FREEHOLD REGIONAL HIGH SCHOOL DISTRICT OFFICE OF CURRICULUM AND INSTRUCTION INTERNATIONAL BACCALAUREATE PROGRAM IB MUSIC SL: YEAR 1.

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1 FREEHOLD REGIONAL HIGH SCHOOL DISTRICT OFFICE OF CURRICULUM AND INSTRUCTION INTERNATIONAL BACCALAUREATE PROGRAM IB MUSIC SL: YEAR 1 Grade Level: 11 Credits: 2.5 BOARD OF EDUCATION ADOPTION DATE: AUGUST 27, 2018 SUPPORTING RESOURCES AVAILABLE IN DISTRICT RESOURCE SHARING APPENDIX A: ACCOMMODATIONS AND MODIFICATIONS APPENDIX B: ASSESSMENT EVIDENCE APPENDIX C: INTERDISCIPLINARY CONNECTIONS

2 FREEHOLD REGIONAL HIGH SCHOOL DISTRICT Board of Education Mr. Michael Messinger, President Mr. Peter Bruno, Vice President Mr. Carl Accettola Mrs. Diana Cappiello Mr. Samuel Carollo Mrs. Amy Fankhauser Mrs. Kathie Lavin Mr. Heshy Moses Mrs. Jennifer Sutera Central Administration Mr. Charles Sampson, Superintendent Dr. Nicole Hazel, Chief Academic Officer Ms. Shanna Howell, Director of Curriculum and Instruction Mr. Oscar Diaz, Administrative Supervisor of Curriculum & Instruction Ms. Stephanie Mechmann, Administrative Supervisor of Curriculum & Instruction Ms. Renee Schneider, District Supervisor of Instruction Curriculum Writing Committee Mr. Edward Gattsek Supervisor Mr. Michael Dillon

3 IB MUSIC SL, YEAR 1 COURSE PHILOSOPHY Music functions as a means of personal and communal identity and expression, and embodies the social and cultural values of individuals and communities. This scenario invites exciting exploration and sensitive study. Music, and all of its associations, may vary considerably from one musical culture to another: yet music may share similarities. Such richness offers a variety of ways to encounter and engage with a constantly changing world. A vibrant musical education fosters curiosity and openness to both familiar and unfamiliar musical worlds. Through such a study of music we learn to hear relationships of pitch in sound, pattern in rhythm and unfolding sonic structures. Through participating in the study of music we are able to explore the similarities, differences and links in music from within our own culture and that of others across time. Informed and active musical engagement allows us to explore and discover relationships between lived human experience and specific sound combinations and technologies, thus informing us more fully of the world around us, and the nature of humanity. The Diploma Programme music course provides an appropriate foundation for further study in music at university level or in music career pathways. It also provides an enriching and valuable course of study for students who may pursue other careers. COURSE DESCRIPTION The IB Diploma Programme standard level music course seeks to develop students knowledge and potential as musicians, both personally and collaboratively. IB Diploma Programme music students are required to study musical perception and actively listen to a wide range of music from different parts of the world, musical cultures and time periods. They also develop aural perception and understanding of music by learning about musical elements, including form and structure, notations, musical terminology and context. Through the course of study, students become aware of how musicians work and communicate. This course also provides all students with the opportunity to engage in the world of music as lifelong participants. In addition, the course enables students to enjoy lifelong engagement with the arts, become informed, reflective and critical practitioners in the arts understand the dynamic and changing nature of the arts explore and value the diversity of the arts across time, place and cultures express ideas with confidence and competence develop perceptual and analytical skills develop their knowledge and potential as musicians, both personally and collaboratively.

4 COURSE SUMMARY COURSE GOALS CG1: Students will demonstrate informed, reflective, and critical viewpoints through performances, original creations, and critiques. CG2: Students will express value for the diversity of arts across time, place, and cultures. CG3: Students will develop perceptual and analytical skills, and express ideas with confidence and competence. COURSE ENDURING UNDERSTANDINGS CEU1: Cultural and historical events impact the creation and understanding of musical works. CEU2: Musicians and composers intentionally manipulate musical elements during the creation and performance of musical works. CEU3: Musical critiques mirror one s own perceptions and biases, resulting in various valid interpretations. CEU4: To effectively communicate and/or understand ideas, concepts, and messages through a musical work, one must demonstrate a mastery of analysis, critique, technique, and global understanding. COURSE ESSENTIAL QUESTIONS CEQ1a: Why should I care about music? CEQ1b: Does music lead culture or does culture lead music? CEQ2a: How does a combination of musical elements serve to create music? CEQ2b: Do composers write for a specific purpose? CEQ2c: How do underlying structures unconsciously guide the creation of musical works? CEQ3a: What s the difference between a thoughtful and a thoughtless artistic judgment? CEQ3b: How many valid analyzes or criticisms can one musical work generate? CEQ4a: What is music sense? CEQ4b: How do people feel about music they do not understand?

5 UNIT GOALS AND PACING UNIT TITLE UNIT GOALS DURATION 1: Music History Students will study and make connections between the music of composers of the common practice period. 30 sessions 2: Music Theory LG1: Students will develop perceptual and analytical skills as it relates to harmony and voice leading in the common practice period in order to extrapolate and infer origin, time period, composer, historical context. LG2: Students will create original works, using these perceptual and analytical skills. 30 sessions

6 IB MUSIC SL 1 UNIT 1: MUSIC HISTORY DURATION: 30 sessions UNIT OVERVIEW UNIT LEARNING GOALS Students will analyze and make connections between composers musical and compositional styles of the common practice period. ENDURING UNDERSTANDINGS CEU1: Cultural and historical events impact the creation and understanding of musical works. CEU2: Musicians and composers intentionally manipulate musical elements during the creation and performance of musical works. CEU3: Musical critiques mirror one s own perceptions and biases, resulting in various valid interpretations. ESSENTIAL QUESTIONS CEQ1a: Why should I care about music? CEQ1b: Does music lead culture or does culture lead music? CEQ2a: How does a combination of musical elements serve to create music? CEQ2b: Do composers write for a specific purpose? CEQ2c: How do underlying structures unconsciously guide the creation of musical works? CEQ3a: What s the difference between a thoughtful and a thoughtless artistic judgment? CEQ3b: How many valid analyzes or criticisms can one musical work generate?

7 UNIT LEARNING SCALE 4 (IB mark 5) 3 (IB mark 3-4) 2 (IB mark 2) 1 (IB mark 1) In addition to score 3 performances, the student can demonstrate highly developed connections and analyses of common practice period techniques in a historical perspective. The student can produce work that shows: effective connections between typical common practice period techniques of composition; effective analysis of various musical compositions from a historical perspective. The student sometimes needs assistance from a teacher, makes minor mistakes, and/or can do the majority of level 3 performances. The student needs assistance to avoid major errors in attempting to reach score 3 performances. 0 Even with assistance, the student does not exhibit understanding of the performances listed in score 3.

8 COMMON ASSESSMENT ALIGNMENT B A B WHST.2 DOK B B A.1 DOK 3 DESCRIPTION Students will select a work from two different composers who are typical of their musical historical period (including, but not limited to Medieval, Baroque, Classical, Romantic, Contemporary, etc.) and provide a detailed analysis of the composers use of musical elements (form, rhythm, harmony, etc.) contained therein. The analysis will describe and illustrate common compositional techniques, cultural and historical influences and other key connections. In preparation for Musical Links Investigation (IB Requirement), students will demonstrate knowledge of musical time periods and styles by listening to a musical work not previously covered in coursework and provide a detailed analysis of what is heard. Sample analysis questions include: What instruments are used? What is the style? In what year/music period does this piece originate? Does the time influence the work? In what form is it composed? What composer or in whose style is it composed? What else do you hear? What other pieces sound similar?

9 TARGETED UNIT STANDARDS DECLARATIVE KNOWLEDGE PROCEDURAL KNOWLEDGE NEW STANDARDS TO INTRODUCE historical periods of music musical elements significant historical periods in world history/us history specific ground-breaking performances Listen and analyze various musical scores for musical elements in historical context (DOK 3) Identify forms in music including sonata form, ABA, rondo, ternary, theme and variation and concerto (DOK 1) Analyze themes and motives of the classical string quartet as well as identify ostinato patterns (DOK 3) Describe examples of music changing/ revolutionizing culture (DOK 2) Analyze the impact of a specific musical period, or unique work on a specific culture at a specific time or over time (DOK 3) Determine the characteristics of what makes ground-breaking performance (DOK 2) Compare and contrast different nationalism ideas in music from different cultures and its importance during the 19th Century (DOK 3) Generate hypothesis comparing music and the world history occurring during each genre of music (DOK 4) B.1 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 A.1 Determine how dance, music, theatre, and visual art have influenced world cultures throughout history.

10 DECLARATIVE KNOWLEDGE PROCEDURAL KNOWLEDGE NEW STANDARDS TO INTRODUCE genres of music significant and note-worthy composers compositional styles and components Identify genres of classical music without sheet music (DOK 2) Analyze characteristics of prominent composers of each genre (DOK 3) Listen and/or look at a piece of music, describe its genre, composer and genre traits to identify and describe the work (DOK 1) compare the artists of the 20th century to the music being written along with and for art and artists B.1 Analyze compositions from different world cultures and genres with respect to technique, musicality, and stylistic nuance, and/or perform excerpts with technical accuracy, appropriate musicality, and the relevant stylistic nuance B.2 Evaluate how an artist s technical proficiency may affect the creation or presentation of a work of art, as well as how the context in which a work is performed or shown may impact perceptions of its significance/meaning. declarative knowledge relevant to task declarative knowledge relevant to task Write informative/explanatory texts developing a topic with extended definitions appropriate to the audience s knowledge (DOK 4) Construct an accurate, simple summary of complex concepts, processes, or information presented in text (DOK 2) WHST Write informative/explanatory texts, including the narration of historical events, scientific procedures/ experiments, or technical processes. RST Determine the central ideas, themes, or conclusions of a text; summarize complex concepts, processes, or information presented in a text by paraphrasing them in simpler but still accurate terms.

11 DECLARATIVE KNOWLEDGE PROCEDURAL KNOWLEDGE NEW STANDARDS TO INTRODUCE compositional styles and components musical historical periods musical instruments typical to nations, cultures and historical periods Compare Medieval and Renaissance cultures, including the patronage and separation of church and state, artists of the Renaissance, and Medieval church characteristics (DOK 2) Describe and analyze the music of the church from Gregorian chant through polyphony, the mass, requiem and cantata (DOK 3) Trace opera from Baroque to present day citing stylistic elements, composers, meaning, and performances (DOK 2) Trace the concerto from Baroque instruments through present day citing the roles of the orchestra, importance of the concerto and listing of famous works (DOK 2) Trace the cantata from Baroque through the 20th century citing stylistic elements, composers, meaning and performances (DOK 2) Trace the development of piano music from etudes and nocturnes to jazz and 20th century ideas (DOK 2) Analyze new 20th Century modern musical style including polyrhythms, polytonality, atonality, serialism, tone row and dissonance (DOK 3) Analyze American music through George Gershwin and Scott Joplin (DOK 3) Describe Baroque instruments including, but not limited to the organ, harpsichord, clavichord and early orchestral instruments (DOK 1) A.1 Use contextual clues to differentiate between unique and common properties and to discern the cultural implications of works of dance, music, theatre, and visual art.

12 IB MUSIC SL 1 UNIT 2: MUSIC THEORY DURATION: 30 sessions UNIT OVERVIEW UNIT LEARNING GOALS LG1: Students will develop perceptual and analytical skills as it relates to harmony and voice leading in the common practice period in order to extrapolate and infer origin, time period, composer, historical context. LG2: Students will create original works, using these perceptual and analytical skills. ENDURING UNDERSTANDINGS CEU2: Musicians and composers intentionally manipulate musical elements during the creation and performance of musical works. CEU4: To effectively communicate and/or understand ideas, concepts, and messages through a musical work, one must demonstrate a mastery of analysis, critique, technique, and global understanding. ESSENTIAL QUESTIONS CEQ2a: How does a combination of musical elements serve to create music? CEQ2b: Do composers write for a specific purpose? CEQ2c: How do underlying structures unconsciously guide the creation of musical works? CEQ4a: What is music sense? CEQ4b: How do people feel about music they do not understand?

13 UNIT LEARNING SCALE LG1 4 (IB mark 5) 3 (IB mark 3-4) 2 (IB mark 2) 1 (IB mark 1) In addition to level 3, the student consistently shows highly developed perceptions relating to voice leading and other common practice period techniques. Based on aural skills alone, the student demonstrates/determines the following properties of various compositions: style/genre; date of composition/period of music history to which it belongs; possible composer(s); tonality; form; other appropriate musical elements and concepts. The student sometimes needs assistance from a teacher, makes minor mistakes, and/or can do the majority of level 3 performances. The student needs assistance to avoid major errors in attempting to reach score 3 performances. 0 Even with assistance, the student does not exhibit understanding of the performances listed in score 3.

14 UNIT LEARNING SCALE LG2 4 (IB mark 5) 3 (IB mark 3-4) 2 (IB mark 2) 1 (IB mark 1) In addition to level 3, the student consistently shows highly developed perceptions relating to voice leading and other common practice period techniques. Using common practice period techniques, create musical compositions that demonstrate a variety of: style/genres; periods of music history; styles of various significant composer; tonalities; forms; other appropriate musical elements and concepts. The student sometimes needs assistance from a teacher, makes minor mistakes, and/or can do the majority of level 3 performances. The student needs assistance to avoid major errors in attempting to reach score 3 performances. 0 Even with assistance, the student does not exhibit understanding of the performances listed in score 3.

15 COMMON ASSESSMENT ALIGNMENT B B.2 DOK 2 DESCRIPTION (IB Listening Test Preparation) Students will analyze the harmony via written and aural means of a given work (or excerpt). Provide figured bass, Roman numerals, nonchord tones, form, etc. Works will be taken from each musical historical period. Composer examples include, but are not limited to: G. Gabrieli, T. Tallis (Medieval Renaissance) H. Purcell, J. S. Bach (Baroque) F. J. Haydn, W. A. Mozart (Classical) L. Beethoven, P. I. Tchaikovsky (Romantic) A. Copland, E. W. Korngold (Contemporary)

16 TARGETED UNIT STANDARDS DECLARATIVE KNOWLEDGE PROCEDURAL KNOWLEDGE NEW STANDARDS TO INTRODUCE ABA accidentals circle of fifths clefs concerto key signatures and intervals musical elements non-chord tones notes and ledger lines rondo scales secondary dominant chords Neapolitan and augmented sixth chords sonata form ternary theme and variation triads and seventh chords Listen and analyze various musical scores for musical elements (DOK 2) Identify notes, ledger lines, scales, key signatures, intervals, clefs, accidentals, triads and seventh, (DOK 1) Identify forms in music including sonata form, ABA, rondo, ternary, theme and variation, concerto (DOK 1) Analyze the circle of fifths and its importance in music writing (DOK 2) Identify and compose non-chord tones including, but not limited to neighbor tones, appoggiaturas and escape tones (DOK 3) Identify and create secondary dominant chords in their own writing (DOK 3) Analyze and identify Neapolitan and augmented sixth chords in music (DOK 2) Generate hypothesis about the use of modulation in music (DOK 3) B.2 Analyze how the elements of music are manipulated in original or prepared musical scores.

17 DECLARATIVE KNOWLEDGE PROCEDURAL KNOWLEDGE NEW STANDARDS TO INTRODUCE ABA cadences chords chromaticism (secondary dominant chords and modulation) circle of fifths and seventh chords harmonic progression harmonic voice-leading musical elements part writing rondo SATB part writing diatonic and chromatic harmonic scales sonata form ternary theme and variation and concerto triads Perform and compose part writing examples using cadences, diatonic triads and harmonic progression (DOK 4) Compose music using modulation (DOK 4) Identify and compose non chord tones including, but not limited to neighbor tones, appoggiaturas and escape tones (DOK 4) B.3 Improvise works through the conscious manipulation of the elements of music, using a variety of traditional and nontraditional sound sources, including electronic sound-generating equipment and music generation programs.

18 DECLARATIVE KNOWLEDGE PROCEDURAL KNOWLEDGE PREVIOUSLY COVERED STANDARDS TO DEVELOP FURTHER ABA chords chromaticism (secondary dominant chords and modulation) circle of fifth and seventh chords concerto diatonic and chromatic harmonic harmonic progression and cadences harmonic voice-leading musical elements part writing rondo scales sonata form ternary theme and variation triads declarative knowledge relevant to task Analyze various musical scores for a myriad of musical properties in historical context (DOK 3) Examine chords, rhythm and musical form in classical repertoire for commonalities (DOK 2) Analyze the works of common practice period composers (like J.S. Bach) and identify and compose figured bass for examples (DOK 3) Write informative/explanatory texts developing a topic with extended definitions appropriate to the audience s knowledge B.1 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. WHST Write informative/explanatory texts, including the narration of historical events, scientific procedures/ experiments, or technical processes.