Roselle Public Schools Visual & Performing Arts Curriculum Units of Study K-12. Unit Length: 8 Weeks. New Jersey Core Curriculum Content Standards

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1 Unit/Chapter Title: Unit 1: Introduction to Vocal Music Unit Length: 8 Weeks Course/Grade: Vocal & General Music/ Grade 5 Interdisciplinary Connection: Unit Overview: Students will gain experience with the expectations of vocal music class as well as become more comfortable singing in front of other people. Students will learn basic music vocabulary and focus on developing their singing technique. They will prepare to perform the major scale and a melody in a major key. New Jersey Core Curriculum Content Standards Visual and Performing Arts Core Curriculum Content Standards: 1.1 The Creative Process: All students will demonstrate an understanding of the elements and principles that govern the creation of works of art in dance, music, theatre, and visual art 1.3 Performance: All students will synthesize those skills, media, methods, and technologies appropriate to creating, performing, and/or presenting works of art in visual art. 1.4 Aesthetic Responses & Critique Methodologies: All students will demonstrate and apply an understanding of arts philosophies, judgment, and analysis to works of art in dance, music, theatre, and visual art.

2 Cumulative Progress Indicators B.1 Identify the elements of music in response to aural prompts and printed music notational systems B.2 Demonstrate the basic concepts of meter, rhythm, tonality, intervals, chords, and melodic and harmonic progressions, and differentiate basic structures B.1 Sing or play music from complex notation, using notation systems in treble and bass clef, mixed meter, and compound meter B.2 Sing melodic and harmonizing parts, independently and in groups, adjusting to the range and timbre of the developing voice B.2 Use evaluative tools, such as rubrics, for self-assessment and to appraise the objectivity of critiques by peers. 21 st Century Life and Careers Standards 9.1. A.1 Apply critical thinking and problem-solving strategies during structured learning experiences B.2 Create and respond to a feedback loop when problem solving D.1 Interpret spoken and written communication within the appropriate cultural context F.2 Demonstrate a positive work ethic in various settings, including the classroom and during structured learning experiences. Interdisciplinary Connections: D.2., B.2 English Language Arts Common Core State Standards: W.5.1, S.L.5.1, L.5.4

3 Essential Questions / Enduring Understandings Essential Questions: How does music express human emotion? What effect does singing technique have on a person s voice and their ability to sound good? Enduring Understandings: Singing technique, including upright posture and deep, ribcage breaths, improves the sound of a singer s voice. The combination of rhythm and pitch results in a melody. Student Learning Objectives (NJDOE Model Curriculum) What students should know and be able to do? 1. Demonstrate good singing posture Instructional Focus/Activities (How will the students reach the learning targets?) Students will work collaboratively to analyze a singer s posture Students will assess their own posture in relation to a model singer (teacher, professional) Students will critique their own posture using a Modifications/Extensio ns (How do I differentiate?) Modifications: Students can work in differentiated groups to analyze a singer s posture. Students can use the checklist as a visual aide on their desk as they rehearse. Extensions: Students can model good Assessments (How will the students demonstrate mastery?) Formative: Student performance Group discussion Quiz Summative: (Please see Appendices A, & B Resources/Technology (What resources and materials will students need?) Glossary from Silver & Burdett Making Music: Grade 5 Singing and Posture video om/watch?v=antzdlv yw_c Kathleen Battle sings

4 2. Demonstrate ribcage breathing before singing and between phrases checklist. Students will maintain posture while singing each lesson during the warm up Students will differentiate ribcage breathing and shoulder breathing Students will make observations about how they are using breath to sing. Students will predict when they will breathe by identifying those instances in the sheet music Students will apply ribcage breathing to perform a twophrase song. singing posture for the class. Modifications: Students can use a breathing belt to assist in making developing an awareness of their breath. Students can work in differentiated groups to predict where their will breathe. Extensions: Students can construct additional breathing exercises and teach them to the class. Formative: Student performance, Group discussion Demonstrations Summertime om/watch?v=uylihi35 oak Vocabulary List Selections from Silver & Burdett Making Music: Grade 5 Instrument for accompaniment (piano, guitar) 3. Apply methods for memorizing a song Students will rehearse the ribcage breathing skill each lesson during the warm up Students will summarize the steps for memorizing a song Students will apply one method for memorizing a song to perform three verses Modifications: Students can memorize a single verse of a strophic song. Students can apply more Formative: Group discussions Teacher observation Methods for Memorizing a Song Selections from Silver & Burdett Making Music: Grade 5

5 of a strophic song. methods for memorizing a song. Students can perform the song in a one-on-one setting. Student performance (Bound for South Australia, 22; Come and go with me to that land, 390; Jasmine Flowers, 316; Oh, watch the stars, 216) 4. Perform the major scale with solfasyllables and hand signs Students will identify the seven pitches of the major scale aurally and in sheet music. Students will memorize each syllable and handsign of the major scale by creating a mnemonic device for each scale degree and by rehearsing in class. Students will apply their knowledge ofsolfa and hand signs to perform the major scale Students will work collaboratively to assess their ability to perform the major scale with solfa and Extensions: Students can memorize more than three verses. Modifications: Students can work in differentiated groups to identify the seven pitches of the major scale in notation. Students can create a visual aide for their desk to assist in memorizing the syllables and hand signs. Extensions: Students can perform the scale individually for the class. Students can perform the scale with a metronome or at a quicker tempo. Formative: Quiz Student performance Demonstrations Major Scale solfa and hand signs a pitch giving device (pitch bell, boom whacker) Instrument for accompaniment (piano, guitar)

6 hand signs. 5. Identify rhythmic values including quarter notes, eighth notes, half notes, quarter rest, sixteenth notes, and syncopa. Students will identify the 6 rhythmic values aurally with Kodaly rhythmic syllables and visually from notation Students will tabulate the rhythms on a rhythm tree Students will interpret 16 measures of rhythmic notation using Kodaly rhythm syllables Students will construct in notation 8 measures of rhythmic patterns in 4/4. Modifications: Students can copy a completed Rhythm Tree and complete additional written exercises. Students can work in groups to interpret notated rhythms. Students can use a partially completed measure to construct rhythmic patterns. Extensions: Students can identify additional rhythmic values. Formative: Group discussion Quiz Student performance Constructed response Rhythm Tree diagram Blank Sheet music Rhythm instruments Students can interpret rhythms using a metronome. 6. Apply singing technique as well as Students will interpret the rhythmic notation of a song Students can construct additional measures of rhythm. Modifications: Students can work in Formative: Selections from Silver & Burdett Making

7 pitch and rhythmic concepts to perform a song in a major key. using rhythm syllables Students will recite the lyrics of a song with the rhythms they have previously interpreted Students will memorize the melodic patterns of a song using solfa and their teacher as a model Students will apply ribcage breathing and singing posture to perform a song with appropriate singing technique. Students will design and execute a plan for memorizing the song differentiated groups to interpret rhythm. Students can work privately with the teacher to memorize the melodic patterns of a song. Extensions: Students can compose an alternate ending to the song using solfa and rhythms syllables. Students can compose additional verses to the song and perform them for the class. Student performance Constructed response Demonstrations Music: Grade 5 (Morning comes early, 13; Day-o, 18; Away to America, 57; A la Puerto del cielo, 60) Instrument for accompaniment (piano, guitar) Smart board or projector 7. Define and apply vocabulary words: Technique, posture, ribcage breathing, shoulder breathing, phrase, rhythm, beat, meter, timbre, solfa, rhythm syllables Given their definitions, students will recall vocabulary words. Students will apply vocabulary words to describe their own singing technique and two songs in differing meters. Modifications: Students can complete additional written exercises. Students can work in differentiated pairs to describe a song using the vocabulary. Formative: Constructed response Group discussion Quiz Glossary from Silver & Burdett Making Music: Grade 5

8 Students will construct sentences that illustrate the meaning of the vocabulary words. Extensions: Students can use the vocabulary to describe more than two songs. 8. Evaluate their own performance and the performance of others using a rubric. Students will differentiate scores on Singing Rubric 1. Students will make observations about their own performance of the major scale and a song. Students will work collaboratively to critique their own performance of the major scale and a song. Students will cite evidence from the performance to critique the performance of a partner. Modifications: Students can use a rubric with the differences between scores highlighted. Students can work in differentiated groups to cite evidence and critique a partner. Extensions: Students can revise the rubric to include any improvements to their own performance. Vocabulary Words /Key Terms Formative: Group Discussion Student performance Constructed response Singing Rubric 1 pitch giving device (boom whacker, pitch bells) Instrument for accompaniment (piano, guitar) Nina Simone sings Love me or leave me om/watch?v=4sabw0 ONRBU Technique, posture, ribcage breathing, shoulder breathing, phrase, rhythm, beat, meter, timbre, solfa, rhythm syllables

9 Appendix A: Performance Task/s ( Interdisciplinary Connections) Music, Speaking and Listening Discuss what method for memorizing a song works best for you. Why does this method work for you better than the other methods? Why do you think that is? Is it definitely the same for everybody, or can people memorize music in different ways? Discuss how memorizing a song can help you feel free to sing with more expression. (S.L. 5.1)

10 Appendix B: Summative Assessment Summative Assessment Unit 1 Grade: 5 Performance Task, Peer Evaluation CPI s: B B B.2 21st Century Life and Careers Standards 9.1. A.1 Apply critical thinking and problem-solving strategies during structured learning experiences F.2 Demonstrate a positive work ethic in various settings, including the classroom and during structured learning experiences. Inter- disciplinary connections: CCSS Language Arts:W.5.1, RI.5.4 Introduction: The musical world is full of many different singers with many different talents. Some musicians sing with a highly controlled technique like opera singers, while others have a more raw sound like hip-hop artists. We have spent the last several lessons developing your vocal talents by working on your singing technique. Now is your chance to show everybody how you express yourself through music. Sing the major scale to warm your voice up and a song that we have practiced in class.

11 Essential question: How can music be used in a way for people to express themselves? How does posture and breathing effect how people sound while they sing? The Task You and two other students are famous opera, jazz, Broadway, pop, or hip-hop singers and have graciously agreed to hold a private performance for our humble music class. In an effort to show off, let off some steam, or tell a tale, you are going to sing a song for the class as you demonstrate your singing technique and skills with the major scale. After the performance, you are going to give yourself a review with the help of a friend using Singing Rubric 1. Part 1 Perform the major scale going up, take a breath, then coming down. Sing with good singing posture (feet flat on the floor, back straight, head level, shoulders relaxed, and hands by your side) Sing with ribcage breathing before you sing and between phrases Sing the scale with correct syllables (Do, Re, Mi, Fa, Sol, La, Ti, Do [breathe] Do, Ti, La, Sol, Fa, Mi, Re, Do) Do the hand signs for each pitch (Do, Re, Mi, Fa, Sol, La, Ti, Do... ) Part 2 Apply appropriate singing technique to perform a song of your choice. Choose asong that you have enjoyed singing in class and that you know well Sing with appropriate singing technique (posture and breathing) Memorize the song completely (use the methods for memorizing a song)

12 Perform the song with some emotional investment. Focus on what you re doing and connect the music with your life. Part 3 Cite evidence from your own performance and Singing Rubric 1to write a short review Critique your own performance using Singing Rubric 1 A partner will critique your performance with a Singing Rubric 1 Use the rubrics to write a one paragraph review of your own performance. Use third person (He, She, It, They) to write at least three sentences about how well you performed and what, if anything, you can improve. Assist a partner: Critique their performance by completing Singing Rubric 1for your partner. Process/ or Steps: You will have time to learn and practice the Major Scale and the two songs in class, but if you want to impress your audience, you will have to practice at home. You can bring home your rubric and your partner s rubric to use as a resource to write your review. The review will be due the class period after the performance. Websites Texts Silver & Burdett Making Music: Grade 5

13 Rubric (Singing Rubric 1) Singer: Date: HR: Assessment Type (Circle one) Self Partner: Teacher Indicator Posture Breathing Major Scale Memory Investment Performed entire song with feet flat, back straight, head level, shoulders relaxed and hands by sides Performed song, taking only ribcage breaths before singing and between phrases Performed scale with all correct syllables and handsigns Performed entire song with no memory slips Performed the song with focus and emotional investment Performed song with 4/5 factors of posture Performed song taking mostly ribcage breaths Performed scale with mostly correct syllables and handsigns Performed song with 1 memory slip Performed song mostly focused and with investment Performed song with 3/5 factors of posture Performed song taking some ribcage breaths Performed scale with some correct syllables and handsigns Performed song with 2 memory slips Performed song with some focus and investment Performed song with 2/5 factors of posture Performed song taking few ribcage breaths Performed scale with few correct syllables and handsigns Performed song with 3-5 memory slips Performed song with little focus and investment Did not perform song or performed song hunched over Did not perform song Did not perform song Did not perform song or performed song with more than 5 memory slips Did not perform song

14 Score: /20 %

15 Unit/Chapter Title: Unit 2: Enriching Music Unit Length: 10 weeks Course/Grade: Vocal & General Music/ Grades 5 and 6 Interdisciplinary Connection: Unit Overview: Students will learn how to improve their performances by employing dynamic contrast and by developing a keener ear for pitch. Students will perform more than one part as the fifth graders sing a call and response song and the sixth graders sing a round. Both grades will extend their vocal range and accuracy by singing major and minor arpeggios. Sixth grade students will learn how the elements of music are employed to provide texture and form to music. New Jersey Core Curriculum Content Standards Visual and Performing Arts Core Curriculum Content Standards: 1.1 The Creative Process: All students will demonstrate an understanding of the elements and principles that govern the creation of works of art in dance, music, theatre, and visual art 1.3 Performance: All students will synthesize those skills, media, methods, and technologies appropriate to creating, performing, and/or presenting works of art in visual art. 1.4 Aesthetic Responses & Critique Methodologies: All students will demonstrate and apply an understanding of arts philosophies, judgment, and analysis to works of art in dance, music, theatre, and visual art.

16 Cumulative Progress Indicators 5 th Grade B.2 - Sing melodic and harmonizing parts, independently and in groups, adjusting to the range and timbre of the developing voice B.2 - Demonstrate the basic concepts of meter, rhythm, tonality, intervals, chords, and melodic and harmonic progressions, and differentiate basic structures B.2 - Use evaluative tools, such as rubrics, for self-assessment and to appraise the objectivity of critiques by peers. 6 th Grade B.2 - Perform independently and in groups with expressive qualities appropriately aligned with the stylistic characteristics of the genre B.2 - Compare and contrast the use of structural forms and the manipulation of the elements of music in diverse styles and genres of musical compositions A.1 - Generate observational and emotional responses to diverse culturally and historically specific works of dance, music, theatre, and visual art B.1 - Evaluate the effectiveness of a work of art by differentiating between the artist s technical proficiency and the work s content or form st Century Life and Careers Standards 9.1. A.1 Apply critical thinking and problem-solving strategies during structured learning experiences B.2 Create and respond to a feedback loop when problem solving D.1 Interpret spoken and written communication within the appropriate cultural context F.2 Demonstrate a positive work ethic in various settings, including the classroom and during structured learning experiences.

17 Interdisciplinary Connections: World Language: 7.1.NM.C.2 Imitate, recites, and/or dramatizes simple poetry, rhymes, songs, and skits. Social Studies D.1.b Relate the development of language and forms of writing to the expression of ideas, creation of cultural identity, and development of more complex social structures. English Language Arts Common Core State Standards: SL.5.1 Engage effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with diverse partners on grade 5 topics and texts, building on others ideas and expressing their own clearly W.5.2 Write informative/explanatory texts to examine a topic and convey ideas and information clearly. SL.6.1 Engage effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with diverse partners on grade 6 topics, texts, and issues, building on others ideas and expressing their own clearly. W.6.2 Write informative/explanatory texts to examine a topic and convey ideas, concepts, and information through the selection, organization, and analysis of relevant content. Essential Questions: Essential Questions / Enduring Understandings Grade 5 How do performers use dynamics to make music interesting and expressive? Why is matching pitch such an important step to ensuring a good performance? Enduring Understandings:

18 Performers vary their dynamic by singing loud and soft and by gradually changing between loud and soft. Matching pitch is necessary so the singer begins the performance in the correct key. Essential Questions: Grade 6 How do composers use contrast and repetition to create songs? How can we describe how melodies and harmonies fit together? Enduring Understandings: Composers create songs by repeating a melody, changing a melody or creating a new melody. The way melodies and harmonies fit together in a song can be described by the number of melodies and by which melody is loudest. Student Learning Objectives (NJDOE Model Curriculum) What students should know and be able to do? 1. Demonstrate the ability to match pitch and assess how accurately they have matched pitch. Instructional Focus/Activities How will the students reach the learning targets? Students will define the terms pitch, sharp, and flat Students will list the five Modifications/Extensions How do I differentiate? Grade 5 Modifications: Students will keep at a list of the five steps to matching pitch to Assessments How will the students demonstrate mastery? Formative: Group discussion Demonstration Resources/Technology What resources and materials will students need? Glossary from Silver & Burdett Making Music: Grade 5

19 2. Recognize the terms and symbols for piano, mezzo piano, mezzo forte, forte, crescendo, decrescendo in sheet music steps of matching pitch Students will apply the five steps of matching pitch to match any chromatic pitch within their range (a f ) Students will make observations about matching pitch helps a performer to sing Students will Assess both their own ability and a partner s ability to accurately match pitch using a pitch giving device and a rubric Students will distinguish and name four dynamic levels: piano, mezzo piano, mezzo forte, forte Students will make observations about the changes in dynamics of recorded music to recognize crescendo and decrescendo aurally Students will create and Students will come to the teacher for extra time to practice matching pitch. Extensions: Students will transpose octaves as they match pitch. Students will match an interval above or below the given pitch (e.g. a major third above the given c ) Modifications: Students will use a vocabulary list to distinguish between dynamics. Students will us guiding questions to make observations about recorded music. Extensions: Students will conduct Student performance Summative: (Please see Appendices A1 & B1) Formative: Demonstrations Student performance Group discussions Quiz Student performance Pitch giving device (pitch bell, boom whacker) Matching pitch rubric Glossary from Silver & Burdett Making Music: Grade 5 W. A. Mozart Overture to Nozze di Fiagaro watch?v=etplyoao3sq

20 demonstrate kinesthetic and visual representations of the four dynamic levels (p, mp, mf, and f) and the two dynamic changes (cresc., decresc.) dynamic changes levels and dynamic changes. 3. Interpret sheet music to perform a call and response song with expressive dynamics Students will match the terms for piano, mezzo piano, mezzo forte, forte, crescendo, decrescendo to their respective symbols Students will define the term call and response Students will apply rhythm syllables to interpret sheet music Students will apply solfa syllables and hand signs to memorize a melody Students will interpret dynamic symbols in sheet music to create dynamic contrast Modifications: Students will use additional time with the instructor to memorize a melody. Students will echo sing the call and response songs as they build their rhythm and solfa experience. Extensions: Students will revise sheet music by changing the dynamic symbols and perform the new edition. Formative: Demonstrations Student performance Group discussion Glossary from Silver & Burdett Making Music: Grade 5 Selections from Silver & Burdett Making Music: Grade 5 (Rise Up, Shepherd, and Follow, 471; Day-O, 18; Bound for South Australia, 22; Go Down, Moses, 190) Instrument for accompaniment (piano, guitar) Students will perform a call and response song from memory with dynamic

21 4.Listthe solfa of the major arpeggio and perform the C major arpeggio in solfa and hand signs contrast in small groups Students will define arpeggio Students will apply solfa skills to interpret the major arpeggio from sheet music Students will recite the solfa of the major arpeggio (Do Mi Sol Do Do Sol Mi Do) Students will perform major arpeggio with solfa and hand signs in small groups Modifications: Students will perform the arpeggio in a one-on-one setting. Students will alter the key if the range does not allow them to perform the arpeggio (c c ) Extensions: Students will add an additional pitch to the arpeggio (Do Mi Sol Do Mi ) Formative: Group Discussion Student performance Demonstration Blank Sheet music, pencil Instrument for accompaniment (piano, guitar) 5. Critique the use of dynamics as an expressive tool in their own performance and the performance of others using a rubric. Students will differentiate scores on Singing Rubric 2. Students will make observations about their own use of dynamics as they perform a call and response song. Students will perform the arpeggio with a metronome gradually increasing the tempo. Modifications: Students will answer questions that lead making observations about how they used dynamics. Students will use a recorder to replay their performance. Formative: Constructed response Group discussion Selections from Silver & Burdett Making Music: Grade 5 (Rise Up, Shepherd, and Follow, 471; Day-O, 18; Bound for South Australia, 22; Go Down, Moses, 190) Students will critique their Extensions: Recording device

22 own use of dynamics as they perform a call and response song using Singing Rubric 2. Students will make recommendations for them to more fully use dynamic contrast. 1. Demonstrate the five pure vowels on a single pitch Students will cite evidence from the performance to critique the use of dynamics as a partner performs a call and response song. Students will define the term pure vowels Students will list the five pure vowels: /a/ /E/ /i/ /o/ /u/ Students will make observations about the difference between vowels when we sing and when we speak Students will compare the use of pure vowels in classical and popular recorded music Students will perform the fives singing vowels on a Grade 6 Modifications: Students will speak the five vowels as others are signing them. Students will let their voices change pitches as they sing the different vowels. Extensions: Students will practice signing extended exercises on a single vowel (minor arpeggio, ascending 5 pitches) Students will differentiate further vowels like /I/ or /æ/. Formative: Group discussion Constructed response Student performance Demonstrations Summative: (Please see Appendices A2 & B2) Instrument for accompaniment (piano, guitar) Bill Withers Ain t no sunshine when she s gone /watch?v=tidiqbv7spo Kathleen Battle sings Handle s Oh had I Juble s Lyre from Joshua /watch?v=v7utzt3hvr8

23 single pitch 2. List the solfa of the minor arpeggio and perform the B minor arpeggio in solfa and hand signs Students will critique the use of pure vowels in the student s own performance and the performance of others Students will define arpeggio Students will apply solfa skills to interpret the minor arpeggio from sheet music Students will recite the solfa of the minor arpeggio (La, - Do Mi La La Mi Do La,) Modifications: Students will perform the arpeggio in a one-on-one setting. Students will sing the arpeggio in a different key if their range does not allow them to perform the arpeggio in B Minor Formative: Group Discussion Student performance Demonstration B minor arpeggio in notation Instrument for accompaniment (piano, guitar) Students will perform minor arpeggio with solfa and hand signs in small groups Extensions: Students will add an additional pitch to the arpeggio (Do Mi Sol Do Mi ) Students will perform the arpeggio with a metronome gradually increasing the tempo. 3. Demonstrate the ability Students will define the Modifications: Formative: Pachelbel s Cannon in D

24 to perform a round in three parts in a minor key. term round Students will make observations about recorded music of a round Students will apply rhythm syllables to interpret sheet music Students will apply solfa syllables and hand signs to memorize a melody Students will use additional time with the instructor to memorize a melody. Extensions: Students will investigate further examples of rounds. Students will compare and contrast rounds from different periods of music history. Demonstrations Student Performance /watch?v=t3uh75-oxqo Selections from Silver & Burdett Making Music: Grade 6 Students will interpret dynamic symbols to perform dynamic contrast Students will apply signing vowels to 4.Recognize formal structures in recorded music and label formal structures in sheet music Students will perform a round in three parts in small groups Students will define form, repetition, contrast, variation, verse, refrain, bridge Students will recall terms when the definition is given Modifications: Students will label fewer formal structures (verse and refrain). Students will describe music only in terms of Formative: Quiz Constructed response Group Discussion Selections from Silver & Burdett Making Music: Grade 6

25 5. Recognize three musical textures aurally and label them monophonic, polyphonic, homophonic Students will make observations about formal structures in recorded music using music terminology Students will distinguish and label verse, refrain, bridge, in sheet music Students will define texture Students will make observations about three examples of recorded music that illustrate the three musical textures Students will list and define monophonic, polyphonic, homophonic different or the same. Extensions: Students will create a song using these formal structures. Modifications: Students will use simpler words (one sound, many sounds, same sounds) when describing and labeling music. Extensions: Students will investigate other examples of each musical textures. Formative: Group Discussion Constructed Response Quiz 6. Critique their own performance of the minor arpeggio and a round as well as the performance of others using a rubric. Students will compare and contrast two examples of recorded music that have differing textures. Students will differentiate scores on Singing Rubric 5. Students will make observations about their own independence as they Modifications: Students will use a recording device to cite evidence in a partner s performance. Formative: Group Discussion Constructed Response Singing rubric 5

26 perform the minor arpeggio and a round. Students will critique their own independent performance as they perform the minor arpeggio and a round using Singing Rubric 5. Extensions: Students will make recommendations to improve their own performance. Students will cite evidence from the performance to critique the independent performance as a partner performs round. Vocabulary/Key Terms Grade 5 pitch, sharp, flat, call and response, melody, harmony, accompaniment, piano, mezzo piano, mezzo forte, forte, crescendo, decrescendo Grade 6 Pure vowels, arpeggio, round, form, repetition, contrast, variation, verse, refrain, bridge, texture, monophonic, polyphonic, homophonic

27 Appendix A: Performance Task/s (Interdisciplinary Connections) Grade 5 Music, Science Acoustics is the study of sound and the effect sound has on the world. We have been discussing the way dynamics communicate ideas though music. Dynamics are called something different in science intensity. The intensity (dynamic) of a sound is measured by its amplitude. Sound travels in waves and these waves move at different speeds (frequency or pitch). As sound moves through different states of matter, its amplitude pushes a different amount of matter to the side. Given a picture of a wave labeled with its amplitude and frequency, draw another wave that has a higher pitch (shorter frequency) and a louder dynamic (larger amplitude). Explore how sound travels differently through water, through your desk, and of course though air. Amplitude Music, Social Studies Frequency Grade 6 Listen to a folk song from Mongolia ( and a folk song from Ireland ( and describe the similarities and differences between the two songs. How

28 many melodies are there at any one time? Is any melody more important than the others? What textures are in these songs: monophonic, polyphonic, and homophonic? Are there repeated sections, are there variations, or are the sections contrasting with one another? What similarities are there between these two songs? What are the songs about? Discuss the answers to these questions in small groups and come to a conclusion about whether these songs are mostly different or mostly the same.

29 Summative Assessment Unit 2 Grade: 5 Performance Task, Peer Evaluation Appendix B: Summative Assessment Grade 5 CCSS: B.2 Demonstrate the basic concepts of meter, rhythm, tonality, intervals, chords, and melodic and harmonic progressions, and differentiate basic structures B.2 Sing melodic and harmonizing parts, independently and in groups, adjusting to the range and timbre of the developing voice B.2 Use evaluative tools, such as rubrics, for self-assessment and to appraise the objectivity of critiques by peers A.1 Apply critical thinking and problem-solving strategies during structured learning experiences D.1 Interpret spoken and written communication within the appropriate cultural context F.2 Demonstrate a positive work ethic in various settings, including the classroom and during structured learning experiences. Inter- disciplinary connections: Introduction: (Provide background information about the topic) The skills you have been developing in this class, singing technique, matching pitch, and dynamic contrast will serve you as you express yourself though music. If you turn on a TV today or watch a video on YouTube you will find millions of amateur singers sharing themselves musically. People can make these opportunities through the magic of the internet, but they can also have more

30 professional experiences when they audition for events like the school musical, an opera, a T.V. show, or a performance camp. The final assessment for this unit is to get you ready to share yourself musically to the best of your ability so you know what you are doing when you find yourself on stage. Essential question: How do dynamics influence the sound of a song? When singing in a group, why is it important for all of the singers to make sure they are in the same key as one another? The Task You are auditioning for a reality music competition like American Idol, The Voice, or The X-Factor. Wow your audience by performing with some vocal pyrotechnics. Move the judges with the emotional depth of your voice and tell the story of personal conflict by singing a call and response. Then you become the judge when others are up there on the stage taking their chance. Part 1 Make sure that you are in the correct key by matching pitch. Be sure to demonstrate all five steps of matching pitch to ensure you know what you are doing. Then warm up your voice and your mind by performing the major arpeggio and focus on the solfa and hand signs. Part 2 Choose either song that you have been practicing in class and prepare it for your audition. For the call and response song, you need to work with a partner to tell the story. If you choose the unison song, then you are going to be on stage by yourself, with other people around you auditioning. As you practice and prepare for this audition, use Singing Rubric 2 to help improve your performance. Pay close attention to the way you use dynamics. Be brave with the forte s and be sensitive or secretive with the piano s. Part 3

31 After you have finished your audition, you will be on the judge s panel for someone in the class that chooses you to audition them. Use Singing Rubric 2 to adjudicate (assess) the singer. Make sure they are singing with good posture, they are in the correct key, they show off their arpeggio, they remember all the words, and they move you with their use of dynamics. After you have finished adjudicating the singer. Write a short summary (3-5 sentences) discussing what you liked about their performance. The LVM judges are more like Paula than Simon. Process/ or Steps: Websites 1. Choose a song that you learned in class. 2. Match pitch 3. Sing the Major Arpeggio 4. Sing the song you chose either with a partner (Call and Response) or by yourself. The teacher will choose at least two other people to sing with you on stage if you choose the unison song. 5. Assess a partner s performance using Singing Rubric 2 6. Write a summary in 3-5 sentences discussing the merits of your partner s performance. Texts Silver & Burdett Making Music: Grade 5

32 Rubric: Singing Rubric 2 Singer: Date: HR: Assessment Type (Circle one) Self Partner: Teacher Indicator Posture Performed entire song with feet flat, back straight, head level, shoulders relaxed and hands by sides Performed song with 4/5 factors of posture Performed song with 3/5 factors of posture Performed song with 2/5 factors of posture Did not perform song or performed song hunched over Matching Pitch Successfully matched pitch on the first attempt Demonstrated the steps of matching pitch and matched pitch correctly on the second attempt Partially demonstrated the steps of matching pitch and correctly matched pitch on the second attempt Did not demonstrate the steps of matching pitch and incorrectly match pitch Did not attempt to match pitch Arpeggio Performed arpeggio with correct syllables and hand Performed arpeggio with mostly correct syllables and hand Performed arpeggio with some correct syllables and hand Performed arpeggio with few correct syllables Did not perform arpeggio

33 Memory Dynamics signs signs signs and hand signs Performed entire song with no memory slips Performed the song with all of the dynamic levels and changes. Performed song with 1 memory slip Performed song with most of the dynamic levels and changes. Performed song with 2 memory slips Performed song with some of the dynamic levels and changes. Performed song with 3-5 memory slips Performed song with at one dynamic. Did not perform song or performed song with more than 5 memory slips Did not perform song Score: /20 % Grade 6 Summative Assessment Unit 2 Grade: 6 Performance Task, Peer-Evaluation, Group Work CPI s: B.2 Perform independently and in groups with expressive qualities appropriately aligned with the stylistic characteristics of the genre B.3 Apply theoretical understanding of expressive and dynamic music terminology to the performance of written scores in the grand staff B.1 Evaluate the effectiveness of a work of art by differentiating between the artist s technical proficiency and the work s content or form.

34 Inter- disciplinary connections: Physical Education C.1 Compare the roles and responsibilities of players and observers and recommend strategies to enhance sportsmanship-like behavior. Introduction: (Provide background information about the topic) A sports team works together to win a game. In music, groups of singers work together to win a good performance. Part of working together in music is making sure that everyone gets a chance to shine. When you sing in an ensemble (a group of musicians), you need to come prepared and be confident with what you are singing. This assessment is practice in working together to make music like a sports team works together to win a game. Essential question: What role do pure vowels play in making an ensemble sound like one voice? How can an ensemble use dynamics to express more complex ideas though music? How can performers work together to create more complex music? The Task You and a group of friends are going to work together to construct a polyphonic musical texture. Your task is to perform a round in a way where you sound like one group but each one of you has a chance to sing the main melody at some time during the song. This activity is about teamwork so make sure each of you sings with the same pure vowels, and each of you sings the main melody (the most noticeable melody) at least once. The group must warm up before you perform by singing the minor arpeggio. Then you decide amongst yourselves the order you should sing (who goes first, next, and last). Make sure each of you gets a chance to shine and each of you sings with independence, pure vowels, and good singing technique. Part 1

35 Choose two other people from the class to form an ensemble. Try to find voices that are like your own. Your group will perform a round that we have been working on in class. Your group needs to meet outside of class before school, after school, or during lunch to practice singing the round together. First you will match pitch and warm up your voices by singing the minor arpeggio. Part 2 Second, your group will decide who sings first, second, and third. Each part has its challenges. The first singer needs to be brave because they will start everything off. The second singer needs to be independent because they are most likely to get confused. The third singer needs to be confident because they will be singing after the other two singers have finished. Make sure as you are practicing everyone sings the dynamic they are supposed to be singing this will make one voice, the loudest voice, the most important and each of you will have a turn being loudest. As you rehearse with your group, use Singing Rubric 5 to make sure you are on the right track. Then you perform the round for the class, working together to make music. Part 3 Third, you will have a chance to let your group know how they performed. Use Singing Rubric 5 to mark how well your group members sang during the performance. This is also a test of how much attention you are paying to your ensemble. Mark one member O and the other member X. After you have done this, compare the assessments with your group members and summarize the experience in 3-5 sentences in the Comments box. Talk about your favorite part of singing together and what your ensemble can work on improving. Process/ or Steps: 1. Create an ensemble by choosing two people with voices like your own. 2. Decide which of you will sing first, second, and third. 3. Rehearse matching pitch, the minor arpeggio, and the round outside of class. Make sure to sing with pure vowels and expressive dynamics. 4. Perform for the class by matching pitch, then singing the minor arpeggio, and the round. 5. Assess the performance of members of your ensemble.

36 6. Compare with them and summarize your experience in the Comments box. Websites Texts Silver & Burdett Making Music: Grade 6 Rubric: Singing Rubric 5 Singer: Date: HR: Group Members: O - X - Indicator Posture Performed entire song with feet flat, back straight, head level, shoulders relaxed and hands by sides Performed song with 4/5 factors of posture Performed song with 3/5 factors of posture Performed song with 2/5 factors of posture Did not perform song or performed song hunched over Pure Vowels Successfully demonstrated all five pure vowels on a single pitch Demonstrated five mostly pure vowels on a single pitch Demonstrated some vowels on a single pitch or pure vowels many pitches Demonstrated some vowels on many pitches Did not attempt to pure vowels Arpeggio Performed arpeggio with correct syllables and hand signs Performed arpeggio with mostly correct syllables and hand signs Performed arpeggio with some correct syllables and hand signs Performed arpeggio with few correct syllables and hand signs Did not perform arpeggio

37 Dynamics Performed the song with all of the dynamic levels and changes. Performed song with most of the dynamic levels and changes. Performed song with some of the dynamic levels and changes. Performed song with at one dynamic. Did not perform song Independence Performed the round independently and strongly without getting lost Performed round mostly independent and strong without getting lost Performed round depending on others but did not get lost Performed round depending on others and got lost Did not perform the round Comments: Score: /20 %

38 Unit/Chapter Title: Unit 3: A Context for Music Unit Length:10 weeks Course/Grade: Vocal & General Music/ Grades 5 and 6 Interdisciplinary Connection/s: English, Mathematics, Social Studies Unit Overview: In Unit 3, students will combine what they have learned in Units 1 and 2 in a study of certain conventions in music. Students in both fifth and sixth grade develop and further understanding of harmony as they explore the harmonic underpinnings of chords in the major and minor modes respectively. Students will employ that understanding to perform increasingly challenging harmonic music. They will then turn to cultural conventions of music concerning instrumentation (fifth grade) and history (sixth grade) to explore how composers and performers make use of the elements of music to create art. As a summary to the course, students will perform a final song to demonstrate the vocalism and musicality that they have developed in addition to completing summative evaluation of their knowledge of the elements of music. New Jersey Core Curriculum Contents Standards Visual and Performing Arts Core Curriculum Content Standards: 1.1 The Creative Process: All students will demonstrate an understanding of the elements and principles that govern the creation of works of art in dance, music, theatre, and visual art 1.3 Performance: All students will synthesize those skills, media, methods, and technologies appropriate to creating, performing, and/or presenting works of art in visual art. 1.4 Aesthetic Responses & Critique Methodologies: All students will demonstrate and apply an understanding of arts philosophies,

39 judgment, and analysis to works of art in dance, music, theatre, and visual art. Cumulative Progress Indicators 5 th Grade B.2 Demonstrate the basic concepts of meter, rhythm, tonality, intervals, chords, and melodic and harmonic progressions, and differentiate basic structures B.2 Sing melodic and harmonizing parts, independently and in groups, adjusting to the range and timbre of the developing voice 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. 6 th Grade B.1 Analyze the application of the elements of music in diverse Western and non-western musical works from different historical eras using active listening and by reading and interpreting written scores A.2 Differentiate past and contemporary works of dance, music, theatre, and visual art that represent important ideas, issues, and events that are chronicled in the histories of diverse cultures B.2 Perform independently and in groups with expressive qualities appropriately aligned with the stylistic characteristics of the genre.

40 st Century Life and Careers Standards 9.1. A.1 Apply critical thinking and problem-solving strategies during structured learning experiences B.2 Create and respond to a feedback loop when problem solving D.1 Interpret spoken and written communication within the appropriate cultural context F.2 Demonstrate a positive work ethic in various settings, including the classroom and during structured learning experiences. Interdisciplinary Connections: Social Studies: D.4.j: Compare the major technological innovations and cultural contributions of the civilizations of this period and justify which represent enduring legacies Math: 5.MD.B.2: Make a line plot to display a data set of measurements in fractions of a unit (1/2, 1/4, 1/8). Use operations on fractions for this grade to solve problems involving information presented in line plots. English Language Arts Common Core State Standards: W.5.2 Write informative/explanatory texts to examine a topic and convey ideas and information clearly. W.6.2 Write informative/explanatory texts to examine a topic and convey ideas, concepts, and information through the selection, organization, and analysis of relevant content SL.5.1 Engage effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with diverse partners on grade 5 topics and texts, building on others ideas and expressing their own clearly. SL.6.1 Engage effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with diverse partners on

41 grade 6 topics, texts, and issues, building on others ideas and expressing their own clearly. L.5.4 Determine or clarify the meaning of unknown and multiple-meaning words and phrases based on grade 5 reading and content, choosing flexibly from a range of strategies. L.6.4 Determine or clarify the meaning of unknown and multiple-meaning words and phrases based on grade 6 reading and content, choosing flexibly from a range of strategies. Essential Questions / Enduring Understandings Essential Questions: Grade 5 How are instruments grouped together into families? How do the instruments a composer chooses affect the sound of the song? Enduring Understandings: Each instrument and voice has a tone color that is unique and can be grouped together into families of instruments. Composers use differences and similarities in the tone colors of instruments to express ideas through music. Essential Questions: Grade 6 How can a composer or performer change the elements of music of a song to change the style of the song? What are differences in the styles of music through the history of Western culture?

42 Enduring Understandings: A change in the elements of music melody, rhythm, tone color, harmony, texture, and form can alter the style of a song. The ways rhythm, pitch, texture, and form are used to express ideas in music have changed through the history Western culture. Student Learning Objectives (NJDOE Model Curriculum) What students should know and be able to do? 1. Perform the chords of the major scale in solfa with hand signs. Instructional Focus/Activities (How will the students reach the learning targets?) Students will define the term chord. Students will list the solfa for the chords of the major scale. Students will arrange solfa syllables to graph the chords of the major scale Students will categorize parts of melodies by the solfa used in the phrase and the chords they imply. Modifications/Extensions (How do I differentiate?) Grade 5 Modifications: Students will arrange solfa syllables to graph fewer chords. Students will perform the scale in a one-one on setting. Extensions: Students will perform common chord progressions in solfa. Assessments (How will the students demonstrate mastery?) Formative: Teacher observation Quizzes Group discussion Demonstrations Constructed responses Summative: (Please see Appendixes A & B) Resources/Technology (What resources and materials will students need?) Glossary from Silver & Burdett Making Music: Grade 5 Selections from Silver & Burdett Making Music: Grade 5 Blank Sheet music

43 Students will perform the chords of the major scale in solfa with hand signs. Students will perform chords in inversion in solfa. 2. Describe and compare instrumental and vocal tone colors using music vocabulary. 3. Recognize the instruments of the orchestra by their tone color and categorize Students will critique the accuracy of their performance of the chords of the major scale. Students will define the terms tone color and identify tone color as an element of music. Students will list adjectives used to describe tone color. Students will make observations about instruments in recorded music using adjectives describing tone color. Students will compare and contrast the tone colors of two differing instruments and a voice (e.g. Tenor, Viola, Oboe) Students will report on one family of instruments and three instruments from that family. Modifications: Students will choose adjectives describing tone color from a list of words Students will use a list of tone color words to make observations about recorded music. Extensions: Students will hypothesize why these instruments create these different tone colors. Modifications: Students will use a diagram to make observations about the location of instruments Formative: Quizzes Group discussion Logs Constructed responses Formative: Presentation University of Iowa Musical Instrument samples iowa.edu/mis.html Music Tech Teacher acher.com/music_quizz es/music_quizzes.htm Young Music Genius, Classical Wiz app Benjamin Britten The Young Person's Guide to the Orchestra

44 instruments by their instrument family. 4. Explain how the voice is used as an instrument in classical music. Students will tabulate the four families of instruments and three examples of each. Students will match instruments with their families. Students will make observations about the location of instruments and their families in a video of a symphony orchestra. Students will distinguish tone colors of instruments aurally using recorded samples. Students will list the six classifications of voice ranges (soprano, mezzosoprano, alto, tenor, and baritone, bass) and arrange them by their ranges. Students will distinguish between vocal ensembles by the number of singers and by the gender and age of those singers. of the orchestra. Students will complete additional quizzes at musictechteacher.com to get practice recognizing instruments by their tone color. Extensions: Students will list additional instruments and make observations about their tone colors. Modifications: Students will use a graphic organizer to distinguish between vocal ensembles. Students will choose from a list of adjectives to describe the sound of differing vocal ensembles. Extensions: Students will compare and Quizzes Group discussion Constructed responses Formative: Quizzes Group discussion Constructed responses om/watch?v=oagltkh ps5u Young Music Genius, Classical Wiz app University of Iowa Musical Instrument samples iowa.edu/mis.html Music Tech Teacher acher.com/music_quizz es/music_quizzes.htm Recorded music of vocal ensembles: Boys Chorus: om/watch?v=6qsdyyp x0xc Mixed Small Ensemble: om/watch?v=hrftfim A_N4 Mixed Large ensemble:

45 5. Demonstrate the ability to perform a round in three parts in a major key. Students will make observations about the sound of differing vocal ensembles in recorded music. Students will define the term round Students will make observations about recorded music of a round Students will apply rhythm syllables to interpret sheet music Students will apply solfa syllables and hand signs to memorize a melody Students will interpret dynamic symbols to perform dynamic contrast Students will apply signing vowels. contrast the tone qualities of voice types (e.g. operatic soprano and boy soprano) Modifications: Students will use additional time with the instructor to memorize a melody. Extensions: Students will investigate further examples of rounds. Students will compare and contrast rounds from different periods of music history. Formative: Teacher observation Group discussion Demonstrations om/watch?v=t3ouhw ercfy Women s Choir: om/watch?v=1tbp1k0 ri18 PachelbelCannon in D om/watch?v=t3uh75- OXQo Sumer is icumen in Anon. om/watch?v=houbfy dd6lw Selections from Silver & Burdett Making Music: Grade 5 (Music alone shall live, 94; Autumn cannon, 148; Ego sum pauper, 158; O Music, 162; Tzena, Tzena, 298) Students will perform a round in three parts in small

46 groups 1. Perform the chords of the harmonic minor scale in solfa with hand signs. Students will define the term chord. Students will list the solfa for the chords of the harmonic minor scale. Students will arrange solfa syllables to graph the chords of the harmonic minor scale Students will memorize the solfa for the chords of the harmonic minor scale Students will perform the chords of the harmonic minor scale in solfa with hand signs. Grade 6 Modifications: Students will use extra time with the teacher to rehearse the chords in solfa. Students will use a graphic organizer to arrange the chords. Students will perform the chords from a lower/ higher key to suit their range. Extensions: Students will analyze harmony using solfa to label chords. Formative: Teacher observation Quizzes Group discussion Logs/ Journals Demonstrations Constructed responses Summative: (Please see Appendixes A & B) Glossary from Silver & Burdett Making Music: Grade 6 Minor Harmonic Patterns 2. Analyze the style of recorded music using the elements of music. Students will critique the accuracy of their performance of the chords of the harmonic minor scale. Students will define the term style as a musical principle. Modifications: Students will tabulate the components of style using a Formative: Presentation Glossary from Silver & Burdett Making Music: Grade 6

47 3.Organize composers by their associated period of music history. Students will tabulate the components of style: melody, rhythm, tone color, harmony, texture, and form. Students will make observations about recorded music and show those findings using the table of style that they have created. Students will list the six periods of music history. Students will investigate and report on a period of music history and two composers associated with that period. Students will tabulate the six periods of music history and two composers associated with each period Students will make observations about the style in each period of music history while listening to recorded music from each period. word bank. Extensions: Students will collect and display their analysis of style in a piece of recorded music. Modifications: Students will complete a partially filled-in table of periods and composers. Students will use a list of elements of music to make observations about style in each period of music. Extensions: Students will investigate further exemplary composers within each period. Quizzes Group discussion Logs Constructed responses Formative: Presentation Quizzes Projects Group discussion Logs Constructed responses Table of Western Music Periods and Composers. (See Appendix B)

48 4. Perform a song with homophonic harmony in at least two parts. Students will recall the term homophonic. Students will interpret rhythm in sheet music using rhythm syllables Students will memorize one melody in the homophonic harmony using solfa and hand signs. Modifications: Students will use extra time with the teacher to memorize one of the melodies. Extensions: Students will identify the chords that could be implied by the harmony Formative: Teacher observation Group discussion Demonstrations Selections from Silver & Burdett Making Music: Grade 6 (Four strong winds, 170; Habemos llegado, 174; Vive l amour, 176; Mary Ann, 180) Students will apply dynamic contrast to their part by interpreting dynamic symbols Students will compare and contrast the two parts to discuss differences in melodic contour. Students will perform the melodies together to create homophonic harmony. Vocabulary Words/Key Terms Grade 5 chord, round, orchestra, tone color, timbre, bright, dark, brilliant, mellow, rich

49 Grade 6 melody, rhythm, tone color, harmony, texture, form, style, chord, homophonic, melodic contour

50 Appendix A: Performance Task/s (Interdisciplinary Connections) Grade 5 Music, Math Though there are many instruments in the orchestra, but not all of them contribute the same to the overall sound the audience hears. Count the number of trumpets in this orchestra (4). Each trumpet contributes ¼ of the trumpet sound. Represent that on a number line and label it Trumpet. Continue through the orchestra counting the violins (1 st and 2 nd ), cellos, clarinet, English horn, and harp and plotting them on the number line. Listen to Mussorgsky s Pictures at an Exhibition ( and discuss why there might be more of one type of instrument than the others. Does each instrument have the same intensity (volume/ dynamic)? What effect does an instrument s tone color have on how easy it is to hear some instruments? Are some instruments used more than others? 0 ¼ Trumpets 1