Music Theory II-IV, Honors Music Theory II-IV

Transcription

1 FREEHOLD REGIONAL HIGH SCHOOL DISTRICT OFFICE OF CURRICULUM AND INSTRUCTION MUSIC DEPARTMENT Music Theory II-IV, Honors Music Theory II-IV COURSE DESCRIPTION Grade Level: Department: Music Department Course Title: Music Theory II-IV, Credits: 5.0 Honors Music Theory II-IV Course Code: , , , , , Board of Education adoption date: August 27, 2012

2 Board of Education Mr. Heshy Moses, President Mrs. Jennifer Sutera, Vice President Mr. Carl Accettola Mr. William Bruno Mrs. Elizabeth Canario Mrs. Kathie Lavin Mr. Ronald G. Lawson Mr. Michael Messinger Ms. Maryanne Tomazic Mr. Charles Sampson, Superintendent Ms. Donna M. Evangelista, Assistant Superintendent for Curriculum and Instruction Curriculum Writing Committee Mr. Anthony Limaldi Mr. Edward Gattsek Supervisors Ms. Deana Farinick Ms. Judith Lagana Ms. Judith Newins Mr. Stanley Koba Ms. Michelle Lilley Ms. Stephanie Kayafas

3 Music Theory II-IV and Honors Level(s) - Introduction Music Theory II-IV Course Description & Philosophy This is a one year, five credit course which satisfies the 5 credit graduation requirement for fine and performing arts. Music Theory explores various styles of musical composition. It is a rigorous course with a structured and regimented method. The main composition style that will be explored is that which was used by composers during the Common Practice Period ( ) In addition, some contemporary techniques will be explored. Composition and analysis will constitute the bulk of the course work and nightly homework will be assigned. A musical background and/or working knowledge of musical rhythm and at least one musical clef: treble or bass, will be helpful, but not necessary. The level of musicianship ranges from students who understand the fundamentals of music to students who can create original works for large ensembles. We believe our curriculum should provide quality experiences that are musically meaningful to the education of all our students. It should help them discover, understand, and enjoy music as an art form, an intellectual endeavor, a medium of self-expression, and a means of social growth. Music is considered basic to the total educational program. To each new generation this portion of our heritage is a source of inspiration, enjoyment, and knowledge which helps to shape a way of life. Our music curriculum enriches and maintains this life and draws on our nation and the world for its everexpanding course content taking the student beyond the realm of the ordinary, everyday experience. Music is an art that expresses emotion, indicates mood, and helps students to respond to their environment. It develops the student s character through its emphasis on responsibility, self-discipline, leadership, concentration, and respect for and awareness of the contributions of others. Music contains technical, psychological, artistic, and academic concepts. It is an integral part of life and therefore should be studied to further enrich the lives of our students. Musical training is a more potent instrument than any other, because rhythm, harmony, and melody find their way into the inward places of our soul, on which they mightily fasten, imparting grace, and making the soul of him who is educated graceful. Plato

4 Course Map and Proficiencies/Pacing Course Map Relevant Standards B B A B B B B.4 Enduring Understandings It is the combination of harmony and rhythm that forms the foundation of music of the Western Hemisphere. Essential Questions To what extent do harmony and rhythm affect Western music? How is Western music different from music around the world? How much does rhythm affect music? Assessments Diagnostic Formative Summative Anticipatory set Oral questions/discuss ion Research and define terms Quizzes Critique & analysis Unit test Individual performance How much does harmony affect music? B B A B B.2 (Four/SATB) Part-writing is the foundation of the language of music. What is four-part/satb writing? How does four-part writing affect the study music theory? Where is four-part writing used? Anticipatory set Student survey Discussion Homework assignments Participation Assignments Analysis Unit Test Analysis B.1 Major and minor scales and combinations of their intervals are the vocabulary of harmonic language. What are major and minor scales? How many major and minor scales are there? Where are major and minor scales utilized? To what extent are major and minor scales utilized in music? What are the different combinations of intervals that make chords and other desired sounds? Discussion Anticipatory set Analysis Aural identification Exercises Analysis Performance Unit Test B A.1 Having a basic understanding of the keyboard (clavier) is essential to learning Music Theory. What patterns in the keyboard can be identified? Does performing on the keyboard help with learning music theory? Discussion Anticipatory set questions Entry performance/assessm ent Performance exercises Analysis Exit performance Performance

5 B B A A B B A.1 Listening is an essential skill. How does performing in an ensemble better us as musical listeners? How does listening to ensemble works develop musical leadership skills in order to conduct/lead? How does listening to compositions give a better understanding of music theory? Discussion Oral questions Aural identification Professional speech from audiologist Analysis Criticism Individual/group project Analysis What common musical devices are common in society? (Examples: intervals, car horns, jingles, trademarks, commercials) Research Why is hearing a sense that should be protected? How often do musicians lose their hearing? Why should hearing be protected? What steps can be taken to protect hearing? B B B B.3 Music Theory is expressed by both aural and tactile means. Why is penmanship important when writing music? Explain some of the methods used to transcribe music. How is ear training a big part of music theory? How does singing improve ear training? Discussion Anticipatory set Questions Aural exercises Written exercises Aural exercises Written exercises Aural performance Critique Aural Test Written Test Performance Why is ear training essential in music theory? Why do listening and performing become essential components to developing musicianship? B B A A B A.4 Music Theory provides insight into the background of musicians & composers. Where do popular musicians & composers get their musical experience? How much of musician s and composers experience is taught and how much is learned? Discussion Oral questions Research Written assignments Analysis Individual & group projects

6 B A B B B.3 Notation software and other technologies have a role to play in modern music notation. How does having an understanding of notation software impact knowledge of music theory? How does notation software effect writing and creating in music theory? Discussion Student survey Presentation projects Present various examples Multimedia presentation Comparison presentations Individual projects What brands of software compete to be the brand of choice? B A A B B B.4 A musician knowing his/her role is essential to having a successful ensemble. What background does a conductor need to have in order to be successful? What techniques are needed in order to be a successful conductor? How does music theory correlate with conducting? Discussion Background presentation Oral questions/discussion Exercises Analysis Interpretation project Performance Individual project How does a member of a musical group communicate without a conductor? Define the roles performed by various instruments.

7 Proficiencies and Pacing Unit Title Unit 1 - The Fundamentals of Music: Notation/Elements of Pitch, Scales, Tonality, Key, Modes, Intervals & Transposition Unit Understanding(s) and Goal(s) Notation is essential when using music theory. Scales, intervals, and transposition along with tonality are the foundation of music. At the conclusion of Music Theory II, participants will be able to: 1. Demonstrate knowledge of the letter names in alto and tenor clefs. 2. Demonstrate knowledge of all note values and how their use in measures of 3/8, 12/8, 5/8, 5/4, 7/8. 3. Demonstrate knowledge of all harmonic and melodic minor scales. 4. Demonstrate advanced knowledge of the circle of fifths (Example: chord substitutions). 5. Demonstrate knowledge of all intervals within two octaves, both written and aural. Recommended Duration Weeks ongoing At the conclusion of Music Theory III and IV, participants will be able to: 1. Demonstrate knowledge of ranges, clefs and transpositions of all band and orchestral instruments. 2. Demonstrate knowledge of all modes relative to "C".

8 Unit 2 - Structural Elements of Music: Triads, Cadences, Nonharmonic Tones, Voice Leading in Two & Four Voices, and Harmonic Progression and Harmonic Rhythm, Dominant 7 th Chord, Leading-Tone Seventh Chords, Secondary Dominants and Leading- Tone Chords Harmony is the musical result of tones sounding together. Whereas melody implies the linear or horizontal aspect of music, harmony refers to the vertical dimension of music. Chord structures and all their varieties and inversions provide a pillar in the construction of Western Music. Phrases are created in music through an interaction of melody, harmony, and rhythm. Voice leading is the term used to describe the linear aspect of musical writing. In four-voice textures, the interaction of harmony and melody and their equal importance become clear. Chords are selected to succeed each other in a piece of music using harmonic progressions. Students will be able construct chords and cadences using proper voice leading. The dominant seventh chord is a diatonic seventh chord built on the fifth scale degree of the major, harmonic minor and melodic minor scales. The major triad and minor seventh create a distinctive sound that is universally linked to the dominant function Weeks ongoing Students will be able to construct the seventh chords and corresponding cadences using proper voice leading. The leading tone seventh chord is similar to the dominant seventh chord due to its similar chord tones. At the conclusion of Music Theory II, participants will be able to: 1. Demonstrate knowledge of major, minor, augmented and diminished triads in 1st and 2nd inversions both written and aural. 2. Demonstrate knowledge of major, minor, augmented and diminished seventh chord, both written and aural. 3. Harmonize intermediate rhythmic melodies with I, II, III, IV, v, VI, and VII chords, utilize figure bass notation for analysis. 4. Use of diatonic non-harmonic tones both aural and written. 5. Compose 4-part passages in SATB. At the conclusion of Music Theory III, participants will be able to: 1. Harmonize advance melodies with seventh chords, sub tonic, minor dominant and utilize figured bass for analysis. 2. Use of chromatic non-harmonic tones both aural and written. 3. Demonstrate knowledge of the common essentials of part writing. 4. Demonstrate knowledge of major, minor, augmented and diminished seventh chord, 1st, 2nd and 3rd inversions, both written and aural. 5. Compose duets and trios. At the conclusion of Music Theory IV, participants will be able to: 1. Harmonize advanced melodies with secondary dominant and leading tone seventh chords, utilize figured bass for analysis. 2. Demonstrate knowledge of borrowed and altered chords. (Examples: Neapolitan 6th, Augmented 6th chords)

9 Unit 3 - Melodic and Rhythmic Organization Organizing melody and melodic thought are the ways in which musical units are combined into larger. At the conclusion of Music Theory II, participants will be able to: 1. Write intermediate melodies using proper rhythms and melodic movement, in both major and minor keys up to 4 #s and 4 bs. 2. Take intermediate dictation in rhythm and melody. 3. Sing intermediate melodic and rhythmic patterns used in class and on approved music theory training websites. 4. Use of solfege syllables to be used in both sight singing and dictation. 5. Demonstrate knowledge of all note values and their use in proper measure of advanced time signatures. At the conclusion of Music Theory III, participants will be able to: 1. Work in advanced syncopated rhythmic notation. 2. Write advanced melodies using proper rhythms and melodic movement in both major and minor keys up to 7 #s and 7bs. 3. Take advanced melodic and rhythmic dictation. 4. Sing intermediate melodic and rhythmic patterns used in class and on approved music theory training websites. 5. Demonstrate knowledge of simple melodic form. At the conclusion of Music Theory IV, participants will be able to: 1. Take advanced melodic and rhythmic dictation on 3 or fewer hearings. 2. Sing advanced melodic and rhythmic patterns used in class and on approved music theory training websites. 3-5 Weeks

10 Unit 4 - Texture, Textural Reduction and Form: Polyphony and other textures, Two- Part (Binary) Form, Three-Part (Ternary, ABA), Sonata Form(s) Texture refers to the way melodic rhythmic and harmonic materials are woven together in a composition. Secondary dominants are chord that are altered to sound like dominants. Form in music is the result of the interaction of all the structural elements. Two-Part Binary Form deals with complete compositions. Ternary form is a sectional form consisting of three principal parts (A B A) in which each section is a complete musical statement. At the conclusion of Music Theory II, participants will be able to: 1. Students will be able to analyze compositions using the various forms. At the conclusion of Music Theory III, participants will be able to: 1. Demonstrate knowledge of secondary dominants chords and their inversions in a textual setting. 2. Students will recognize, construct, and utilize secondary dominants in their proper formats. 3. Demonstrate knowledge of Two-Part Binary Form in a composition. At the conclusion of Music Theory IV, participants will be able to: 1. Demonstrate knowledge of Ternary (A B A) form by using it in a composition. 2. Students will be able to analyze large works and identity specific forms. 3. Demonstrate knowledge of advanced musical structure and design (Examples: binary, ternary, rondo and sonata-allegro forms). 4. Students will be able to differentiate, analyze, and create compositions with different textures. 3-5 Weeks

11 Unit 5 - Composers, Composing and Performance Twentieth century music is a departure of common musical practices. Many different styles culminate to develop the definitions of twentieth century music. Composition is the ultimate demonstration of concept mastery. Working alone and in groups to create musical art using modern/contemporary instruments both acoustic and electronic serve to elevate the human condition. At the conclusion of Music Theory II, participants will be able to: 1. Demonstrate knowledge of subdivision of duple, triple and quadruple meters through performance and composition. At the conclusion of Music Theory III, participants will be able to: 1. Compose 4-part passages for brass, woodwind, strings and mallet ensemble - make necessary arrangements to have it performed in class. 2. Compose and perform a four-part work that demonstrates elementary modulation (V/V, pivot chords) and make necessary arrangements to have it performed in class. 1. Compose harmonic and melodic passages in all modes in all key signatures. 2. Demonstrate basic knowledge of whole tone, quartile, quintal and twelve tone harmonies. 3. Compose and arrange music for voices, wind band, orchestra, jazz band, rock band, and other small ensembles. 4. Compose and arrange music with advanced modulations to unrelated keys. 5. Demonstrate knowledge of major, minor, augmented and diminished 9th, 11th, and 13th chords, root position, both written and aural Weeks ongoing

12 Music Theory II-IV and Honors Level(s) - Unit 01 - The Fundamentals of Music Unit Plan Enduring Understandings: It is the combination of harmony and rhythm that forms the foundation of music of the Western Hemisphere. Major and minor scales and combinations of their intervals are the vocabulary of harmonic language. Having a basic understanding of the keyboard (clavier) is essential to learning music theory. Listening is as essential a skill. Music theory is expressed by both aural and tactile means. Notation software and other technologies have a role to play in modern music notation. Essential Questions: To what extent do harmony and rhythm affect Western music? How is Western music different from music around the world? How much does harmony affect music? What are the major and minor scales? How many major and minor scales are there? Where are major and minor scales utilized? To what extent are major and minor scales utilized in music? What are the different combinations of intervals that make chords and other desired sounds? What patterns in the keyboard can be identified? Does performing on the keyboard help with learning music theory? How does listening to compositions give a better understanding of music theory? What common musical devices are common in society? (Examples: intervals, car horns, jingles, trademarks, commercials) Why is penmanship important when writing music? What are some of the methods used to transcribe music? How is ear training a big part of music theory? How does singing improve ear training? Why is ear training essential in music theory? Why do listening and performing become essential components to developing musicianship? How does having an understanding of notation software impact knowledge of music theory? How does notation software effect writing and creating in music theory? What brands of software compete to be the brand of choice?

13 Unit Goals: At the conclusion of Music Theory II, participants will be able to: 1. Demonstrate knowledge of the letter names in alto and tenor clefs. 2. Demonstrate knowledge of all note values and how their use in measures of 3/8, 12/8, 5/8, 5/4, 7/8. 3. Demonstrate knowledge of all harmonic and melodic minor scales. 4. Demonstrate advanced knowledge of the circle of fifths, i.e., chord substitutions. 5. Demonstrate knowledge of all intervals within two octaves, both written and aural. At the conclusion of Music Theory III and IV, participants will be able to: 1. Demonstrate knowledge of ranges, clefs and transpositions of all band and orchestral instruments. 2. Demonstrate knowledge of all modes relative to "C". (Honors Prerequisite-Participation in a school performing ensemble) At the conclusion of Music Theory Honors, participants will be able to: 1. Demonstrate knowledge of all clefs. 2. Demonstrate examples of arrangements and compositions appropriate to the student's pre-assessed skill set. 3. Customize arrangements for specified school ensembles. Recommended Duration: weeks

14 Guiding/Topical Questions How do scale degrees vary? How are intervals used? What is the level of keyboard competency throughout the class? Can the students perform a scale? Why is ear training important? What is the level of ear training throughout the class? What resources are available to help students develop their ear training? What are the different tonalities and modalities? How do you calculate each of them based on C and on other pitches? Content/Themes/Ski lls Calculate intervals and scales based on print and aural perception. Write in and perform a variety of scales and modes. Transpose for basic band instruments, in Bb, Eb, and F. Complete musical work in treble, bass, alto and tenor clefs. Ascertain which intervals are more recognizable than others. Resources and Materials Suggested Strategies Suggested Assessments Current textbook and workbook Kostka, Stefan & Dorothy Payne. Tonal Harmony with an Introduction to 20th Century Music, 6th ed. Boston: McGraw-Hill, Marker board with staff lines and markers Interactive whiteboard Appropriate websites Keyboard or percussion keyboard instrument with proper mallets Other appropriate instruments Secure storage for said instruments Staff paper notebook, pencils and eraser Provide specific written examples of notation of pitch, scales, tonality, key signatures, modes, intervals and transposition. Listening Activities of specific tonalities and modalities. Try Norton Scores. Play various intervals and scales. Responses to discussion questions Have students perform on an instrument (even if for the first time) Written tests & quizzes to their ability. Use mallet instruments and give the student one Penmanship stick and assign responsibility for a single, simple line, while other, more experienced students can contribute at their appropriate levels. Use a website such as teoria.com or musictheory.net which offers free examples with which to practice. Complete text book and workbook exercises. Analyses of scores Class preparation Safe handling of class materials. Performances Aural Dictation Project/Exam Examine how aspects of meter, rhythm, tonality, intervals, chords, and harmonic progressions are organized and manipulated to establish unity and variety in genres of musical compositions. AR B.1 AR B.2 AR AR AR B.4 Synthesize knowledge of the elements of music in the deconstruction and performance of complex musical scores from diverse cultural contexts. The ability to read and interpret music impacts musical fluency. Basic vocal and instrumental arranging skills require theoretical understanding of music composition. Arrange simple pieces for voice or instrument using a variety of traditional and nontraditional sound sources or electronic media, and/or analyze prepared scores using music composition software.

15 Differentiation We must tap into the multi-stimulus, kinesthetic nature of music theory. Most differentiation needs can be met by varying assignments and instruction to improve skills in four core music theory areas: musical composition, analytical skills, performance skills and aural skills. Each student will have strengths and weaknesses based in each of these core skills. Activities should represent differentiation for the needs of the students based on pre-assessment. Provide traditional blackboard instruction while augmenting this instruction with audio and visual stimulus of topics. Other differentiation strategies which can be used include: small group instruction supplemental materials of interest to students examples based on student interests student questions as a guide to lecture notes and material selection tiered activities activities at different levels of difficulty, but focused on same learning goals varied pacing of student work variety of criteria to measure success allow multiple options to express learning balance competitive, collegial and independent work arrangements rubrics given to students prior to assignments set benchmarks break larger tasks into smaller tasks multisensory materials opportunities to practice with support flexible opportunities for demonstrating skill choices of content and tools pre-tests to assess where individual students need to begin study of a given topic breakdown of assignments into smaller, more manageable parts that include structured directions for each part groups for like and unlike readiness, interest, and learning profile groups intersperse lecture with small group discussions make connections with key ideas/skills and students cultures and interests provide practical, analytical, and creative options for student work help students perform any classroom functions that are not imperative for the teacher to perform

16 Technology Using a projector and screen in conjunction with a video camera or document projector will allow the entire class to comfortably view the hands of a keyboardist or guitarists so that visual patterns can be associated with various harmonies and rhythms. Use notation software or websites print music. Use for homework submission, composition, etc. Use electronic instruments--keyboard, guitars, amplifiers (often student provided), sound machines, tuners, mixers, even microphones and recording equipment--constitutes real-world use of music and music technology. Use software like Audacity, Sibelius, Garage Band, Finale, etc. as tools to edit and manipulate music and sound files. College and Workplace Readiness It is without question that this course will serve the needs of future music professionals performers, composers, educators and therapists. The study of intervals, tonality, modes, etc. would serve well in many kinds of musical fields, of course, but might also serve many other types of artistic endeavors. Lessons plans could be made in incorporate any number of subsets or skills into the classroom. Students can be exposed to subfields and related professions that include acoustician, architect, filmmaker, videogame creator, alarm maker. Music theory or harmonic/rhythmic language can be used in and to describe other arts. In a multi-year music theory program, students who are enrolling for second and third years could serve as student leader/mentors for their younger, less experienced counterparts in Music Theory I. Project-based learning, with many of our activities based in students working in tight-knit groups towards a common goal of a musical composition and performance, is critical in the college environment and in the business world. Students will gain an improved detail in listening skills as they practice error detection. Students will learn about and practice strategies for protecting hearing so there is little long term hearing loss. Students will practice and refine ear-training for music professionals. Students will practice skills from character education: persistence, initiative, optimism, resiliency, flexibility, independence. By collaborating with different populations and presenting for information and persuasion, students will refine their communication skills.

17 Music Theory II-IV and Honors Level(s) - Unit 02 - Structural Elements of Music Unit Plan Enduring Understandings: It is the combination of harmony and rhythm that forms the foundation of music of the Western Hemisphere. (Four/SATB) Part-writing is the foundation of the language of music. Major and minor scales and combinations of their intervals are the vocabulary of harmonic language. Listening is an essential skill. Music theory is expressed by both aural and tactile means. Essential Questions: To what extent do harmony and rhythm affect Western music? How is Western music different from music around the world? How much does rhythm affect music? How much does harmony affect music? What is four-part/satb writing? How does four-part writing affect studying music theory? Where is four-part writing used? What are the major and minor scales? How many major and minor scales are there? Where are major and minor scales utilized? To what extent are major and minor scales utilized in music? What are the different combinations of intervals that make chords and other desired sounds? How does performing in an ensemble better us as musical listeners? How does listening to compositions give a better understanding of music theory? Why is penmanship important when writing music? What are some of the methods used to transcribe music? How is ear training a big part of music theory? How does singing improve ear training? Why is ear training essential in music theory? Why do listening and performing become essential components to developing musicianship?

18 Unit Goals: At the conclusion of Music Theory II, participants will be able to: 1. Demonstrate knowledge of major, minor, augmented and diminished triads in 1st and 2nd inversions both written and aural. 2. Demonstrate knowledge of major, minor, augmented and diminished seventh chords, both written and aural 3. Harmonize intermediate rhythmic melodies with I, II, III, IV, V, VI, and VII chords, utilize figure bass notation for analysis. 4. Use of diatonic, non-harmonic tones, both aural and written. 5. Compose Four-part passages in SATB. At the conclusion of Music Theory III, participants will be able to: 1. Harmonize advance melodies with seventh chords, sub tonic, minor dominant and utilize figured bass for analysis. 2. Use of chromatic non-harmonic tones both aural and written. 3. Demonstrate knowledge of the common essentials of part writing. 4. Demonstrate knowledge of major, minor, augmented and diminished seventh chord, 1st, 2nd and 3rd inversions, both written and aural. 5. Compose duets and trios. At the conclusion of Music Theory IV, participants will be able to: 1. Harmonize advanced melodies with secondary dominant and leading tone seventh chords, utilize figured bass for analysis. 2. Demonstrate knowledge of borrowed and altered chords (Examples: Neapolitan 6th, Augmented 6th chords). (Honors Prerequisite - Participation in a school performing ensemble) At the conclusion of Honors Music Theory, participants will be able to: 1. Aurally identify triads, seventh chords and other advanced harmonies with inversions. 2. Conduct/lead a musical ensemble. 3. Compose/arrange advanced, genre-specific, compositions for school ensembles. Recommended Duration: Weeks (ongoing)

19 Guiding/Topical Questions How has harmony and rhythm changed throughout the centuries? How does harmony effect musical composition? What do proper and improper voice leadings sound like? Why do certain cadences slow down, speed up or stress certain parts of the beat? How do secondary dominant chords relate to dominant chords? What are the uses of the dominant, secondary dominant and augmented sixth chords? How are chords used in their respective keys? Content/Themes/Skills Notation of chords Chromatic chords in major and minor keys Important chromatic seventh chord in major and minor modes Calculate through aural perception and written use, the dominant and secondary dominant seventh chords. Define various meters and their uses. Harmonic progressions Proper voice leading Resources and Materials Current textbook and workbook Kostka, Stefan & Dorothy Payne. Tonal Harmony with an Introduction to 20th Century Music, 6th ed. Boston: McGraw-Hill, Marker board with staff lines and markers Interactive whiteboard Appropriate websites Keyboard loud enough for entire class to hear Staff paper notebook, pencils and eraser Suggested Strategies Provide specific written and aural examples of triads, cadences, non-harmonic tones, voice leading in 2 and 4 voices, and harmonic progression and harmonic rhythm, dominant 7 th chords, leading-tone seventh chords, secondary dominants leading-tone chords and augmented sixth chords. Performance projects Lecture Use a website such as teoria.com or musictheory.net which offers free examples with which to practice. Use masking tape to make large 5-lined staff on the floor. Have students stand in/on appropriate lines and spaces for voice leading and chord resolutions. Complete text book and workbook exercises. Analyses of scores Suggested Assessments Performance Lab Written tests & quizzes Worksheets Project assessments Chapter test Workbook exercises Projects Manuscript book assessments Responses to discussion questions and topics Penmanship What leads a composer to choose certain meters? Notate chords, voice single triads, use proper parallel motion of voices. How does listening to ensemble works, develop musical leadership skills in order to conduct/lead? What is the role of the musical leader/conductor in an ensemble? AR AR B.1 AR Understanding nuanced stylistic differences among various genres of music is a component of musical fluency. Meter, rhythm, tonality, and harmonics are determining factors in the categorization of musical genres. Examine how aspects of meter, rhythm, tonality, intervals, chords, and harmonic progressions are organized and manipulated to establish unity and variety in genres of musical compositions. Basic vocal and instrumental arranging skills require theoretical understanding of music composition.

20 Differentiation Melodic and rhythmic dictation represents one of the best ways to differentiate the music theory curriculum. At its very minimum, dictation is process in which a melody, harmony, or rhythm is repeated until copied by ear by the listener/student. Varying the number of repetitions, or providing any number of hints throughout the process the teacher is able to differentiate, pre-assess, assess and post-assess, all during the same lesson, multiple times. Require that more advanced students complete the dictation in 3 to 5 listenings, average students between 6 9 listenings and struggling students 10+. Provide more specific instruction for critical listening and melodic hints for later repetitions. Enhanced skills can be developed at the appropriate differentiated level on websites such as teoria.com and music theory.net. After pre-assessment, vary the 1) difficulty, 2) time allowed, 3) skills being tested, and 4) number of permitted repetitions, etc to allow for proper individual differentiation. Other strategies which can be used to differentiate include: vary levels of reading materials use texts with key portions highlighted provide organizers to guide note taking provide a list of key terms, vocabulary, events, etc. provide supplemental materials of interest to students use examples based on student interests allow for wait time for student reflection vary instructional strategies lecture, group work, independent study use tiered activities activities at different levels of difficulty, but focused on same learning goals vary pacing of student work use of variety of criteria to measure success show examples use multisensory materials provide multiple exams highlight critical features in lessons, texts, etc. provide multiple media and formats utilize pre-tests to assess where individual students need to begin study of a given topic make assessment an ongoing, interactive process compact or exempt students from work on which they show mastery bookmark websites on key topics intersperse lecture with small group discussions make connections with key ideas/skills and students cultures and interests provide tiered practice and assessments

21 Technology Using a projector and screen in conjunction with a video camera or document projector will allow the entire class to comfortably view the hands of a keyboardist or guitarists so that visual patterns can be associated with various harmonies and rhythms. Use notation software or websites print music. Use for homework submission, composition, etc. Use electronic instruments--keyboard, guitars, amplifiers (often student provided), sound machines, tuners, mixers, even microphones and recording equipment--constitutes real-world use of music and music technology. Use software like Audacity, Sibelius, Garage Band, Finale, etc. as tools to edit and manipulate music and sound files. College and Workplace Readiness It is without question that this course will serve the needs of future music professionals performers, composers, educators and therapists. The study of intervals, tonality, modes, etc. would serve well in many kinds of musical field, of course, but might also serve many other types of artistic endeavors. Lessons plans could be made in incorporate any number of subsets or skills into the classroom. Students can be exposed to subfields and related professions that include acoustician, architect, filmmaker, videogame creator, alarm maker. Music theory or harmonic/rhythmic language can be used in and to describe other arts. In a multi-year music theory program, students who are enrolling for second and third years could serve as student leader/mentors for their younger, less experienced counterparts in Music Theory I. Project-based learning, with many of our activities based in students working in tight-knit groups towards a common goal of a musical composition and performance, is critical in the college environment and in the business world. Students will gain an improved detail in listening skills as they practice error detection. Students will learn about and practice strategies for protecting hearing so there is little long term hearing loss. Students will practice and refine ear-training for music professionals.

22 Music Theory II-IV and Honors Level(s) - Unit 03 - Melodic and Rhythmic Organization Unit Plan Enduring Understandings: It is the combination of harmony and rhythm that form the foundation of music of the Western Hemisphere. (Four/SATB) Part-writing is the foundation of the language of music. Major and minor scales and combinations of their intervals are the vocabulary of harmonic language. Listening is an essential skill. Music theory is expressed by both aural and tactile means. Notation software and other technologies have a role to play in modern music notation. A musician knowing his/her role is essential to having a successful ensemble. Essential Questions: To what extent do harmony and rhythm affect Western music? How is Western music different from music around the world? How much does rhythm affect music? How much does harmony affect music? What is four-part/satb writing? How does four-part writing affect studying music theory? Where is four-part writing used? What are the major and minor scales? How many major and minor scales are there? Where are major and minor scales utilized? To what extent are major and minor scales utilized in music? What are the different combinations of intervals that make chords and other desired sounds? Why is hearing a sense that should be protected? How often do musicians lose their hearing? Why should hearing be protected? What steps can be taken to protect hearing? How does having an understanding of notation software impact knowledge of music theory? How does notation software effect writing and creating in music theory? What brands of software compete to be the brand of choice? What background does a conductor need to have in order to be successful? What techniques are needed in order to be a successful conductor? How does music theory correlate with conducting? How does a member of a musical group communicate without a conductor? Define the roles performed by various instruments.

23 Unit Goals: At the conclusion of Music Theory II, participants will be able to: 1. Write intermediate melodies using proper rhythms and melodic movement, in both major and minor keys up to 4 sharps and 4 flats. 2. Take intermediate dictation in rhythm and melody. 3. Sing intermediate melodic and rhythmic patterns used in class and on approved music theory training websites. 4. Use of solfege syllables to be used in both sight singing and dictation. 5. Demonstrate knowledge of all note values and their use in proper measure of advanced time signatures. At the conclusion of Music Theory III, participants will be able to: 1. Work in advanced syncopated rhythmic notation. 2. Write advanced melodies using proper rhythms and melodic movement in both major and minor keys up to 7 sharps and 7 flats. 3. Take advanced melodic and rhythmic dictation. 4. Sing intermediate melodic and rhythmic patterns used in class and on approved music theory training websites. 5. Demonstrate knowledge of simple melodic form. At the conclusion of Music Theory IV, participants will be able to: 1. Take advanced melodic and rhythmic dictation on 3 or fewer hearings. 2. Sing advanced melodic and rhythmic patterns used in class and on approved music theory training websites. (Honors Prerequisite - Participation in a school performing ensemble) At the conclusion of Honors Music Theory, participants will be able to: 1. Create simple, intermediate and advanced melodic and rhythmic dictations to be used by the class/ensemble. 2. Share advanced knowledge of music theory websites and other web resources. Recommended Duration: 3-6 Weeks

24 Guiding/Topical Questions Content/Themes/Skills Resources and Materials Suggested Strategies Suggested Assessments Why is ear training important? What is the level of ear training throughout the class? How does rhythm affect music? How is music that is purely rhythmic written? What musical devices help us organize rhythm and melody? Calculate intervals and scales based on print and aural perception Take melodic and rhythmic dictation Notation of melodies in tenor and alto clef Ascertain which intervals are more recognizable than others Perform on keyboard the simple and recognizable intervals What resources are available to help students Notate music that only has develop their ear training? rhythm How often do students Define various meters and rely on their hearing v their uses sight when learning music? Define subdivisions and how What sorts of intervals and they change in various basic melodies pervade meters our everyday life? Play by imitation AR AR AR B.2 AR B.4 Take melodic and rhythmic dictation Current textbook and workbook Kostka, Stefan & Dorothy Payne. Tonal Harmony with an Introduction to 20th Century Music, 6th ed. Boston: McGraw- Hill, Marker board with staff lines and markers Interactive whiteboard Appropriate websites Keyboard load enough for entire class to hear Staff paper notebook, pencils and eraser Use the interactive whiteboard to demonstrate a musical line, 2 lines or even an entire score. The effect of seeing the music and hearing the music as it is going by simultaneously is desirable. Dictate many melodies. Keep simple at first use Do and Re and offer rhythmic options of 1-beat quarters and 2-beat half notes. Many students complete assignments using those four variables. Each lesson, change or add another note of the scale or rhythmic complication. Students compose their own monophonic melodies combine with Unit IV. Lecture and class discussion Lecture Performance projects Complete text book and workbook exercises. Composition assessment rubric Musical performances Written tests & quizzes Aural Dictation Project/Exam Responses to discussion questions Workbook exercises Penmanship Understanding nuanced stylistic differences among various genres of music is a component of musical fluency. Meter, rhythm, tonality, and harmonics are determining factors in the categorization of musical genres. Musical proficiency is characterized by the ability to sight-read advanced notation. Musical fluency is also characterized by the ability to classify and replicate the stylistic differences in music of varying traditions. Analyze how the elements of music are manipulated in original or prepared musical scores. Arrange simple pieces for voice or instrument using a variety of traditional and nontraditional sound sources or electronic media, and/or analyze prepared scores using music composition software.

25 Differentiation Allow students to sing, hum or use an instrument (perhaps even use a kazoo) to demonstrate melodies. Enhanced skills can be developed at the appropriate differentiated level on websites such as teoria.com and music theory.net. Students, alone or in groups, will find examples in published media that demonstrate advanced syncopations and complex key signatures. Additional differentiation strategies include: use texts with key portions highlighted use small group instruction provide list of key terms, vocabulary, events, etc. provide supplemental materials of interest to students use examples based on student interests allow for wait time for student reflection vary instructional strategies lecture, group work, independent study use tiered activities activities at different levels of difficulty, but focused on same learning goals use of variety of criteria to measure success encourage students to design or participate in lesson tasks allow multiple options to express learning balance competitive, collegial and independent work arrangements provide multiple exams highlight critical features in lessons, texts, etc. provide multiple media and formats utilize pre-tests to assess where individual students need to begin study of a given topic make assessment an ongoing, interactive process negotiate delay of due dates and times for tasks compact or exempt students from work on which they show mastery collect textbooks of different readability levels and keep in classroom for easy access use pre-assigned groups so students know by cue where to move in the room and who to sit with plan groups for like and unlike readiness, interest, and learning profile groups intersperse lecture with small group discussions make connections with key ideas/skills and students cultures and interests use expert groups to help teach key ideas have students perform any classroom functions that are not imperative for the teacher to perform

26 Technology Using a projector and screen in conjunction with a video camera or document projector will allow the entire class to comfortably view the hands of a keyboardist or guitarists so that visual patterns can be associated with various harmonies and rhythms. Use notation software or websites print music. Use for homework submission, composition, etc. Use electronic instruments--keyboard, guitars, amplifiers (often student provided), sound machines, tuners, mixers, even microphones and recording equipment--constitutes real-world use of music and music technology. Use software like Audacity, Sibelius, Garage Band, Finale, etc. as tools to edit and manipulate music and sound files. College and Workplace Readiness It is without question that this course will serve the needs of future music professionals performers, composers, educators and therapists. The study of intervals, tonality, modes, etc. would serve well in many kinds of musical fields, of course, but might also serve many other types of artistic endeavors. Lessons plans could be made in incorporate any number of subsets or skills into the classroom. Students can be exposed to subfields and related professions that include acoustician, architect, filmmaker, videogame creator, alarm maker. Music theory or harmonic/rhythmic language can be used in and to describe other arts. In a multi-year music theory program, students who are enrolling for second and third years could serve as student leader/mentors for their younger, less experienced counterparts in Music Theory I. Project-based learning, with many of our activities based in students working in tight-knit groups towards a common goal of a musical composition and performance, is critical in the college environment and in the business world. Students will gain an improved detail in listening skills as they practice error detection. Students will learn about and practice strategies for protecting hearing so there is little long term hearing loss. Students will practice and refine ear-training for music professionals. Other college and workplace readiness skills include: reasoning skills evaluate evidence and text problem solving skills and creativity note taking skills character education: persistence, initiative, optimism, resiliency, flexibility, independence digital Literacy skills communication skills collaborate with different populations, present for information, persuasion, etc social interaction

27 Music Theory II-IV and Honors Level(s) - Unit 04 - Texture, Textural Reduction and Form Unit Plan Enduring Understandings: It is the combination of harmony and rhythm that form the foundation of music of the Western Hemisphere. (Four/SATB) Part-writing is the foundation of the language of music. Listening is an essential skill. Music theory provides insight in to the background of musicians & composers. Essential Questions: To what extent do harmony and rhythm affect Western music? How is Western music different from music around the world? How much does rhythm affect music? How much does harmony affect music? What is four-part/satb writing? How does four-part writing affect studying music theory? Where is four-part writing used? How does performing in an ensemble better us as musical listeners? How does listening to compositions give a better understanding of music theory? What common musical devices are common in society? (Examples: intervals, car horns, jingles, trademarks, commercials) Why is hearing a sense that should be protected? How often do musicians lose their hearing? Why should hearing be protected? What steps can be taken to protect hearing? Where do popular musicians and composers get their musical experience? How much of musician s and composers experience is taught and how much is learned?

28 Unit Goals: At the conclusion of Music Theory II, participants will be able to: 1. Students will be able to analyze compositions using the various forms. At the conclusion of Music Theory III, participants will be able to: 1. Demonstrate knowledge of secondary dominant chords and their inversions in a textural setting. 2. Students will recognize, construct, and utilize secondary dominants in their proper formats. 3. Demonstrate knowledge of Two-Part Binary Form in a composition. At the conclusion of Music Theory IV, participants will be able to: 1. Demonstrate knowledge of Ternary (A B A) form by using it in a composition. 2. Students will be able to analyze large works and identify specific forms. 3. Demonstrate knowledge of advanced musical structure and design such as binary, ternary, rondo and sonate-allegro forms. 4. Students will be able to differentiate, analyze, and create compositions with different textures. (Honors Prerequisite - Participation in a school performing ensemble) At the conclusion of Honors Music Theory, participants will be able to: 1. Analyze complex/major works for form and advanced harmonies such as secondary dominants. 2. Compose/arrange works which demonstrate advanced musical structure and design. (Examples: binary, ternary, rondo and sonata-allegro forms) Recommended Duration: 4-8 weeks ongoing