responses), notate (through traditional and non-traditional notation), and perform (with voice and instruments) poems, stories, and repertoire that is enhanced by appropriate articulation techniques. (L9 7 th ) Identify (through movement, verbal, and written responses), notate (through traditional and non-traditional notation), and perform (with voice and instruments) poems, stories, and repertoire that is enhanced by appropriate articulation techniques. Melody - Concepts that explain our perception of sound in the vertical space Contour (L5 3 rd ) Identify (through movement, verbal, and written responses), notate (through traditional notation), and perform (with voice and instruments) poems, stories, and repertoire that contain conjunct and/or disjunct melodic motion with sounds that are ascending by steps/leaps, descending by steps/leaps, or repeating. 34 P a g e

35 (L6 4 th ) Identify (through movement, verbal, and written responses), notate (through traditional notation), and perform (with voice and instruments) poems, stories, and repertoire that contain conjunct and/or disjunct melodic motion with sounds that are ascending by steps/leaps, descending by steps/leaps, or repeating. * (L7 5 th ) Identify (through movement, verbal, and written responses), notate (through traditional notation), and perform (with voice and instruments) poems, stories, and repertoire that contain conjunct and/or disjunct melodic motion with sounds that are ascending by steps/leaps, descending by steps/leaps, or repeating. (L8 6 th ) Identify (through movement, verbal, and written responses), notate (through traditional and non-traditional notation), and perform (with voice and instruments) poems, stories, and repertoire that contain conjunct and/or disjunct melodic motion with sounds that are ascending by steps/leaps, descending by steps/leaps, or repeating. (L9 7 th ) Identify (through movement, verbal, and written responses), notate (through traditional and non-traditional notation), and perform (with voice and instruments) poems, stories, and repertoire that contain conjunct and/or disjunct melodic motion with sounds that are ascending by steps/leaps, descending by steps/leaps, or repeating. Scales (L5 3 rd ) - Identify (through movement, verbal, and written responses), notate (through traditional notation), and perform (with voice and instruments) poems, stories, and repertoire that contain a variety of scales, including pentatonic, modes, and major scales. (L5 3 rd ) Recognize the whole/half step relationship of the scale beginning on C as being the structure of the Major Scale. (L5 3 rd ) Use sharps and flats to create the structure of the major scale for notes other than C. (L6 4 th ) - Identify (through movement, verbal, and written responses), notate (through traditional notation), and perform (with voice and instruments) poems, stories, and repertoire that contain a variety of scales, including pentatonic, modes, major, and minor scales. (L6 4 th ) Recognize the whole/half step relationship of the scale beginning on A as being the structure of the Minor Scale. (L6 4 th ) Use sharps and flats to create the structure of the minor scale for notes other than A. (L6 4 th ) Using the whole/half step relationships, distinguish between the natural minor, harmonic minor, and melodic minor scales. * (L7 5 th ) Identify (through movement, verbal, and written responses), notate (through traditional notation), and perform (with voice and instruments) poems, stories, and repertoire that contain a variety of scales, including pentatonic, modes, major, minor, chromatic and whole-tone scales. 35 P a g e

36 * (L7 5 th ) Recognize the half step as a chromatic interval and the whole step as a diatonic interval. (L8 6 th ) Identify (through movement, verbal, and written responses), notate (through traditional and non-traditional notation), and perform (with voice and instruments) poems, stories, and repertoire that contain a variety of scales. (L9 7 th ) Identify (through movement, verbal, and written responses), notate (through traditional and non-traditional notation), and perform (with voice and instruments) poems, stories, and repertoire that contain a variety of scales. Harmony (L5 3 rd ) Identify the numerical classification of intervals: unison, second, third, fourth, fifth, sixth, seventh, octave. (L5 3 rd ) Distinguish between melodic and harmonic intervals. (L6 4 th ) Classify intervals by quality: augmented, perfect, major, minor, diminished. (L6 4 th ) Identify compound, inverted, and enharmonic intervals. * (L7 5 th ) Identify (through movement, verbal, and written responses), notate (through traditional and non-traditional notation), and perform (with voice and instruments) poems, stories, and repertoire that contain basic triads (chords). * (L7 5 th ) Distinguish between chords as being augmented, major, minor or diminished triads. * (L7 5 th ) Recognize triads created by major and minor scales. (L8 6 th ) Identify (through movement, verbal, and written responses), notate (through traditional and non-traditional notation), and perform (with voice and instruments) poems, stories, and repertoire that contain basic chord progressions. (L8 6 th ) Recognize cadences that ends a chord progression (phrase) as being authentic, plagal, half, or deceptive. (L9 7 th ) Identify (through movement, verbal, and written responses), notate (through traditional and non-traditional notation), and perform (with voice and instruments) poems, stories, and repertoire that contain basic chord progressions and cadences. Tonality (L5 3 rd ) Experience repertoire with a variety of tonalities. (L6 4 th ) Define key as the collection of sharps and flats needed to create a tonality (major, minor, etc.). (L6 4 th ) Recognize the key signatures of major keys. 36 P a g e