Running head: RATHGEBER LISTENING CURRICULUM 1. Final Project: 1st-5th Grade Listening Curricular Strands. Jesse Rathgeber

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1 Running head: RATHGEBER LISTENING CURRICULUM 1 Final Project: 1st-5th Grade Listening Curricular Strands Jesse Rathgeber Music_ED 422: Curriculum Development in Music Education Northwestern University July 25, 2012

2 RATHGEBER LISTENING CURRICULUM 2 Rationale: Music is a listening-based artfom. It is through direct aural experiences with sound that humans interact with music at its most basic level. Listening to music is the most personal and focused level of engagement with music that most people have. It is an intimate interaction with sound in which, as Reimer (2003) states, [l]isteners are called on to make sense of the music, to put it together with mind, body, and feelings (p. 117). Regarding listening s creative core, Kerchner (1996) explains that listening is not merely a passive activity, but instead that [l]isteners create and recreate their own musical experiences by perceiving certain musical elements (p. 28). When listening, people take the sonic elements of a musical work and pair them with their own experiences and history to derive personal meaning. Also, music listening is an essential component to all other kinds of musical activity. Accordingly, listening must have a central place within any music curriculum. Yet, listening does not often receive such focused attention in music classrooms with regard to skill development and/or creative processing. Music is pervasive in our society and students regularly hear music in stores, on television, and on their own music players. However, one may ask if they are listening. Mills (2009) notes that the persistent sonic environment may reinforce the habit of not noticing sound (p. 75) and, therefore, students may not be fully developing their active listening skills to their fullest potential on their own. This is not to say that children come to music class without any sense of critical, creative, or meaningful listening abilities. Indeed, the musical genres and styles they choose to engage with on their own and with their families shape their understanding of listening and develops a different set of skills. In music class, listening instruction should seek to build upon and supplement a student s personal listening skills.

3 RATHGEBER LISTENING CURRICULUM 3 The following listening curriculum is rooted upon the philosophical grounding of Reimer s (2003) conception that listening is an act in which [e]ach individual listener must bring to that task his of her technical capacities to hear the complexities of the music (p.117) in order to draw meaning from musical works. However, in order for students to be creative listeners and meaning makers, the technical capacities require specific and guided instruction. This is the crux of my project; to plan a sequential, meaningful, and relevant curriculum for the development of music listening skills. Specifically, students should be able to differentiate and discuss the musical elements of pitch/melody, rhythm/meter, dynamics, tempo, articulation, and timbre as they relate to the expressive and structural components of a musical work with a firm understanding of how these elements interact to create a musical whole. Multiple Means of Engagement in Listening: Through this curriculum, I seek to provide my students with opportunities to connect to music through listening via multiple means of engagement: movement, journaling activities, listening guides/puzzle pieces, creative mapping, and group discussion. These activities will focus upon developing my students listening skills and abilities of reflection-in-action (Dunn, 1997). Each listening experience will also provide students with time/space for individual music meaning-making and understanding through music. Listening lessons do not exist as isolated curricular elements in a music classroom. Instead, they will be directly connected with other areas of the music curriculum in order to create a more holistic educational experience that pervades each of the standards as a foundational involvement without which none could be pursued validly (Reimer, 2003, p. 262).

4 RATHGEBER LISTENING CURRICULUM 4 The music listening selections will be from a wide and divergent pool of musical styles and traditions. All musical pieces that are chosen will be authentic representations of nonwestern/ethnic traditions, contemporary art music, classical works, jazz, and popular styles. Also, popular music and non-western styles will be presented as having equal worth as classical traditions. Students will develop an ability to make connections between these diverse musical styles and will be encouraged to bring in musical examples to use in listening activities. Educational Setting: These listening curricular strands will be embedded within a school setting that has a strong music program that focuses on music learning through composition and improvisation. The first grade through fifth grade school is set in a mainly affluent suburban community. A majority of students have access to mp3 players, computers, internet, and music listening technologies like itunes, Pandora, and YouTube. Roughly 25% of the school population come from working class families with limited home access to technology. However, the school provides these students technology, including computers with data plans, that can be checked out from the technology lab. The school has a moderate population of English language learners and a bilingual program for Spanish speakers. Students receive two half hour music sessions each week. The music classroom relies on a student-centered/constructivist model for learning. Currently, focused listening activities account for less than 25% of the class time. Students display a beginning to moderate level of focused listening skills and are often limited in their ability to discuss and describe musical works. However, within the last year, students have been taking part in many at-home listening experiences as pseudo-assignments for music class as a means of developing more listening

5 RATHGEBER LISTENING CURRICULUM 5 opportunities. Using a classroom website, students are provided with musical examples and YouTube performance videos that they can independently listen/watch in order to become familiar enough with the works to discuss them in class. Parents have been largely supportive with such at-home work. In addition, music is largely integrated into non-music classrooms via collaborative interdisciplinary work, and teachers often ask for musical selections to use as creative writing prompts and/or as a supporting element for curricular concepts.

6 RATHGEBER LISTENING CURRICULUM 6 Curricular Model and Goals: The overall structure of such a curriculum could easily become obscured and unintentionally vague due to breadth. Therefore, in order to create the most cohesive and orderly creative listening threads, the work of Wiggins and McTighe (2005) provides the conceptual structure for this curriculum project. Identification of the overall goals becomes of the utmost importance. As such, the goals of this listening curriculum relate directly to the District 96 music targets, which are based upon the National Standards for Arts Education (Consortium of National Arts Education Associations, 1994). Throughout the first through fifth grade curriculum, students are expected to have multiple listening experiences with identifying various sound sources, responding through purposeful movement, and discussing music using appropriate terminology. The entire curriculum is organized to consistently revisit musical concepts and skills at higher and higher levels of refinement from first to fifth grade, relying upon the spiral curriculum discussed by Bruner (1960). Therefore, the broad aims of this curriculum are worded to express the end goals of the overall general music curriculum. These goals shall be the foundation upon which this curriculum is built, however, more specific aims are listed below. All fifth grade students exiting Country Meadows Elementary School will be able to: * Move to listening examples displaying salient musical characteristics: melodic contour, rhythm, tempo, meter, form, and expressive elements (dynamics, articulation, and accent).

7 RATHGEBER LISTENING CURRICULUM 7 * Identify and discuss common musical terminology displayed in listening examples. The basic level of terminology includes melody/melodic contour, rhythm, tempo, meter texture/ harmony, dynamics, form, mood, timbre, and articulation. * Apply creative thinking to listening examples through purposeful movement, inventednotation/mapping, and journaling/listening log prompts. * Make use of critical listening skills regarding student and professional performances in order to make informed musical choices in relation to musical preference. * Apply listening skills toward performance, improvisation, composition, and analytical engagement with musical works, especially through the use of playing-by-ear (developed and assessed in performance curricular strand).

8 RATHGEBER LISTENING CURRICULUM 8 Scope and Sequence: This curriculum is comprised five grade level listening strands and its overall structure is built upon Bruner s (1960) concept of a spiral curriculum, where concepts are introduced at one grade level and revisited at each succeeding grade level. With such a broad curriculum, it becomes necessary to develop some grade level specific goals, descriptions, and curriculum charts as to clarify each step along the path towards developing listening skills from first to fifth grade. Below one will goals and descriptions for each grade. In the appendix (A-E) grade level charts indicate the listening strands paths horizontally indicating the foci for each strand through time in two week intervals throughout the three trimesters of the school year and vertically displaying how each strand connects and relates to the other strands in order to create a holistic music education. Each grade level also has one or two curricular foci that will be discussed in greater depth in the following pages. First Grade Scope: Students entering first grade often have had varied and rich musical experiences at home, but may have limited music educational experiences and/or exposure to musical terminology. Therefore, the overall curricular focus for first grade is to develop a basic level of musical understanding regarding musical terminology, including tempo, melody/contour, rhythm, and instrumentation/timbre. As seen on the First Grade Scope and Sequence Chart (Appendix A), a great deal of the curricular strands, specifically the listening strand, display this focus and/or will incorporate discussions and experiences aimed at developing students understanding and awareness of these basic concepts. Also, in connection to District 96 s emerging social-emotional

9 RATHGEBER LISTENING CURRICULUM 9 learning targets, first grade music instruction will place a great level of attention on cultivating an awareness of mood in music via how composers depict mood in their works. A great deal of emphasis will be put on displaying musical listening through movementbased, listening guides/puzzle pieces, and drawing-based journaling activities. As students progress from first grade through fifth, the reliance upon specific multiple means of engagement in listening discussed earlier will be relied upon as necessitated by student need and interest. End of the year listening goals for first grade students are: * Move to listening examples displaying musical characteristics (melodic contour, rhythm, tempo, and basic expressive elements) with teacher prompting. * Identify and discuss common musical terminology (tempo, melody/contour, rhythm, instrumentation, and mood) in musical examples. * Identify and discuss mood in musical examples through journaling and drawing. Second Grade Scope: The second grade music curriculum focuses greatly upon developing students understanding of the interaction of music and culture (see Appendix B), which is a focus of the school-wide second grade curriculum. Students will discover how varied cultures make use of music, and other arts, through discovery of their own cultural settings (class, school, family background, community, state, country, etc.). Throughout the year, students will be encouraged to share and bring to class musical examples that represent themselves and their cultures, especially from their family s ethnic background. This will include a great deal of listening examples, many of which will emerge from class discussion and student discoveries of their own cultural roots. Through these listening examples, students will build upon the musical

10 RATHGEBER LISTENING CURRICULUM 10 terminology learned in first grade and expand their knowledge by exploring timbre through the use of instruments from various cultures, discovering how different cultures create texture in their music and developing an awareness to simple duple and triple meter in musical examples. The focus of culture and music will culminate in a concert in which students will perform exemplar songs from a variety of cultures and their performances will be informed by their listenings of related music. One final aspect that is apparent in the scope and sequence chart involves natural and synthetic sounds. This aspect of the listening strand, along with the composing and performing strands, is an extension of the exploration of timbre in a way that connects to second grade science targets. Students will compare and contrast sound sources including noting the differences between two examples of the same song using different instrumental combinations. End of the year listening goals for second grade students are: * Move to listening examples displaying musical characteristics (melodic contour, rhythm, tempo, form, and dynamics) with teacher prompting. * Identify and discuss common musical terminology displayed in listening examples. The basic level of terminology includes melody/melodic contour, rhythm, tempo, meter, texture/harmony, form (same/different sections), and instrumentation/timbre (natural vs. synthetic sounds). * Apply creative thinking to listening through journaling and musical mapping displaying awareness of melody, rhythm, meter, and texture. * Make use of critical listening skills in assessing student concert performance. Third Grade Scope:

11 RATHGEBER LISTENING CURRICULUM 11 The overall third grade music curriculum focuses on developing a greater sensitivity towards rhythm, acknowledging simple forms in musical examples, and honing students understandings of expressive musical terminology (dynamics, tempo, and articulation). The listening strand (Appendix C) makes use of hip-hop music and other American musical styles to explore the above musical features. Also, listening examples will be used to connect to classroom learning targets regarding the solar system and mythology through Holst s The Planets, as well as exploring poetry and character personification through Saint-Saëns s Carnival of the Animals in conjunction with poetry written by Ogden Nash. At this grade level, listening activities will begin to involve a higher level of student creative thinking and encourage the use of more sophisticated articulations of student musical perceptions. It is useful to know that also during this grade level, students will be learning to play recorder. Listening selections will be used to help students develop independent listening and playing skills. Students will listen to musical examples and be encouraged to more informally arrange simple instrumental versions of the songs in a manner similar to that of Musical Futures (D Amore, 2008). From this grade level on, a greater emphasis will be placed upon how student listening abilities are connected to their musical performance skills. End of the year listening goals for third grade students are: * Move to listening examples displaying musical characteristics (melodic contour, rhythm, tempo, form, dynamics, and/or articulations) with some teacher prompting. * Identify and discuss common musical terminology displayed in listening examples. The basic level of terminology includes melody/melodic contour, rhythm, tempo, texture/

12 RATHGEBER LISTENING CURRICULUM 12 harmony, form (same/different sections, repeating sections, common types of forms), instrumentation/timbre, and expressive elements. * Apply creative thinking to listening through journaling and musical mapping displaying awareness of melody, rhythm, meter, texture, and articulation. * Make use of critical listening skills in comparing two different musical performances. * Apply listening skills toward performance, improvisation, composition, and analytical engagement with musical works, especially through the use of playing-by-ear (developed and assessed in performance curricular strand). Fourth Grade Scope: During their fourth grade year, students at Country Meadows Elementary School will continue to deepen their understanding of common musical terminology learned in the previous years of music class. The fourth grade music curriculum (Appendix D) centers around exploring major and minor tonality and furthering students understanding of timbre and texture through indepth study of different ensemble types (orchestras, pop bands, jazz bands, gamelon ensembles, etc.). Within the discussion of ensemble types, students will further explore jazz music and history. Students will add to their awareness of simple duple and triple meter to include jazz s swing feel, complex meters, and less common meters. The curriculum s focus on jazz music connects music class to general social studies targets. The fourth grade music curriculum also involves a deeper study of musical performance through more technique developing activities for recorder and an instrumental/vocal concert performed with the fifth graders. This concert will be based upon student musical selections and research into interesting and influential musical styles and periods (such as the music of the

13 RATHGEBER LISTENING CURRICULUM s). Throughout the concert preparation, listening will be relied upon as students informally learn and arrange musical works for performance in class and at the concert. End of the year listening goals for fourth grade students are: * Move to listening examples displaying musical characteristics (melodic contour, rhythm, tempo, form, and expressive elements) with minimal teacher prompting. * Identify and discuss common musical terminology displayed in listening examples. The basic level of terminology includes melody/melodic contour, rhythm, tempo, texture/ harmony, form, instrumentation/timbre, ensemble, expressive elements, and tonality. * Apply creative thinking to listening through journaling and musical mapping displaying awareness of melody/melodic contour, rhythm, tempo, texture, instrumentation, ensemble, form, and expressive elements. * Make use of critical listening skills in critiquing student and professional performances. * Apply listening skills toward performance, improvisation, composition, and analytical engagement with musical works, especially through the use of playing-by-ear (developed and assessed in performance curricular strand). Fifth Grade Scope: Fifth grade is the capstone grade for students at Country Meadows as they conclude their elementary education. As such, the music curriculum (Appendix E) requires students to apply higher level thinking and perform more sophisticated work in music class. The fifth grade listening curricular strand builds upon students past music experiences and education with a greater level of attention upon more specific musical forms, an exploration of basic chord progressions (those including I, IV, V, and/or vi chord), and a primer on Western Art Music

14 RATHGEBER LISTENING CURRICULUM 14 History. Also, as with the fourth graders, students will focus on developing a greater level of instrumental performance through the study of recorder, band instruments, and/or student selected instruments. This study will again make use of a large degree of learning-by-ear to develop techniques and repertoire. Fifth grade students will perform a concert with the fourth grade students based upon student musical selections in relation to influential musical styles and period (such as the music of the 1980 s). Through the fifth grade listening strand, students will be focusing much less on using movement to display what they perceive through listening to music and much more on journaling/listening logs and intricate musical mappings. At the end of fifth grade, students should have met or be close to meeting the broad goals set forth earlier in this paper (pp. 6-7).

15 RATHGEBER LISTENING CURRICULUM 15 Content: Work Selection Criteria: When selecting music for use in the classroom listening curriculum and performance repertoire, teachers must attempt to recreate the rich musical tapestry present in our students lives. As such, no one musical style, genre, or tradition should be favored at the detriment of other worthy musical options. Western art music provides many exemplar musical works that students will encounter in their daily lives either through concerts, cartoons, or commercials. Classical music does not represent the entirety of good music and it is often very removed from what my students consider their music or music that they might choose to listen to on their own accord. For many of my students, popular music represents the majority of their musical world. Rodriquez (2004) notes that we must meet our students need and right to learn more about the music that surrounds them (p. 13). Therefore, popular music selections will be well represented in this listening curriculum. Non-western/world music traditions provide a deeper and broader view of music s multifaceted nature. The inclusion of authentic non-western works can be very tricky for the novice music educator. The current curriculum s repertoire does not include a wide enough array of non-western examples through every grade level. I plan to seek out more exemplar nonwestern works through personal study to remedy this area of concert. To assist in this, I have created a list of non-western musical sources and music educational references (Appendix F). Overall, non-western, classical, and popular musical styles shall be utilized when seeking listening examples for these listening curricular strands.

16 RATHGEBER LISTENING CURRICULUM 16 Since musical traditions shall not dictate musical selection, listening examples shall be chosen using the criteria below (Allsup, 2010; Abril, 2006; Barrett, 2011; Wiggins, 2001): * Intrinsic Educational Value: Examples must be selected for their intrinsic educational worth. Listening selections should display relevant musical elements that are connected to listening curriculum goals and/or connected to other curricular areas. When listening examples are used to introduce new musical concepts, it is important that these relevant musical elements are obvious and exposed (Wiggins, 2001, p. 64). With more experiences, more complex works that display musical elements in a less obvious manner should be used. * Real World Familiarity: Examples should represent musical works that are analogous to works students will experience in the real world. Listening examples that students might naturally happen upon in their everyday lives and/or are connected to other curricular goals (such as music for concert performances) should be chosen. This criteria is less applicable to non-western musical selections as they are often alien to many students, yet still valuable. * Authenticity: When applicable, musical examples should be authentic with respect to genre or tradition. This is especially important, and often much more difficult, for nonwestern musical selections. Selections should have a high degree of cultural validity, a low level of bias, and recognizable by members of the background culture. * Personal Value: Examples should be judged as valuable by the teacher and/or the students. Listening selections that either the teacher or students are enthusiastic about will often help lead to enjoyable and engaging activities and discussions.

17 RATHGEBER LISTENING CURRICULUM 17 * Availability: Examples should be easily found by students for independent listening at home. With the prevalence of itunes, Youtube, and other digital music services, students will often want to have school listening examples available to them for their own listening and enjoyment. Therefore, if possible, teachers should select music that students can seek out on their own and/or tell students where they might find class listening examples. * Duration: Examples should be age appropriate regarding duration. Younger students often display shorter attention spans than older students, so listening selections for younger students may need to be shorter than those used with older students. * Represent Multiple Backgrounds: Examples should represent a variety of styles, genres, forms, and ensemble types. * Repeatability: Examples should be able to sustain students interest and appeal over repeated listening. Only through repeated listenings can students come to know and be familiar with a piece of music to a level that will allow them to listen deeply and draw meaning from it. * Openness: Examples should offer room for both student and teacher growth and discussion. In this openness, the authority of one party regarding a musical work should not impede personal interpretation of the piece by the other part. * Student-Directed: Students should be allowed opportunities to provide musical works to be shared in class. Examples of Grade Level Listening Repertoire:

18 RATHGEBER LISTENING CURRICULUM 18 The following listening examples are selected in relation to the above criteria and have been categorized by grade level and for each of the multiple means of engagement in listening. Many of these are suggestions for repertoire to be used, though it is unreasonable to expect each be given the same level of detailed listening. This is in no way an authoritative listening of the only musical works appropriate to be used in the curriculum and should be seen merely as a guide. First grade. Group Discussion Movement Journaling Listening Guide/Puzzle Pieces Mapping Washington Post March, Sousa Star Spangled Banner, Yellow Submarine, the Ballet of Unhatched Mormon Tabernacle Choir Beatles Chicks, Mussorgsky Morning Mood, Grieg Maki Madani, Kahn & Trucks Aquarium, Saint-Saëns Party Rock Anthem, Kidz Bop version Bubblehouse, Medeski, Martin, & Wood Peter and the Wolf, Prokofiev Star Spangled Banner, Houston Star Spangled Banner, Hendrix Nuestro Himno, Peter and the Wolf, Prokofiev Pictures at an Exhibition, Mussorgsky Shanti Mantra, Shankar Each of Us is a Flower, Miss Lisa Each of Us is a Flower, Miss Lisa Pictures at an Exhibition, Mussorgsky Misc. music from Korea, China, Japan, Greece, Liberia, Mexico, and Brazil Second grade. Group Discussion Movement Journaling Listening Guide/Puzzle Pieces Mapping Arirang, Dream Techno Kajo, West African Highlife Old Dan Tucker, Music Springsteen So What, Davis Sing, Sing, Sing, Goodman Shanti Mantra, Shankar Get on Board, Buckwheat Jiddish Waltz, Kelzmer Zydeco Music Poetry La Bamba, Azzara Music Recording of student performance Examples of music with ostinatos

19 RATHGEBER LISTENING CURRICULUM 19 Group Discussion Movement Journaling Listening Guide/Puzzle Pieces Mapping Jiddish Waltz, Kelzmer Brandenburg Concerto No. Music Poetry 3, Switched on Bach Kids, MGMT Party Rock Anthem, Kidz Bop Little Folks, Roach Spirits in the Material World, the Police Sweet Child of Mine, Guns and Roses Tamati, So-So, Masekela, So What, Davis Get on Board, Peacock Brandenburg Concerto No. 3, Traditional version Telephone and Rubber Band, Penguin Cafe Orchestra Examples form Korea, China, Germany, Greece, Brazil, Mexico, Native American cultures, and other cultures relating to cultures of students in the class Musical example from Ali Kahn Is There a Ghost, Band of Horses Student peer compositions Third grade. Group Discussion Movement Journaling Listening Guide/Puzzle Pieces Mapping Hip-hop examples featuring dances Don t Stop Planet Rock, Bambatta Magic, B.o.B. Currently popular and appropriate hip-hop examples Don t Stop Planet Rock, Bambatta Music of Guthrie, Baez, Mitchell, Sousa, Joplin, Johnson, Raitt, Armstrong, and Kraull Parents Just Don t The Planets, Holst Danse Understand, Jeff and Smith Ramblin on My Mind, Star Wars, Williams Johnson Blowing in the Wind, Dylan The Planets, Holst Carnival of the Animals, Saint-Saëns Ramblin on My Mind, Johnson Carnival of the Animals, Saint-Saëns Mars, Holst Macrbre, Saint- Saëns Piano Etude Op. 10, No. 5, Chopin Sakura Theme from the New World Symphony, Dvorak Gamelon examples Carnival of the Animals, Saint-Saëns Student peer compositions Fourth grade. Group Discussion Movement Journaling Listening Guide/Puzzle Pieces Mapping Songs related to concert Orchestral examples Young Person s Guide to Songs related to concert selections the Orchestra, Britten selections Don t Mean a Thing, Ellington Jazz band examples Gamelon examples My Favorite Things, Anderson

20 RATHGEBER LISTENING CURRICULUM 20 Group Discussion Movement Journaling Listening Guide/Puzzle Pieces Mapping Summertime, Davis version Pop band examples (suggested by students) Giant Steps, Coltrane Basin Street Blues, Fitzgerald Misterioso, Monk Gamelon examples Songs related to concert Bye, Bye, Blackbird, Davis selections My Favorite Things, Young Person s Guide to Get Back, the Beatles Coltrane the Orchestra, Britten Buena Vista Social Club Fables of Faubus, Mingus Animal, Miike Snow Desfinado, Getz Barracuda, Heart Our Prayer, the Beach Boys Help!, the Beatles 21 Guns, Green Day Songs related to concert selections My Favorite Things, Anderson My Favorite Things, Coltrane Mood Indigo, Ellington Nuages, Reinhards Birds of Fire, Mahavishnu Orchestra Dr. Jazz, Morton Basin Street Blues, Fitzgerald Fifth grade. Group Discussion Movement Journaling Listening Guide/Puzzle Pieces Mapping Student selected works Firework, Katy Perry Little Fugue, Bach Songs related to concert selections Firework, Katy Perry Rolling in the Deep, Adele Surprise Symphony, Hadyn Firework, Katy Perry Rolling in the Deep, Adele Go Go Gadget Glow, Lupe Symphony No. 25, Mvmt. 1, Rolling in the Deep, Adele Fiasco Mozart Go Go Gadget Glow, Lupe Fiasco Songs related to concert selections March to the Scafolds, Berlioz Go Go Gadget Glow, Lupe Fiasco Songs related to concert selections Minuet in G, Bach Der Erlkönig, Schubert Minuet in G, Bach Minuet in G, Bach Little Fugue, Bach Example from Stametz Little Fugue, Bach Cannon in D, Pachelbel Der Erlkönig, Schubert Cannon in D, Pachelbel Surprise Symphony, Mvmt 2, Haydn 4 33, Cage Surprise Symphony, Mvmt 2, Haydn A selection from Stametz Poeme Electronic, Varese A selection from Stametz Der Erlkönig, Schubert Der Erlkönig, Schubert Piano Concerto in A minor, Op 7, C. Schumann

21 RATHGEBER LISTENING CURRICULUM 21 Group Discussion Movement Journaling Listening Guide/Puzzle Pieces Mapping Piano Concerto in A minor, Floe, Glass Op 7, C. Schumann Floe, Glass Recorder Concerto, Vivaldi Student form compositions Student compositions

22 Running head: RATHGEBER LISTENING CURRICULUM 22 Instructional Strategies: The following activity descriptions and student prompts represent the different way that students will engage with music listening throughout the listening curricular strand. These activities are aimed at helping students develop their listening skills, cultivate their identification and use of appropriate music terminology, and progress in their ability to physically and visibly represent what they hear. In order to help students make use of musical terminology, it is important to supply students with a vocabulary-rich environment. The teacher should regularly make use of appropriate terminology in instruction and discussion with students as to model how musicians speak to one another. Also, it is very helpful to have a word wall that displays grade-leveled musical terminology and possibly iconic, symbolic, or metaphorical representations of the terminologies to prompt student understanding of the specific words. As such, throughout the year, when new musical terms are introduced in each grade level, the words will be placed on grade-level word walls as a reminder for students and as a visual representation of what has been learned. Movement Activities: Movement is one way in which most children informally connect with music. Students who may have difficulties writing or discussing what they hear in music may more easily be able to display what they perceive in music through movement. These activities will come in the form of either clearly structured and pre-planned movements or less structured, freeform, improvisational movements (Barrett, 2011). Structured movement activities are pre-composed and involve having students move using patterns/sequences of patters or by directing their

23 RATHGEBER LISTENING CURRICULUM 23 attention and movements towards a specific musical element. These activities and pattern sequences will often be teacher generated, however, it is important to allow students the chance to create their own movements for musical examples to allow for their creative expression and as a means for assessing their musical understanding. A few prompts to get students moving to musical examples include: * Find a way to move your body to the beat. Are there any accented or strong beats? How could you show that in your body? * What is the common rhythm in this song? Here is a pattern for our bodies that uses that rhythm. How might you change the movements without changing the rhythm? * Show the dynamics of the music by making your movements bigger when the music is louder and smaller when the music is softer. * As you trace the phrase shapes with your arms, show the articulations with your legs and feet. What other musical element could you still show with another part of your body? * Use your bodies to trace the melodic contour while your feet keep the beat or rhythm. Freeform movement activities are much more personal and often more expressive ways for children to show what they hear in a listening example. Allowing students to freely move to a piece of music will give you a sense of what musical elements the students are automatically attending to. When giving students chances to move to music in freeform activities, the teacher must give students space to move. This space involves physical space as well as intellectual and creative space. Teachers should give students very few directions during such activities. Students may choose to use props (streamer sticks, scarves, bean bags, or character cutouts) when moving. Students may often feel more free to be expressive when they make use of such props. Also, to

24 RATHGEBER LISTENING CURRICULUM 24 impress upon students the importance of such activities, it is very helpful for the teacher to also engage in freeform movement to listening examples. Journaling/Listening Logs: Journaling through free drawing or writing to music as well as by responding to teacher prompts can be highly valuable in order to allow each student an independent opportunity to explore and expand their capacity for creative and informed thinking. For the purposes of this listening curriculum, journaling activities will take place through the use of open drawing/ writing forms and song-specific listening logs. Though some journaling will be done with the whole class, most journaling experiences will come in the form of individual student listening/ response encounters with listening examples through the use of an independent listening station equipped with digital music players (ipods and mp3 players) and headphones. Some out of school listening homework or free exploratory exercises will be given via a password protected school website featuring listening examples along with print and digital (googleforms) versions of the listening logs. One journaling activity will involve drawing/writing to musical works. The teacher will provide a single prompt for students to think about and respond to in whatever visual representative manner they so choose. Examples of such prompts might include: * Draw what you hear. * Using three boxes, explain how the music has a beginning, middle, and end. * Listen to the music and create a story that the music could be used as a soundtrack to. Draw a picture(s) or write words to show your story. (Appendix G) * What way could you use this piece of music in your everyday life?

25 RATHGEBER LISTENING CURRICULUM 25 Another more focused drawing/writing response to listening might include the use of a plot diagram that many students use in their home classrooms and with reading/writing coaches. This form (Appendix H) prompts students to think about the overall form of a piece of music and make some judgements about the way in which tension/release are realized in the work. Grade appropriate listening logs (Appendices I-M) will be used to help students structure their thinking prior to having them attempt more extensive journaling. Often, the listening logs will provide students with iconic and symbolic representations of tempo, meter, and expressive elements as well as mood indicators and/or a blank face and space for students to identify different moods not suggested on the log. Starting in third grade, some listening log activities will include numbered sequences where the teacher will call out a number and have students reflect on what is happening at the precise movement in the music (Appendix K). Another common journaling activity to be used involves comparing and contrasting two versions/ arrangements of the same piece of music (Appendix N). In general, listening log prompts will be tailored specifically towards grade level goals and specific listening example characteristics. Listening Map/Puzzle Pieces Activities: Listening maps and puzzle pieces are visual reconstructions of sounding objects used to guide students through a musical work while drawing their attention to specific elements of the music. For this curriculum, listening maps will often be employed to help students notice texture changes, instrument entrances, or elements of the plot. An example of using a listening map to guide students through plot in an effort to help them identify how a composer uses musical cues to express emotion and develop characterizations would be when listening to Schubert s Der Erlkönig (Appendix O). Other exemplar listening maps can be found in Silver Burdett s Making

26 RATHGEBER LISTENING CURRICULUM 26 Music and John Jacobson s Music Express Magazine, however, over the year, I will attempt to create many more of my own listening guides. It will also be helpful to create and use PowerPoint and Keynote video listening guides. Listening puzzles and puzzle pieces are simplified listening guides that have been cut up. By providing students these puzzle pieces, they must use their aural perception skills to organize the pieces and put the entire listening guide together (Wiggins, 2001). Such listening puzzles will often be used in small groups of students so that they can collaborate. Listening puzzles can make use of iconic or symbolic notations (Appendix P) or form-based/text-based elements (Appendix Q). Mapping Activities: Similar to listening map activities, mapping activities follow iconic or symbolic representations of sound, and allow students to display their listening abilities and music perceptions by having them construct these listening guides. Mapping activities assist students in developing their own ways of notating what they hear and give them a chance to comment on the personal meanings that draw from the multifaceted nature of music listening and meaningmaking. These activities build upon the work of Dunn (1997; 2006) and require students to attend to one or more salient musical elements for representation on a visual score. For earlier grades, this may manifest itself through melodic contour mapping. In later grades, students will be expected to make notes of not only the melodic contour of a lead instrument, but also the elements of texture, expressivity, and rhythm. When asking students to make their musical perceptions, it is important to given them many chances to listen to the piece and think through what they hear. With each listening, the

27 RATHGEBER LISTENING CURRICULUM 27 teacher may either give students another chance to complete a single step or give them another prompt to guide them towards the inclusion of higher levels of musical perception and thinking. Below is an example of mapping prompts for a third grade listening activity using Saint-Saëns Hens and Roosters from Carnival of the Animals. An example map can be found in Appendix R. 1) For the first few listenings, think about how many musical layers there are and select some colors to represent those layers on your map. 2) Now, use the colors to map out each layer. Remember to think about pitch level, melody, rhythm, articulation and/or dynamics. 3) Now that you have mapped out each layer, label each one as it comes in with the name of the instrument you think it is. 4) Listen to the music and follow your map. Make any corrections needed. 5) This time, break the piece up into sections and label those sections with numbers and lines. Use a pencil for these markings. 6) Switch maps with a partner and follow their map while you listen. Afterwards, discuss any area of the map that is confusing or that you found particularly useful. Do your maps share any similarities? 7) Return your partner s map. With your own map, think up a story and write it on the top with pencil. Use the sections you marked as individual events in your story. 8) Share your story with a different partner. Listen and follow along with their story. Discuss any similarities or differences in both of your stories.

28 RATHGEBER LISTENING CURRICULUM 28 9) Return you partner s map. Follow your map and story one final time. Make any revisions as needed. Guiding Group Discussions: Group discussion will occur throughout every other one of the multiple means of engagement in listening. This integral aspect of any education experience allows teachers and students to collectively make meaning of musical works. The interplay of ideas between both parties can greatly help develop a more democratic and constructivist atmosphere within the classroom (Abrahams, 2005). However, good group discussion does not occur by chance; it requires forethought and careful planning so that discussions are enjoyable, engaging, and enlightening for all involved. Therefore, for the purpose of this listening curriculum, the following discussion prompts will help guide students discussion. It is important to note that the goal of teacher-guided discussions using prompts and discussion techniques is so that students take over the reins of discussions by making use of the modeled discussion skills. Group discussions need not only take place in the classroom. In order to engage students in at-home listening, discussion board website tools will be utilized for homework assignments. In assist in guiding group discussion, the following prompt can be used and adapted. First grade. * How does the melody move? Does it move mostly upwards, downwards, or does it stay the same? How does the melody s movement keep you interested? * How would you describe the tempo or speed of the music? What would happen to the music and/or mood of the song if the tempo was different?

29 RATHGEBER LISTENING CURRICULUM 29 * What instruments do you hear? Why do you think the composer chose these instruments? How do these instrument help tell the musical story or create the mood? How would the music, story, or mood change if we picked different instruments? * If you were the composer, what would you do differently? What would you change about this song? What do you think these changes might do to the feel, mood, or story of the song? * Do you like this piece of music? If so, what about it makes it enjoyable? If not, what about it do you dislike and how would you change it to make it more enjoyable? Second grade. * How would you describe the melody s contour or movement? Does the melody s shape remind you of any other songs or something else (non-musical)? * How would you describe the rhythms? Does the music move mostly by long or short sounds? How are the long and short sounds combined to create something interesting? * What instruments do you hear? What culture could these instrument be from? Do these instrument have similar timbres to musical instruments that you are more familiar with? Are the sounds natural or synthetic? How would the music, story, or mood change if we picked different instruments? * How would you describe the meter of the music. What groups of beats does the music move in? How would the music sound if the meter was different? * How would you describe the texture of the music? How many layers do you hear? Can you describe the layers? Is the texture consistent throughout the entire song or does it

30 RATHGEBER LISTENING CURRICULUM 30 change? If it changes, can you describe how it changes and how the changes effect the feeling of the music? * Are there different sections of this song or is it all the same? How does the composer/ performers make different sections (instruments, texture, melody, rhythm, tempo)? * How do you feel about this piece of music? Would you listen to it on your own? Why or why not? Third grade. * How would you describe the melody of this musical example? * How would you describe the rhythms? How are the sounds grouped (meter)? Are there patterns of rhythms? If so, what are they and what do they do to help carry the music along and/or create a sense of mood? * How would you describe the dynamics and articulation of this piece of music? How are they used? Do they create tension, develop mood, or something else? * What instrument do you hear? How are the instruments combined to create texture? How would you describe the textures? Do they change or stay the same throughout? * How does this piece of music connect to non-musical things that you have learned about in class (interdisciplinary connections)? * How could you describe the form of this song? How does the composer/performers create same and different sections (instruments, texture, melody, rhythm, tempo, dynamics, articulation)? * Would you listen to it on your own? Why or why not? What would you change about this piece of music to make it more like the music you choose to listen to?

31 RATHGEBER LISTENING CURRICULUM 31 Fourth grade. * How could you describe the melody of the music? How does the composer/performer use it to create interest and/or tension? Is it predictable or memorable? How might you change it if you were the composer? * How could you describe the rhythm? What is the meter and how does it work in the piece of music to create a sense of unity? Can you describe the rhythms in this piece? Are there any common rhythms that keep coming back to create unity? Are there any rhythms that are surprising to you? What do you think the surprising rhythm is meant to make you think or feel? * Can you describe the form of the music? * What expressive elements are used in this composition? Are they used effectively? Why or why not? What might you do differently? How would this change the overall feel or mood of the music? * What instruments are used in this piece of music? How are they combined to create texture and how does the texture change throughout the piece? Can these instrument combinations be described as one of the ensemble types we have discussed? Would this piece of music be different in mood, interest, or style if the instruments and/or ensemble type was different? * Is this piece of music in Major or minor tonality? How does the choice of tonality add to the mood and/or sense of drama of the piece? Does the tonality ever change? If so, how does this change affect the mood and drama of the piece?

32 RATHGEBER LISTENING CURRICULUM 32 * Is this piece of music composed of performed well? What makes this piece/performance quality? Of, what about this work/performance make it not so good in your opinion? * Have you ever heard this piece of music before? If so, where and what was it used for? * Does this piece of music connect to non-musical things that you have learned about in class (interdisciplinary connections)? * How do you feel about this piece of music? Would you listen to it on your own? What about it makes it something that you would listen to? What about it makes it something that you would not choose to listen to? Fifth grade. * How could you describe the melody of the music? How does the composer/performer use it to create interest and/or tension? Is it predictable or memorable? How might you change it if you were the composer? * How could you describe the rhythm? What is the meter? How does the meter work to create a sense of unity in the piece? Can you describe the rhythms in this piece? Are there any common rhythms that keep coming back to create unity? Are there any rhythms that are surprising to you? What do you think the surprising rhythm is meant to make you think or feel? * Can you describe the form of the music? What are the different sections of this piece of music and what musical elements define these different sections? What section is the most catchy? What about it makes it so catchy? * What expressive elements are used in this composition? Are they used effectively? Why

33 RATHGEBER LISTENING CURRICULUM 33 or why not? What might you do differently? How would this change the overall feel or mood of the music? * What instruments and/or ensemble types can be heard in this piece of music? How are they combined to create texture, and how does the texture change throughout the piece? Would this piece of music be different in mood, interest, or style if the instruments and/or ensemble type was different? * How would you describe the tonality and chord progressions of this piece? * Can you describe the harmony? How does the composer structure and use the harmony? * Is this piece of music composed of performed well? What makes this piece/performance quality? Of, what about this work/performance make it not so good in your opinion? What would make this piece/performance better? * Have you ever heard this piece of music before? If so, where and what was it used for? * Does this piece of music connect to non-musical things that you have learned about in class (interdisciplinary connections)? * How do you feel about his piece of music? Would you listen to it on your own? What things do you consider important when you are choosing music to listen to on your own?

34 RATHGEBER LISTENING CURRICULUM 34 Assessment: Assessments for Multiple Means of Engagement in Listening: Assessment of student learning is of the utmost importance in order to measure student listening skills development and growth. Music educators make use of formative and observation-based assessment techniques regularly to help guide student s learning, however, many of these assessments do not make it into the grade book or student s final grade. It must be noted that each individual listening experience need not be formally assessed and/or measured for use in grading, but that they should provide the teacher with useable data to help formulate each successive listening experience. Also, it is important to note that no one assessment style would be appropriate for use with all the multiple means of engagement in listening and, therefore, what follows more thoroughly explains the different assessment techniques and tools to be used for each mean of engagement. Movement. Assessment of students purposeful movement as a response to listening will take form in two different styles: teacher rubric evaluations and student group critiques. Teacher rubrics will be used to either assess the entire group or individual students in a more formalistic manner as to lead to more clearly defined instruction regarding specific details of movement abilities. The teacher will make use of an altered rubric for individual student summative assessments at the conclusion of a specific listening experience that has occurred with multiple listening/movement activities. These assessment activities can occur in real time, however, it will be more useful to video record the movement performances for assessment later on. The recordings could also be assessed by students collectively. Example rubrics shown below have been adapted from Barrett s (2011) Rubric for assessing student s abilities to describe music

35 RATHGEBER LISTENING CURRICULUM 35 through moving. The musical element criteria may changed based upon the focus of the specific listening lesson. Rubric for Assessing Class/Group Listening Skills: Moving to Music Class: Date: Musical Example: Elements Description Quantity of observations in class Children 0-2 students A few students - less than half Over half of students Most or all students synchronize with beat of music. Rhythm change when tempo changes. display emphasis of meter. start and stop with music. show phrases and sections. Form repeat movements with repeated musical material. show contrasting movements when music changes. Melody Expressive elements show contour. display awareness of dynamic contrast. show awareness of articulation. Notes:

36 RATHGEBER LISTENING CURRICULUM 36 Rubric for Assessing Individual Student Listening Skills: Moving to Music Student Date: Musical Example: Elements Description Consistency of Elements Displayed Student Rarely or never Occasionally (less than half of the time) Often (more than half of the time) Consistently synchronizes with beat of music. Rhythm changes when tempo changes. displays emphasis of meter. starts and stops with music. shows phrases and sections. Form repeats movements with repeated musical material. shows contrasting movements when music changes. Melody Expressive elements shows contour. displays an awareness of dynamic contrast. shows an awareness of articulation. Notes: In order to allow students to assess and discuss each other s listening/moving skills, students will develop abilities to engage in group discussion critiques. These discussions for

37 RATHGEBER LISTENING CURRICULUM 37 movement activities will be initially introduced to students via prompts provided by the teacher. Using these prompts, the students will engage in critiquing the teacher s movements and then move on to critiquing video recordings of their class movements. After this process has been modeled and practiced, students will begin to watch and critique small groups of students movements to listening examples. Discussion critique prompts are adapted again from Barrett (2011) and include: * Did the group start and stop with the music? * Did the group show the form of the musical example? - Did they use similar movements for repeated sections? - Did they use different movements to show different sections? * Did the group trace the contour of the melody with their movements? * Did the group keep with the beat and tempo? * Did the group show dynamics, articulation, or accents with their movements? Journaling. Journaling activities are useful as a way of engaging every student as a thinker and musician (O Toole, 2003). As such, the purpose of these activities need not be directed towards traditional declarative assessments due to the more personalized nature of journaling activities. Therefore, the assessment of journaling activities, including drawing and listening logs, will be reviewed by the teacher, who will comment on student responses using guiding questions to help students develop more sophisticated listening and response skills. Such guiding questions are adapted and/or inspired by Shaping Sound Musicians journaling prompts (O Toole, 2003): * Tell me more about this. Why do you think the composer or performers did this?

38 RATHGEBER LISTENING CURRICULUM 38 * What specifically about this musical example caused you to feel this way? * How might the mood/style/etc. change if the composer made a different instrument/ rhythm/dynamic/articulation/mood (select one) choice? It is important to note that journaling can be used as a more summative assessment by focusing journaling prompts on declarative types of music listening, identifying skills, and/or the use of appropriate musical terminology in written responses. In these cases, the following rubric, adapted from Barrett (2007), will be employed. Rubric for Assessing Individual Student Listening Skills: Journaling Student: Date: Listening Example: Student response: uses grade-level appropriate music terminology when describing musical elements. Little use of musical terminology and/or terminology is inaccurately used. Some use of musical terminology. Appropriate and accurate musical terminology is used frequently. Appropriate and accurate musical terminology is used to skillfully describe the music. uses expressive language to convey mood or character of piece. Little use of expressive language. Some expressive language is used. A great deal of expressive language is used. Expressive language is used in a skillful and appropriate manner. adequately answers the given prompt. Response does not answer the prompt. Response vaguely attempts to answer prompt. Response somewhat adequately attempts to answer prompt. Response fully answers the prompt. Notes: Listening guides and puzzle pieces. Assessing learning when students follow listening guides and/or interact with iconic and form-based listening puzzles involves a great deal of teacher observation and student reflection. More formative assessment strategies can be used to

39 RATHGEBER LISTENING CURRICULUM 39 assess student abilities to follow along with listening guides. One such observational technique could be to stop the music and have students show the teacher and/or other students where they are on the listening map (Barrett, 2011). As for puzzle piece lessons, student puzzle solutions can be directly assessed for understanding and/or the teacher may ask students to explain their solutions and/or comment on the different musical elements displayed by the puzzle pieces. Puzzle piece assessments can also provide for more summative assessments with student solutions being rated on a four point scale of: 1) does not display awareness of musical concepts, 2) inconsistently displays awareness of musical concepts, 3) consistently displays awareness of musical concept with assistance, and 4) consistently and independently displays awareness of musical concept. Creative mapping. Student-created listening maps will be assessed through students verbal and written reflections as well as by using a teacher/student checklist. Students will be prompted to discuss their musical maps with other students and with the teacher, and explain what their iconic and symbolic notations indicate about the music. Also, students will be asked to express the associations to other musical works or extra-musical responses that the listening example and/or mapping experience allow for (Dunn, 2006). These indications can provide for informal, formative assessments that allow teachers to come to understand their students thought-process and transfer skills that will assist in developing further musical listening experiences. As for the more summative teacher/student assessment, the following checklist, adapted from Barrett (2011), will be used by either being completed by the student and teacher individually and then compared or in the form of a conferring session.

40 RATHGEBER LISTENING CURRICULUM 40 Checklist for Assessing Individual Student Listening Skills: Creative Mapping Name: Date: Musical Example: Student map displays Yes No N/A steady beat/pulse. Rhythm long/short sounds. fast/slow tempo. meter (grouping of 2 s and 3 s). high/low sounds. Melody intervalic shaping. contour (move up, down, stays the same). phrase or section breaks. Form section differences. sections that repeat. Texture Expressive elements one musical idea at a time. more than one musical idea at a time. loud/soft sounds (dynamics). smooth/choppy sounds (articulation). Notes: Group discussions. Assessment of group discussions can be used formatively so the teacher knows which areas in a musical examples students are and are not attending to so that intervention-like activities can be developed Also, group discussions can be used to assess the entire class in their ability to knowledgeably discuss listening examples while making use of

41 RATHGEBER LISTENING CURRICULUM 41 appropriate music terminology. In the latter case, a modified rubric similar to that used for assessing student journal responses will be used. Rubric for Assessing Class/Group Listening Skills: Discussion Class: Date: Listening Example: Musical Terminology Description Quantity of Appropriately Used Musical Terminology In class discussions, students describe students A few students - less than half Over half of students Most or all students steady beat/pulse. Rhythm tempo and tempo change. meter. register. Melody interval. melodic contour. phrase. Form sections (repeating and contrasting). common forms (binary, rondo, etc.). layers. Texture instrumentation/ timbre. ensemble type. changes of texture. Expressive elements dynamics. articulation. mood. Notes:

42 RATHGEBER LISTENING CURRICULUM 42 Final assessment and grading. At the conclusion of each trimester and at the end of the entire school year, students and teachers will engage in a conference to assess student progress and skill development. All artifacts of a student s work and assessment tools will be included in a listening portfolio. Students will select exemplar artifacts and assessments from their portfolio to be evaluated for growth and higher levels of sophistication over the grading period. Also, the teacher will provide students with leveled goals in order to help them measure their progress.

43 RATHGEBER LISTENING CURRICULUM 43 References: Abrahams, F. (2005). The application of critical pedagogy to music teaching and learning. Visions of Research in Music Education, 6. Retrieved from v6n1/visions/abrahams%20the%20application%20of%20critical%20pedagogy.pdf Abril, C. R. (2006). Music that represents culture: Selecting music with integrity. Music Educators Journal, 93(1), Allsup, R. E. (2010). Choosing music literature. In H. F. Abeles & L. A. Custodero (Eds.), Critical issues in music education: Contemporary theory and practice (pp ). Oxford, UK: Oxford University Press. Anderson, T., Ball, W., Brumfield, S., Day, J., Dilworth, R., Emerson, R., et al. (2012). John Jacobson s music express. Milwaukee, WI: Hal Leonard Corporation. Barrett, J. R. (2007). What do children learn through music listening? [unpublished document prepared for Ravinia Professional Development Institute]. Evanston, IL. Barrett, J. R. (2011). Creating meaningful listening experiences for children: A primer [unpublished document prepared for Ravinia Professional Development Institute]. Evanston, IL. Beethoven, J., Brumfield, S., Campbell, P. S., Connors, D. N., Duke, R. A., Jellison, J. A., et al. (2002). Silver Burdett making music. Lebanon, IN: Pearson. Bruner, J. (1960). The process of education. Cambridge, MA: Harvard University Press. Consortium of National Arts Education Associations. (1994). National standards of arts education: What every young American should known and be able to do in the arts. Laham, MD: Rowan & Littlefield Education.

44 RATHGEBER LISTENING CURRICULUM 44 D Amore, A. (Ed.). (2008). Musical futures: An approach to teaching and learning, resource pack (2nd ed.). London, UK: Paul Hamlyn Foundation. Dunn, R. E. (1997). Creative thinking and music listening. Research Studies in Music Education, 8, Dunn, R. E. (2006). Teaching for lifelong, intuitive listening. Arts Education Policy Review, 107(3), Kerchner, J. L. (1996). Creative music listening. General Music Today, 10(1), Mills, J. (2009). Music in the primary school (3rd ed.). Oxford: Oxford University Press. O Toole, P. (2003). Shaping sound musicians: An innovative approach to teaching comprehensive musicianship. Chicago: GIA Publications, Inc. Reimer, B. (2003). A philosophy of music education: Advancing the vision (3rd ed.). Upper Saddle River, NJ: Prentice Hall. Rodriquez, C. X. (2004). Popular music in music education: Towards a new conception of musicality. In C. X. Rodriquez (Ed.), Bridging the gap: Popular music and music education (pp ). Reston, VA: MENC. Wiggins, G., & McTighe, J. (2005). Understanding by design (2nd ed.). Alexandria, VA: Association for Supervision and Curriculum Development. Wiggins, J. (2001). Teaching for musical understanding. New York: McGraw Hill Higher Education.

45 RATHGEBER LISTENING CURRICULUM 45 Appendix A First Grade Scope and Sequence Chart Target Areas Trimester 1 Performing Music Singing August September a September b October a October b November a Singing: Echo singing exercises; Singing: Circle game songs, Evaluating our singing: Developing School song; Patriotic music beginning of Star Spangled Banner criteria Playing Instruments Playing classroom percussion instruments to accompany songs Creating Music Listening to Music Understanding Music s Connections Reading Music Move to the Beat: Washington Post March; Morning Mood Compose 4x4 square beat songs Move to the Tempo: Maki Madani; Aquari ium; Party Rock Anthem (Kidz Bop); Bubblehouse Improvising call and responses Multiple versions of our national anthem: Other countries national anthems Compose our own class or group anthem Journaling Preference and critique of different versions of Star Spangled Banner: Hendrix, Mormon Tabernacle Choir, Nuestro Himno, Whitney Houston Steady beat and tempo in iconic notation History of the Star Spangled Banner Evaluating and critiquing music, writing, artwork, and behavior Targets Performing Music Singing Playing Instruments Creating Music Listening to Music Understanding Music s Connections Trimester 2 November b December January a January b February a February b Introducing Orfff instruments. Playing xylophone ostinai and adding simple percussion parts Fun with rounds and vocal ostinai: Row Your Boat; Playing and accompanying songs with 3-4 independent parts Composing with characters (Shark Improvising over an ostinato; Composing a melody over ostinato vs. Train) introducing scat (notate the contour) Listening Log: Ensembles and instruments of the multiple versions of SSB Listening Log/Drawing/Mapping/Moving: Instruments, character, story, and mood: Peter and the Wolf The way we tell ourselves stories: s: Story songs, artworks, and short stories Melody Contour: Puzzle Pieces (Yellow Subma arine); Mapping Melodies (Ballet of Unhatched Chicks) Mood Reading Music Following iconic contour notations (Harold and the Purple Crayon)

46 RATHGEBER LISTENING CURRICULUM 46 Targets Performing Music Singing Trimester 3 March a March b April a April b May a May b Summer/weather songs: Each of Us is a Flower, etc. Song for our teachers Playing Instruments Creating Music Listening to Music Understanding Music s Connections Improvise to artwork displaying moodod Playing moods Move/Journal: Mussorgsky s Pictures at an Exhibition and mood Mood Modest Mussorgsky & Victor Hartman (Pictures at an Exhibition Book) Let s make our own Picture at an Exhibition: Compose to student artwork displaying mood Puzzle Pieces: Form-based: Each of Us is a Flower Mapping Contour: Each of Us is a Flower Accomp. for Song for our Teachers End of the Year Song for our Teachers Survey of music from around the world Music in our world/mem Fox s Whoever You Are Reading Music Melodic contour

47 RATHGEBER LISTENING CURRICULUM 47 Appendix B Second Grade Scope and Sequence Chart Target Areas Trimester 1 August September a September b October a October b November a Performing Music Review good singing technique/ Street songs and games World Drumming Music Singing Favorite songs from last year Echo improvisation: Ostinai on classroom percussion/ World Drumming Music (connections to ostinatos Playing Instruments question & Orff instruments and introduces some music for later in the year) answer Creating Music Listening to Music Understanding Music s Connections Echo improvisation: question & answer Improvising/composing ostinai (ostinato surprise) Improvising song accompaniments Ostnatos: Move: Spirits in the Move to the Meters of Duple and Triple: Move Material World- (Police), Symph Puzzle Piece: Old Beat: Arirang Passing games: La Bamba Dan Tucker/Get 7 (Beethoven), Sweet Tamati, So (Dream Techno), (Azzurra Music) Jiddish Waltz on Board So- (Masekela), So What (Davis). Sing, Sing, Sing (Klezmer), Party Rock Anthem Compare 3 Mapping/Notating: Mapping an (Kidz Bop), Little Folks (Roach) versions of GOB Ostinato (need example) Songs of freedom, history, and Culture and music: Who am I and who are we? equality Reading Music Iconic and symbolic notation thatt display meter (strong and weak beats) Creating notation tion to capture ostinai and accompanimentscompaniments Performing Music Singing Playing Instruments Creating Music Listening to Music Understanding Music s Connections Trimester 2 November b December January a January b February a February b Sampling songs from around the world Sampling songs from around the world The Story of Us concert preparation The Story of Us concert preparation Composing accompaniments for songs from concert (applying understanding of ostinato) Journaling/Listening istening Log; Instrumentation and Timbre listening to songs from around the wor rld. Students will provide some music cal examples from their own cultures, as well as: Kajo (West African Highlife Music), Shanti Mantra (Shankar), examples from Korea, China, Germany, Greece, Brazil, and Mexico. Exploring and deepening understand of history and culture for songs from concert Mapping: Discovering Texture: Is There a Ghost (Band of Horses) Music of Ali Kahn Reading Music Rhythm notation (Standard notes) Mapping texture

48 RATHGEBER LISTENING CURRICULUM 48 Performing Music Singing Trimester 3 March a March b April a April b May a May b The Story of Us concert preparationration CONCERT Playing Instruments The Story of Us concert preparationration CONCERT Playing instruments for natural sounds in composition Creating Music Compose a song using natural sounds (recording) and synthetic sounds (digital) Listening to Music Mapping: Texture for selected songs from concert Critiquing/ Journaling: Journaling/Listening Log: Mapping: Evaluating our Natural vs. synthetic sounds: mapping peer performance at Comparing Bach to Switched on compositions the concert. Bach; Telephone and Rubber Band (showing Discussing song (Penguin Cafe Orchestra) texture) preference Understanding Music s Connections Music and science: How waves work and natural vs. synthetic sounds Reading Music Mapping texture Using notation to notate our compositions

49 RATHGEBER LISTENING CURRICULUM 49 Appendix C Third Grade Scope and Sequence Chart Target Areas Trimester 1 Performing Music Singing Playing Instruments Creating Music Listening to Music Understanding Music s Connections August September a September b October a October b November a Rap/Hip Hop: Supermarket Shuffle; Rapper s Delight; etc. Improvising hip-hop beats/ostinai with interesting textures (using natural and synthetic sounds) Pentatonic scale scat and folk songs Pentatonic Scales on Orff instruments: nts: Ostinai and improvisations Improvising hip-hop beats/ostinai Improvising with interesting textures (using Composing rhythm raps pentatonic natural and synthetic sounds) melodies Mapping: Melodic contour and Move: Hip-Hop dances (show form pentatonic melodie es: Piano Etude and tempo): Don t Stop Planet Rock (Bambatta); Magic (B.o.B.); Parents Just Don t Understand (Smith) Listening Logs/Journaling: Preferences for hip-hop and other musical styles Op 10, No. 5 (Chopin); Sakura; New World Symph Theme (Dvorak); Gamelon music: Mood/Instrumentation: Danse Macabre Pentatonic scales in multiple Hip Hop: Culture, Art, History, Poetry, and Music (Hip-Hop Speaks to cultures: Intro oduction to Children) Gamelon Reading Music Rhythmic notation Introducing symbolic/standard notation (treble clef) Performing Music Singing Playing Instruments Creating Music Listening to Music Understanding Music s Connections Reading Music Trimester 2 November b December January a January b February a February b Singing through the Mr. E. book for recorder Singing student selected songs arranged with recorder Recorder unit 1-3 (B, A, G) Composing accompaniments to recorder songs and Improvising on recorder (learning the ropes) student selected ed songs displaying expressive terminology Move, Listening Log, & Group Discussion: Am merican music: Listening Logs/Journaling: Developing understanding of expressive Guthrie, Dylan, Baez, Mitchell; musical termin nology (articulations s, dynamics, tempo o, creation of Sousa; Joplin; Johnson, Raitt; mood); The Planets (Holst); Star Wars (Williams); Student selected Armstrong, Kraull works American Musical Traditions: Folks songs, Marches, Ragtime, Blues, Science, Mythology, and Holst (The Planets) and Jazz The treble staff and defining rhythm notes: Introduction to expressive terminology in notation

50 RATHGEBER LISTENING CURRICULUM 50 Performing Music Singing Trimester 3 March a March b April a April b May a May b Informally arranging pop songs for recorders and voice Playing Instruments Recorder units 4-5 (C, D, and low E) Trios and quartets (Recorder or voice, xylophones, and percussion): Small group work Creating Music Listening to Music Improvising Pentatonic melodies (using recorder): Learning rock riffs (connecting to ostinai) Smoke on the Water Group Discussion: Using music terminology to describe musical Mapping: Carnival of the Animals; selections (student suggested works Non-western music that depict and/or songs on pop charts) animals Compose trios and quartets Mapping: Student peer compositions Understanding Music s Connections Poetry and music Saint-Saëns Carnival of the Animals: Music, poetry, art, and Animals Reading Music Treble and rhythm notations (iconic and symbolic) Notating students compositions

51 RATHGEBER LISTENING CURRICULUM 51 Appendix D Fourth Grade Scope and Sequence Chart Targets Areas Trimester 1 Performing Music Singing August September a September b October a October b November a Review of vocal technique Concert preparation Playing Instruments Improvising via ipad (exploring timbres) exploring Majo and minor scales Concert preparation Creating Music Improvising via ipad (exploring timbres) exploring MAJOR and minor scales Listening to Music Listening Log & Mapping: Ensemble types, instrument, and Major vs. minor to onality: (orchestra, jazz band, pop Mapping: band, gamelon, & ohter): Student researched examples as Songs from well as: Young Person s Guide to the Orchestra (Britten); Listening Log & Move: Songs concert (display Take the A Train (Ellington); Fables of Faubus (Mingus); related to concert material melody, texture, Barracuda (Heart); Help! (The Beatles); 21 Guns (Green form) Day) gamelon music examples Understanding Music s Connections History and interdisciplinary connection to concert material Reading Music Notation related to concert material Performing Music Singing Trimester 2 November b December January a January b February a February b Concert preparation Playing Instruments Concert preparation Reviewing recorder Recorder Karate Creating Music Composing music to accompany poetry Improvising variations on Recorder Karate songs Listening to Music Mapping: Songs from Evaluating: Moving: Swing feel: Don t Mean a Thing concert (display Critiquing our (Ellington); Summertime (Gershwin/Davis); melody, texture, form) performance Misterioso (Monk) Understanding Music s Connections History and interdisciplinary connection to concert material The poetry-music connection Blue and jazz history Reading Music Reviewing recorder notation Record notation (extending treble clef knowledge

52 RATHGEBER LISTENING CURRICULUM 52 Performing Music Singing Playing Instruments Trimester 3 March a March b April a April b May a May b Chop Monster Jr. songs, Don t Mean a Thing, Bye Bye Blackbird Recorder Karate Orff instrument and Jazz (Chop Monster Jr.) Duet and trio composition Due and trio composition Creating Music Improvising using blue scale for recorder, Orff instruments, and/or ipad Compose Duets and Trios for recorder er or voice (using major chords (discussing I, IV, and V chords) Listening to Music Listening Log & Mapping: Blues, jazz, and rock examples: Compare two version of My Favorite Things (Andrews and Coltrane versions); Dr. Jazz (Morton); Mood Indigo & It Don t Mean a Thing (Ellington); Nuages (Reinhardt); Birds of Fire (McLaughlin); etc. Mapping & Moving: Discovering chord progression and form: Bye Bye Blackbird (Davis version), Get Back (The Beatles), Animal (Miike Snow) Understanding Music s Connections Blues, Jazz, and Rock history Reading Music Notation for recorder (iconic and symbolic)

53 RATHGEBER LISTENING CURRICULUM 53 Appendix E Fifth Grade Scope and Sequence Chart Target Areas Trimester 1 Performing Music Singing August September a September b October a October b November a Review of vocal technique Concert preparation Playing Instruments Drum circles Concert preparation Creating Music Listening to Music Improvising Drum circles Mapping and Moving: Student selected works/my playlist Garageband line dance song (displaying pop song form and chord progressions) Moving and Journaling: Pop song form, Major vs. minor tonality, and chord progressions: Firework (Katy Perry); Rolling in the Deep (Adele); Party Rock Anthem (Kidz Bop); Go Go Gadget Flow (Lupe Fiasco) Listening Log: Songs related to concert material Mapping: Songs from concert (display melody, texture, form, rhythm, expressivity) Understanding Music s Connections Music and my identity History and interdisciplinary connection to concert material Reading Music Notation related to concert material Performing Music Singing Playing Instruments Creating Music Listening to Music Understanding Music s Connections Reading Music Trimester 2 November b December January a January b February a February b Concert preparation Concert preparation Garageband line dance song Reviewing recorder Improvising on Recorder Singing melodies from Baroque Recorder (or instrument of choice) from Baroque son ngs: Minuet in G, Cannon Composing minuets or canons Singing melodies from Classical Recorder (or instrument of choice) from Classical Mapping: Baroque Period: Group Classical Period: Songs from Discussion, Mo oving, Listening Group concert (display Evaluating: Log; Mapping g: Minuet in G Discussion, melody, texture, Critiquing our (Bach); Little Fugue (Bach); Moving, form, rhythm, performance Canon in D (Pachelbel); Recorder Listening Log; expressivity) Concerto (Vivaldi) Mapping: History and interdisciplinary Introduction to the history of Classical Period: Art, history, connection to concert material Western Art Music- Baroque poetry, society, and music Reviewing Recorder notation Music notation from Renaissance to Baroque Standard notation for class songs

54 RATHGEBER LISTENING CURRICULUM 54 Performing Music Singing Playing Instruments Creating Music Listening to Music Understanding Music s Connections Reading Music Trimester 3 March a March b April a April b May a May b Singing melodies from Singing melodies from Romantic Student band compositions work Classical Recorder (or instrument of choice) from Classical Recorder (or instrument of choice) from Romantic Composing mood and story songs Student band compositions work Compose chance music Composing song for student bands Romantic Period: Group Classical Period: Discussion, Mo oving, Listening Symph 25, Mvmt Log; Mapping: Der Erlkönig Modern Period: Group 1 (Mozart), (Schubert); Piano Concerto in A Discussion, Moving, Listening Surprise Symph, minor, Op. 7 (C. Schumann); Log; Mapping (Haydn), March to the Scaffold (Berlioz); Stametz Ride of the Valkyries (Wagner) Classical period: Art, history, Romantic period: Art, history, Modern period: Art, history, poetry, society, poetry, society, and music poetry, society, and music and music Standard Modern notationn systems (Cage, notation for Standard notation for class songs Partch, etc.) and recoding class songs technology Critiquing: Listening to and evaluating student compositions Notating our compositions

55 RATHGEBER LISTENING CURRICULUM 55 Appendix F Resources for Non-Western Musical Content Selection Brymer, M., & Soto, G. (2007). Music of our world- Mexico: Songs and activities for classroom and community. Winona, MI: Hal Leonard. Cavalier, D., Jurey, E. B., & Cruz, M. A. (Eds.). (1994). Mexican folk dances. Van Nuys, CA: Alfred Publishing. Campbell, P. S. (2004). Teaching music globally: Experiencing music, expressing culture. New York: Oxford University Press. Campbell, P. S., McCullough-Brabson, E., & Tucker, J. C. (1994). Roots and branches: A legacy of multicultural music from children. Wauwatosa, WI: World Music Press. Campbell, P. S., Perron, P., & Williamson, S. (1997). Traditional songs of singing cultures. Van Nuys, CA: Alfred Publishing. Dziewanowska, A., Dziewanowska, B., Dziewanowski, J., Kmiec, S., & Marek, J. (1997). Polish folk dance and songs: A step-by-step guide. NewYork: Hippocrene Books. Escape Media Group. (n.d.). Groveshark. Retrieved from Goetze, M., & Fern, J. (2005). Global voices interactive: 4 South African songs. New York: Macmillan/McGraw-Hill. Goetze, M., & Fern, J. (2005). Global voices interactive: Grade 1. New York: Macmillan/ McGraw-Hill. Goetze, M., & Fern, J. (2005). Global voices interactive: Grade 4. New York: Macmillan/ McGraw-Hill. Goetze, M., & Fern, J. (2005). Global voices interactive: Grade 5. New York: Macmillan/ McGraw-Hill.

56 RATHGEBER LISTENING CURRICULUM 56 Goetze, M., & Fern, J. (2005). Global voices interactive: Music and culture of Appalachia. New York: Macmillan/McGraw-Hill. Goetze, M., & Fern, J. (2005). Global voices interactive: Sotho and Zulu songs. New York: Macmillan/McGraw-Hill. Hawes, B. L., Lomax, A., & Elder, J. D. (1997). Brown girl in the ring: An anthology of song games from the Eastern Caribbean. New York: Pantheon. Kiester, G. (2006). Games children sing: China. Van Nuys, CA: Alfred Publishing. Kiester, G. (2006). Games children sing: India. Van Nuys, CA: Alfred Publishing. Kiester, G. (2006). Games children sing: Japan. Van Nuys, CA: Alfred Publishing. Kuktan Arirang. (1990). Arirang - Korean song and dance ensemble. New York: Monitor Records. Mariachi Publishing. (2007). Mariachi publishing s education resources. Retrieved from McComb, T. M. (n.d.). Traditional world music recordings. Retrieved from Orozco, J., & Kleven, E. (1999). Des colores and other Latin American folksongs for children. London: Puffin. Orozco, J., & Kleven, E. (2002). Diez deditos and other play rhymes and action songs from Latin America. London: Puffin. Pongsan Mask Dance Drama. (2009). Folk music and dance. Paris: Successif. Smithsonian Institute. (n.d.). Smithsonian folkways. Retrieved from Wade, B. (2004). Music in Japan: Experiencing music, expressing culture. New York: Oxford University Press.

57 RATHGEBER LISTENING CURRICULUM 57 Appendix G Drawing/Writing Journaling Form Song Title: Performer/Composer: Name: Directions: Listen to the music. Create a story that would use this music as a soundtrack. Draw a picture(s) or write words to show your story

58 RATHGEBER LISTENING CURRICULUM 58 Appendix H Plot Diagram Journaling Form Song Title: Performer/Composer: Directions: Use the plot diagram to organize what you hear in the music. Pay attention to what elements create a sense of beginning, middle, and end. Also, comment on what the composer/performer does to create tension/release in the work. Introduction Resolution Rising Tension Exposition Rising Tension Falling Tension Name: Climax

59 RATHGEBER LISTENING CURRICULUM 59 Appendix I First Grade Listening Log Example - 1 st Grade Listening Log - Song Title: Performer/Composer: Name: 1L 1S 1P 1F Tempo: Dynamics: Getting Softer Getting Louder Mood: Teacher Prompt: Draw a story for this song.

60 RATHGEBER LISTENING CURRICULUM 60 Appendix J Second Grade Listening Log Example - 2 nd Grade Listening Log - Song Title: Performer/Composer: Name: 2Z 2M 2S 2K Tempo: Dynamics: Getting Softer Getting Louder Instruments: (circle all you hear) Where in the World? (circle your guess) What country or culture did this come from? What makes you think that?

61 RATHGEBER LISTENING CURRICULUM 61-2 nd Grade Listening Log - Teacher Prompt: Draw a story for this song. What do you think about this song? Why?

62 RATHGEBER LISTENING CURRICULUM 62 Appendix K Third Grade Listening Log Example - 3 rd Grade Listening Log - Song Title: Performer/Composer: Name: 3C 3So 3Sc 3F

63 RATHGEBER LISTENING CURRICULUM 63-3 rd Grade Listening Log - In what ways did the music change over time? What element(s) kept you interested? Why did you find it/them so interesting? What do you think about this song? Why?

64 RATHGEBER LISTENING CURRICULUM 64 Appendix L Fourth Grade Listening Log Example - 4 th Grade Listening Log - Song Title: Performer/Composer: Name: 4L 4Z 4M 4A Ensemble: List the instruments you hear: Meter: Circle the meter of the song and color in the accented beats. Other: Describe the overall mood. What about the music makes it feel this way? Teacher Prompt: Trace the contour of the melody or unifying element.

65 RATHGEBER LISTENING CURRICULUM 65-4 th Grade Listening Log - What element(s) kept you interested? What did you find so interesting about it? What do you think about this song? Why? If you were the composer of this song and could change it in any way, what would you do? Why would you change the song in this way?

66 RATHGEBER LISTENING CURRICULUM 66 Appendix M Fifth Grade Listening Log Example - 5 th Grade Listening Log - Song Title: Performer/Composer: Name: 5N 5D 5A 5B List the instruments you hear: Teacher Prompt: Write out the meter or driving rhythm of this piece. Teacher Prompt: Trace the contour of the melody. Describe the overall mood. What about the music makes it feel this way?

67 RATHGEBER LISTENING CURRICULUM 67-5 th Grade Listening Log - If you were to describe this song to someone who had never heard it, what would you say? In what genre, style, or culture do you think this song belongs? What about the music makes you feel this way? What do you think about this song? Why? If you were the composer of this song and could change it in any way, what would you do? Why would you change the song in this way?

68 RATHGEBER LISTENING CURRICULUM 68 Appendix N Comparing Multiple Arrangements Journaling Form Listen to each version of the song and make notes about what you hear. Afterward, use the bottom boxes to compare and contrast the two different versions. Song Title: Performer: Performer: Rhythm Melody Form Texture Instrument ation Expressive Elements Similarities: Differences: What do you think about this song? Why? Adapted from Barrett (2011)

69 RATHGEBER LISTENING CURRICULUM 69 Appendix O Example Listening Map Focused on Character Development and Plot Der Erlkönig Lyrics by J.W. Goeth Music by F. Schubert Who rides so late through the night and wind? It's a father with his child; He has his son safe in his arm, He holds him secure, he holds him warm. My son, what makes you hide your face in fear? Father, don't you see the Erlking? The Erlking with crown and flowing robe? My son, it's a wisp of fog. My father, my father, don t you see the Erlking's daughters in that dark place? Won't you come along with me, my fine boy? My daughters shall take care of you so nicely. My daughters do their nightly dance, And they'll rock you and dance you and sing you to sleep. Be quiet, stay quiet, my child; wind. In the dry leaves the wind is rustling. My father, my father, don t you hear what the Erlking softly promises me? You dear child, come along with me! Such lovely games we will play; Many colorful flowers are at the shore, My mother has many golden clothes for you. My son, my son, I see it most definitely: It's the willow trees looking so grey. I love you; you are so charming. And if you won t come with me, then I'll use force. My father, my father, now he's has me. Erlking has hurt me! The father shudders, he rides swiftly, He holds his moaning child in his arms.. He urgently reaches the farmhouse But, in his arms, the child was dead.

70 RATHGEBER LISTENING CURRICULUM 70 Appendix P Iconic Puzzle Pieces for Verse Melody of Yellow Submarine

71 RATHGEBER LISTENING CURRICULUM 71 Appendix Q Form/Text-Based Puzzle Pieces for Each of Us is a Flower

72 RATHGEBER LISTENING CURRICULUM Appendix R Example Listening Map for Hens and Roosters by Saint-Saëns 72