Music Curriculum. Grade 8: Unit One. 1 P a g e

Music Curriculum Grade 8: Unit One 1 P a g e

Course Description The goal of Unit One is to build the vocabulary of students so they are able to understand what the possibilities are when they create, perform, or respond to music. In the primary grades students were mainly building their music term vocabulary. In elementary we began to explore various ways music has been used as a form of expression. In middle school, we begin to explore how music has changed over time. The topics are set-up to follow the social studies curriculum. Therefore, in sixth grade students will deepen their understanding of the musical elements while also exploring how music was created, performed, and responded to from the Renaissance to the Present. 2 P a g e

Pacing Chart Unit 1 # Standards Student Learning Objective Focus 1 2 NJCCCS 1.3 Performance MU:Pr4 [A]nalyze artistic work for presentation. NJCCCS 1.4 - Aesthetic Responses and Critique Methodologies MU:Re7 Perceive and analyze artistic work. MU:Pr4.2 Analyze Analyze the structure and context of varied musical works and their implications for performance. MU:Re7.2 Analyze Analyze how the structure and context of varied musical works inform the response. Instruction: 8-9 weeks 3 NJCCCS 1.2 - History of the Arts and Culture MU:Cn11 - Relate artistic ideas and works with societal, cultural, and historical context to deepen understanding. MU:Cn11.1 Connect Relate musical ideas and works with varied context to deepen understanding. 3 P a g e

Educational Technology Standards 8.1.8.A.1, 8.1.8.B.1, 8.1.8.C.1, 8.1.8.D.1, 8.1.8.E.1, 8.1.8.F.1 Technology Operations and Concepts Create professional documents (e.g., newsletter, personalized learning plan, business letter or flyer) using advanced features of a word processing program. Creativity and Innovation Synthesize and publish information about a local or global issue or event on a collaborative, web-based service. Communication and Collaboration Participate in an online learning community with learners from other countries to understand their perspectives on a global problem or issue, and propose possible solutions. Digital Citizenship Model appropriate online behaviors related to cyber safety, cyber bullying, cyber security, and cyber ethics. Research and Information Literacy Gather and analyze findings using data collection technology to produce a possible solution for a content-related or real-world problem. Critical Thinking, Problem Solving, Decision Making Use an electronic authoring tool in collaboration with learners from other countries to evaluate and summarize the perspectives of other cultures about a current event or contemporary figure. 4 P a g e

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

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

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

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

9 P a g e Interdisciplinary Connections Although schools are set up with each discipline receiving separate instruction and, with the exception of some interdisciplinary approaches, there is very little collaboration between each discipline. However, there are numerous natural connections between each discipline as the skills and knowledge learned in one subject become tools to learn and develop skills in another discipline. Whenever possible these connections should be utilized and students should be made aware of this use. Language Arts This is perhaps one of the easiest connections music teachers can make. Gordon s whole approach is based on the connection between the development of language skills and the development of audiation. The Orff processes uses language for rhythm development and to teach form, as well as poems and stories as source materials for creations (you don t need to go out and find poems and stories to set to music, ask the language arts teacher what they re using and use that). One way to explore a culture s music is through the rhythmic cadence and pitch frequencies used in the language and what is also found in the music. The creative process is also the same. Paterson Public Schools uses the Writer s Workshop that teaches students to generate ideas, create a rough draft, edit and revise the work, and then publish it. Change publish to perform and you also have the process for writing music as well, which is probably why the students write in composition notebooks. Specific examples include (but are not limited to): Unit 1 Reading Literature and Informational Text; Informational and Explanatory Writing Analyze a piece of music and give examples to demonstrate they are correct as well as draw inferences about expressive options. Be able to identify the main theme of a piece of music. Interpret the meaning of song lyrics (poetry). Determine how the motive or theme fits into the overall composition. Write an informative/explanatory essay about the use of the elements of music in a composition of their choosing. Mathematics

Science 10 P a g e Mathematicians, Pythagoras being one of the earliest recorded contributors, have helped us understand what turns sounds into music. This is another subject with numerous natural connections to music, especially when it comes to pattern recognition, rhythm measured in fractions of a beat, the use of ratios for intervals, understanding the works of Arnold Schoenberg, etc.. Specific examples include (but are not limited to): Unit 1 Exponents, Expressions, and Equations properties of integer exponents, power of 10, scientific notation, decimal expansion, irrational numbers, proportional relationships, slope of a line Unfortunately, acoustics is not well covered in the science curriculum. However, by teaching acoustic principles we can compensate for this oversight as well as introduce students to a career they might otherwise overlook. With some creativity you can usually use the standards for the physical sciences to justify explorations in acoustics. However, most of our connections to the rest of the Science standards will be in the form of repertoire selections that incorporate the topic (such as songs about the seasons, particular animals, etc.). Specific examples include (but are not limited to): Unit 1 Structure and Properties of Matter How is it that everything is made of stardust?; Study atomic and molecular scale; Crosscutting concepts include cause & effect, scale, proportion, & quantity, structure & function, interdependence of science, engineering, & technology, and the influence of science, engineering, & technology on society & the natural world. Unit 2 Interactions of Matter How can we trace synthetic materials back to natural ingredients?; Crosscutting concepts include cause & effect, scale, proportion, & quantity, structure & function, interdependence of science, engineering, & technology, and the influence of science, engineering, & technology on society & the natural world. Social Studies

11 P a g e The arts have always been influenced by political, social, and economic factors, so studying cultures through the lens of music can also help students better understand these three components of their own culture and cultures throughout the world. Specific examples include (but are not limited to): Unit 1 Origins of American Democracy and the Founding Fathers Influence of Renaissance, Reformation, Scientific Revolution, Enlightenment, English legal practices (Magna Carta, Habeas Corpus, Mayflower Compact, etc.), religious freedom, participatory government, Declaration of Independence, Constitution, Bill of Rights, Founding Fathers (Washington, Franklin, Hamilton, Adams, Jefferson, Paine)

Grade: 8 Unit: One Topic: The Nature of Sound New Jersey Core Curriculum Content Standards (NJCCCS) and Related National Core Arts Standards (NCAS): NJCCCS: 1.2 History of the Arts and Culture; NCAS: MU.Cn11 NJCCCS: 1.3 Performing; NCAS: MU.Pr4 NJCCCS: 1.4 Aesthetic Responses and Critique Methodologies; NCAS: MU.Re7 Enduring Understandings and Essential Questions NJCCC Standard 1.3 - Performing NCAS Process Component Enduring Understanding(s) Essential Question(s) MU:Pr4.2 Analyze Analyze the structure and context of varied musical works and their implications for performance. NCAS - Analyzing creator s context and how they manipulate elements of music provides insight into their intent and informs performance. NJCCCS Compositional techniques used in different styles and genres of music vary according to prescribed sets of rules. (e.g., CPI#: 1.1.8.B.2) NJCCCS Western, non-western, and avant-garde notation systems have distinctly different characteristics. (e.g., CPI#: 1.3.8.B.1) NJCCCS Understanding discipline-specific arts terminology (e.g., crescendo, diminuendo, pianissimo, forte, etc.) is a component of music literacy. (e.g., CPI#: 1.3.8.B.3) NCAS - How does understanding the structure and context of musical works inform performance? 12 P a g e

NJCCCS Contextual clues to artistic intent are embedded in artworks. Analysis of archetypal or consummate works of art requires knowledge and understanding of culturally specific art within historical contexts. (e.g., CPI#: 1.4.8.A.1) 13 P a g e

New Jersey Core Curriculum Content Standard: 1.3 Performing Related National Core Arts Standard: MU.Pr4 - [A]nalyze artistic work for presentation. Student Learning Objective: MU:Pr4.2 Analyze Analyze the structure and context of varied musical works and their implications for performance. (Using Level 10 Vocabulary Overview) Modified Student Learning Objective: MU:Pr4.2 Analyze Analyze the structure and context of varied musical works and their implications for performance. (Using concepts at the appropriate level) ESL Student Learning Objective: MU:Pr4.2 Analyze Analyze the structure and context of varied musical works and their implications for performance. (Using concepts at the appropriate level) Student Population Skills, Strategies, & Concepts Sample Activities/ Lesson Starters General Education Special Education Students High Group ESL WAPT 11-18 MU:Pr4.2.8a - Compare the structure of contrasting pieces of music selected for performance, explaining how the elements of music are used in each. MU:Pr4.2.8b - When analyzing selected music, sight- read in treble or bass clef simple rhythmic, melodic, and/or harmonic notation. MU:Pr4.2.8c - Identity how cultural and historical context inform performances and result in different musical effects. CPI#: 1.1.8.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. o 8.1.1 - Explain how tempo is employed to identify dance music popular American music. o 8.1.2 - Identify and demonstrate specific rhythms utilized in American popular dance music o 8.1.4 - Describe how melody, harmony, and the ABA/CHORUS-VERSE form evolved through each style of Jazz (e.g., Swing, Be-Bop, Afro Cuban, Latin, Avant-Garde etc.). CPI#: 1.3.8.B.1 Perform instrumental or vocal compositions using complex standard and non-standard Western, non-western, and avant-garde notation. o 8.2.2 - Perform a 20th century instrumental or vocal music composition 14 P a g e

that incorporates avant-garde notation techniques. o 8.2.4 - Perform a music composition from complex notation that expresses moods or emotions considered negative. CPI#: 1.3.8.B.3 Apply theoretical understanding of expressive and dynamic music terminology to the performance of written scores in the grand staff. o 8.2.4 - Perform a music composition from complex notation that expresses moods or emotions considered negative. o 8.3.1 - Perform music (independently and in groups) using the appropriate expressive qualities of a particular style and rearrange it to conform to a new style. Apply theoretical understanding of expressive and dynamic musical qualities for expression in both styles (e.g., crescendo, diminuendo, pianissimo, forte, etc.). CPI#: 1.4.8.A.1 Generate observational and emotional responses to diverse culturally and historically specific works of dance, music, theatre, and visual art. o 8.4.1 - Generate observational and emotional responses to diverse culturally and historically specific works of dance, music, theatre, and visual art. Special Education Students Mid Group ESL WAPT 0-10 15 P a g e MU:Pr4.2.8a [With limited guidance,] compare the structure of contrasting pieces of music selected for performance, explaining how the elements of music are used in each. MU:Pr4.2.8b - [With limited guidance,] when analyzing CPI#: 1.1.8.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. o 8.1.1 - Explain how tempo is employed to identify dance music popular American music. o 8.1.2 - Identify and demonstrate specific rhythms utilized in American popular dance music o 8.1.4 - Describe how melody, harmony, and the ABA/CHORUS-VERSE

selected music, sight- read in treble or bass clef simple rhythmic, melodic, and/or harmonic notation. MU:Pr4.2.8c - [With limited guidance,] Identity how cultural and historical context inform performances and result in different musical effects. form evolved through each style of Jazz (e.g., Swing, Be-Bop, Afro Cuban, Latin, Avant-Garde etc.). CPI#: 1.3.8.B.1 Perform instrumental or vocal compositions using complex standard and non-standard Western, non-western, and avant-garde notation. o 8.2.2 - Perform a 20th century instrumental or vocal music composition that incorporates avant-garde notation techniques. o 8.2.4 - Perform a music composition from complex notation that expresses moods or emotions considered negative. CPI#: 1.3.8.B.3 Apply theoretical understanding of expressive and dynamic music terminology to the performance of written scores in the grand staff. o 8.2.4 - Perform a music composition from complex notation that expresses moods or emotions considered negative. o 8.3.1 - Perform music (independently and in groups) using the appropriate expressive qualities of a particular style and rearrange it to conform to a new style. Apply theoretical understanding of expressive and dynamic musical qualities for expression in both styles (e.g., crescendo, diminuendo, pianissimo, forte, etc.). CPI#: 1.4.8.A.1 Generate observational and emotional responses to diverse culturally and historically specific works of dance, music, theatre, and visual art. o 8.4.1 - Generate observational and emotional responses to diverse culturally and historically specific works of dance, music, theatre, and visual art. Special Education Students Low MU:Pr4.2.8a [With guidance,] compare the structure of CPI#: 1.1.8.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 16 P a g e

Group contrasting pieces of music selected for performance, explaining how the elements of music are used in each. MU:Pr4.2.8b - [With guidance,] when analyzing selected music, sight- read in treble or bass clef simple rhythmic, melodic, and/or harmonic notation. MU:Pr4.2.8c - [With limited guidance,] Identity how cultural and historical context inform performances and result in different musical effects. compositions. o 8.1.1 - Explain how tempo is employed to identify dance music popular American music. o 8.1.2 - Identify and demonstrate specific rhythms utilized in American popular dance music o 8.1.4 - Describe how melody, harmony, and the ABA/CHORUS-VERSE form evolved through each style of Jazz (e.g., Swing, Be-Bop, Afro Cuban, Latin, Avant-Garde etc.). CPI#: 1.3.8.B.1 Perform instrumental or vocal compositions using complex standard and non-standard Western, non-western, and avant-garde notation. o 8.2.2 - Perform a 20th century instrumental or vocal music composition that incorporates avant-garde notation techniques. o 8.2.4 - Perform a music composition from complex notation that expresses moods or emotions considered negative. CPI#: 1.3.8.B.3 Apply theoretical understanding of expressive and dynamic music terminology to the performance of written scores in the grand staff. o 8.2.4 - Perform a music composition from complex notation that expresses moods or emotions considered negative. o 8.3.1 - Perform music (independently and in groups) using the appropriate expressive qualities of a particular style and rearrange it to conform to a new style. Apply theoretical understanding of expressive and dynamic musical qualities for expression in both styles (e.g., crescendo, diminuendo, pianissimo, forte, etc.). CPI#: 1.4.8.A.1 Generate observational and emotional responses to diverse culturally and historically specific works of dance, music, theatre, and visual 17 P a g e

art. o 8.4.1 - Generate observational and emotional responses to diverse culturally and historically specific works of dance, music, theatre, and visual art. 18 P a g e

Enduring Understandings and Essential Questions NJCCC Standard 1.4 - Aesthetic Responses & Critique Methodologies NCAS Process Component Enduring Understanding(s) Essential Question(s) MU:Re7.2 Analyze Analyze how the structure and context of varied musical works inform the response. NCAS - Response to music is informed by analyzing context (social, cultural, and historical) and how creators and performers manipulate the elements of music. NJCCCS Compositional techniques used in different styles and genres of music vary according to prescribed sets of rules. (e.g., CPI#: 1.1.8.B.2) NJCCCS Western, non-western, and avant-garde notation systems have distinctly different characteristics. (e.g., CPI#: 1.3.8.B.1) NJCCCS Understanding discipline-specific arts terminology (e.g., crescendo, diminuendo, pianissimo, forte, etc.) is a component of music literacy. (e.g., CPI#: 1.3.8.B.3) NJCCCS Contextual clues to artistic intent are embedded in artworks. Analysis of archetypal or consummate works of art requires knowledge and understanding of culturally specific art within historical contexts. (e.g., CPI#: 1.4.8.A.1) NCAS - How does understanding the structure and context of music inform a response? 19 P a g e

New Jersey Core Curriculum Content Standard: 1.4 Aesthetic Responses and Critique Methodologies Related National Core Arts Standard: MU.Re7 - Perceive and analyze artistic work. Student Learning Objective: MU:Re7.2 - Analyze - Analyze how the structure and context of varied musical works inform the response. (Using Level 10 Vocabulary Overview) Modified Student Learning Objective: MU:Re7.2 - Analyze - Analyze how the structure and context of varied musical works inform the response. (Using concepts at the appropriate level) ESL Student Learning Objective: MU:Re7.2 - Analyze - Analyze how the structure and context of varied musical works inform the response. (Using concepts at the appropriate level) Student Population Skills, Strategies, & Concepts Sample Activities/ Lesson Starters General Education Special Education Students High Group ESL WAPT 11-18 MU:Re7.2.8a - Compare how the elements of music and expressive qualities relate to the structure within programs of music. MU:Re7.2.8b - Identify and compare the context of programs of music from a variety of genres, cultures, and historical periods. CPI#: 1.1.8.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. o 8.1.1 - Explain how tempo is employed to identify dance music popular American music. o 8.1.2 - Identify and demonstrate specific rhythms utilized in American popular dance music o 8.1.4 - Describe how melody, harmony, and the ABA/CHORUS-VERSE form evolved through each style of Jazz (e.g., Swing, Be-Bop, Afro Cuban, Latin, Avant-Garde etc.). CPI#: 1.3.8.B.1 Perform instrumental or vocal compositions using complex standard and non-standard Western, non-western, and avant-garde notation. o 8.2.2 - Perform a 20th century instrumental or vocal music composition 20 P a g e

that incorporates avant-garde notation techniques. o 8.2.4 - Perform a music composition from complex notation that expresses moods or emotions considered negative. CPI#: 1.3.8.B.3 Apply theoretical understanding of expressive and dynamic music terminology to the performance of written scores in the grand staff. o 8.2.4 - Perform a music composition from complex notation that expresses moods or emotions considered negative. o 8.3.1 - Perform music (independently and in groups) using the appropriate expressive qualities of a particular style and rearrange it to conform to a new style. Apply theoretical understanding of expressive and dynamic musical qualities for expression in both styles (e.g., crescendo, diminuendo, pianissimo, forte, etc.). CPI#: 1.4.8.A.1 Generate observational and emotional responses to diverse culturally and historically specific works of dance, music, theatre, and visual art. o 8.4.1 - Generate observational and emotional responses to diverse culturally and historically specific works of dance, music, theatre, and visual art. Special Education Students Mid Group ESL WAPT 0-10 MU:Re7.2.8a [With limited guidance,] compare how the elements of music and expressive qualities relate to the structure within programs of music. MU:Re7.2.8b [With limited guidance,] identify and compare the context of programs of music CPI#: 1.1.8.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. o 8.1.1 - Explain how tempo is employed to identify dance music popular American music. o 8.1.2 - Identify and demonstrate specific rhythms utilized in American popular dance music 21 P a g e

from a variety of genres, cultures, and historical periods. o 8.1.4 - Describe how melody, harmony, and the ABA/CHORUS-VERSE form evolved through each style of Jazz (e.g., Swing, Be-Bop, Afro Cuban, Latin, Avant-Garde etc.). CPI#: 1.3.8.B.1 Perform instrumental or vocal compositions using complex standard and non-standard Western, non-western, and avant-garde notation. o 8.2.2 - Perform a 20th century instrumental or vocal music composition that incorporates avant-garde notation techniques. o 8.2.4 - Perform a music composition from complex notation that expresses moods or emotions considered negative. CPI#: 1.3.8.B.3 Apply theoretical understanding of expressive and dynamic music terminology to the performance of written scores in the grand staff. o 8.2.4 - Perform a music composition from complex notation that expresses moods or emotions considered negative. o 8.3.1 - Perform music (independently and in groups) using the appropriate expressive qualities of a particular style and rearrange it to conform to a new style. Apply theoretical understanding of expressive and dynamic musical qualities for expression in both styles (e.g., crescendo, diminuendo, pianissimo, forte, etc.). CPI#: 1.4.8.A.1 Generate observational and emotional responses to diverse culturally and historically specific works of dance, music, theatre, and visual art. o 8.4.1 - Generate observational and emotional responses to diverse 22 P a g e

culturally and historically specific works of dance, music, theatre, and visual art. Special Education Students Low Group MU:Re7.2.8a [With guidance,] compare how the elements of music and expressive qualities relate to the structure within programs of music. MU:Re7.2.8b [With limited guidance,] identify and compare the context of programs of music from a variety of genres, cultures, and historical periods. CPI#: 1.1.8.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. o 8.1.1 - Explain how tempo is employed to identify dance music popular American music. o 8.1.2 - Identify and demonstrate specific rhythms utilized in American popular dance music o 8.1.4 - Describe how melody, harmony, and the ABA/CHORUS-VERSE form evolved through each style of Jazz (e.g., Swing, Be-Bop, Afro Cuban, Latin, Avant-Garde etc.). CPI#: 1.3.8.B.1 Perform instrumental or vocal compositions using complex standard and non-standard Western, non-western, and avant-garde notation. o 8.2.2 - Perform a 20th century instrumental or vocal music composition that incorporates avant-garde notation techniques. o 8.2.4 - Perform a music composition from complex notation that expresses moods or emotions considered negative. CPI#: 1.3.8.B.3 Apply theoretical understanding of expressive and dynamic music terminology to the performance of written scores in the grand staff. o 8.2.4 - Perform a music composition from complex notation that 23 P a g e

expresses moods or emotions considered negative. o 8.3.1 - Perform music (independently and in groups) using the appropriate expressive qualities of a particular style and rearrange it to conform to a new style. Apply theoretical understanding of expressive and dynamic musical qualities for expression in both styles (e.g., crescendo, diminuendo, pianissimo, forte, etc.). CPI#: 1.4.8.A.1 Generate observational and emotional responses to diverse culturally and historically specific works of dance, music, theatre, and visual art. o 8.4.1 - Generate observational and emotional responses to diverse culturally and historically specific works of dance, music, theatre, and visual art. 24 P a g e

Enduring Understandings and Essential Questions NJCCC Standard 1.2 - History of the Arts and Culture NCAS Process Component Enduring Understanding(s) Essential Question(s) MU:Cn11.1 Connect Relate artistic ideas and works with societal, cultural, and historical context to deepen understanding. 25 P a g e NCAS - Understanding connections to varied contexts and daily life enhances musicians creating, performing, and responding. NJCCCS Common, recognizable musical forms often have characteristics related to specific cultural traditions. (e.g., CPI#: 1.1.8.B.1) NJCCCS Technological changes have and will continue to substantially influence the development and nature of the arts. (e.g., CPI#: 1.2.8.A.1) NJCCCS Tracing the histories of dance, music, theatre, and visual art in world cultures provides insight into the lives of people and their values. (e.g., CPI#: 1.2.8.A.2) NJCCCS The arts reflect cultural morays and personal aesthetics throughout the ages. (e.g., CPI#: 1.2.8.A.3) NJCCCS Contextual clues to artistic intent are embedded in artworks. Analysis of archetypal or consummate works of art requires knowledge and understanding of culturally specific art within historical contexts. (e.g., CPI#: 1.4.8.A.1) NJCCCS Art may be used for utilitarian and non-utilitarian NCAS - How do the other arts, other disciplines, contexts, and daily life inform creating, performing, and responding to music?

26 P a g e purposes. (e.g., CPI#: 1.4.8.A.2)

New Jersey Core Curriculum Content Standard: 1.2 History of the Arts and Culture Related NCAS: MU.Cn11 - Relate artistic ideas and woks with societal, cultural, and historical context to deepen understanding. Student Learning Objective: MU:Cn11.1 - Connect Relate musical ideas and works with varied context to deepen understanding. (Using Level 10 Vocabulary Overview) Modified Student Learning Objective: MU:Cn11.1 Connect Relate musical ideas and works with varied context to deepen understanding. (Using concepts at the appropriate level) ESL Student Learning Objective: MU:Cn11.1 Connect Relate musical ideas and works with varied context to deepen understanding. (Using concepts at the appropriate level) Student Population Skills, Strategies, & Concepts Sample Activities/ Lesson Starters General Education Special Education Students High Group ESL WAPT 11-18 MU:Cn11.1.8 - Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and daily life. CPI#: 1.1.8.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. o 8.1.1 - Explain how tempo is employed to identify dance music popular American music. o 8.1.2 - Identify and demonstrate specific rhythms utilized in American popular dance music o 8.1.3 - Identify specific compositional forms in various styles of music (e.g., ABA, Rondo, Theme and Variations). o 8.1.4 - Describe how melody, harmony, and the ABA/CHORUS-VERSE form evolved through each style of Jazz (e.g., Swing, Be-Bop, Afro Cuban, Latin, Avant-Garde etc.). o 8.1.5 - Describe, identify and demonstrate how simple chord 27 P a g e

progressions are utilized in various styles of music. o 8.1.6 - Describe the compositional elements utilized serial music. o 8.1.7 - Analyze how harmony evolved from the late Romantic Period (e.g., Strauss, Mahler) to the Second Viennese School (the group of composers comprised Arnold Schoenberg and his pupils) to early 20th century music (e.g., Stravinsky). CPI#: 1.2.8.A.1 Map historical innovations in dance, music, theatre, and visual art that were caused by the creation of new technologies. o 8.5.1 - Compare and contrast the impact of technology on two listening examples of a student recording presented with and without the application of autotune". o 8.5.2 - Create an original piece of music in the style of Musique Concrète using appropriate digital audio software. Compare and contrast the process and final product to Musique Concrete created in the 1940's to created using today's computer technologies. CPI#: 1.2.8.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. o 8.5.3 - Research, listen, write and discuss major historic and cultural events that influenced and inspired American music in the last 50 years (e.g., Civil Rights Movement, Vietnam War, Moon Landing, etc.). CPI#: 1.2.8.A.3 Analyze the social, historical, and political impact of artists on culture and the impact of culture on the arts. o 8.5.3 - Research, listen, write and discuss major historic and cultural events that influenced and inspired American music in the last 50 years (e.g., Civil Rights Movement, Vietnam War, Moon Landing, etc.). CPI#: 1.4.8.A.1 Generate observational and emotional responses to diverse 28 P a g e

culturally and historically specific works of dance, music, theatre, and visual art. o 8.4.1 - Generate observational and emotional responses to diverse culturally and historically specific works of dance, music, theatre, and visual art. CPI#: 1.4.8.A.2 Identify works of dance, music, theatre, and visual art that are used for utilitarian and non-utilitarian purposes. o 8.4.2 - Identify music which was originally written for utilitarian purposes and was later used for non- utilitarian, such as movies, commercials. Special Education Students Mid Group ESL WAPT 0-10 MU:Cn11.1.8 [With limited guidance,] demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and daily life. CPI#: 1.1.8.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. o 8.1.1 - Explain how tempo is employed to identify dance music popular American music. o 8.1.2 - Identify and demonstrate specific rhythms utilized in American popular dance music o 8.1.3 - Identify specific compositional forms in various styles of music (e.g., ABA, Rondo, Theme and Variations). o 8.1.4 - Describe how melody, harmony, and the ABA/CHORUS-VERSE form evolved through each style of Jazz (e.g., Swing, Be-Bop, Afro Cuban, Latin, Avant-Garde etc.). o 8.1.5 - Describe, identify and demonstrate how simple chord progressions are utilized in various styles of music. o 8.1.6 - Describe the compositional elements utilized serial music. o 8.1.7 - Analyze how harmony evolved from the late Romantic Period 29 P a g e

(e.g., Strauss, Mahler) to the Second Viennese School (the group of composers comprised Arnold Schoenberg and his pupils) to early 20th century music (e.g., Stravinsky). CPI#: 1.2.8.A.1 Map historical innovations in dance, music, theatre, and visual art that were caused by the creation of new technologies. o 8.5.1 - Compare and contrast the impact of technology on two listening examples of a student recording presented with and without the application of autotune". o 8.5.2 - Create an original piece of music in the style of Musique Concrète using appropriate digital audio software. Compare and contrast the process and final product to Musique Concrete created in the 1940's to created using today's computer technologies. CPI#: 1.2.8.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. o 8.5.3 - Research, listen, write and discuss major historic and cultural events that influenced and inspired American music in the last 50 years (e.g., Civil Rights Movement, Vietnam War, Moon Landing, etc.). CPI#: 1.2.8.A.3 Analyze the social, historical, and political impact of artists on culture and the impact of culture on the arts. o 8.5.3 - Research, listen, write and discuss major historic and cultural events that influenced and inspired American music in the last 50 years (e.g., Civil Rights Movement, Vietnam War, Moon Landing, etc.). CPI#: 1.4.8.A.1 Generate observational and emotional responses to diverse culturally and historically specific works of dance, music, theatre, and visual art. o 8.4.1 - Generate observational and emotional responses to diverse 30 P a g e

culturally and historically specific works of dance, music, theatre, and visual art. CPI#: 1.4.8.A.2 Identify works of dance, music, theatre, and visual art that are used for utilitarian and non-utilitarian purposes. o 8.4.2 - Identify music which was originally written for utilitarian purposes and was later used for non- utilitarian, such as movies, commercials. Special Education Students Low Group MU:Cn11.1.8 [With guidance,] demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and daily life. CPI#: 1.1.8.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. o 8.1.1 - Explain how tempo is employed to identify dance music popular American music. o 8.1.2 - Identify and demonstrate specific rhythms utilized in American popular dance music o 8.1.3 - Identify specific compositional forms in various styles of music (e.g., ABA, Rondo, Theme and Variations). o 8.1.4 - Describe how melody, harmony, and the ABA/CHORUS-VERSE form evolved through each style of Jazz (e.g., Swing, Be-Bop, Afro Cuban, Latin, Avant-Garde etc.). o 8.1.5 - Describe, identify and demonstrate how simple chord progressions are utilized in various styles of music. o 8.1.6 - Describe the compositional elements utilized serial music. o 8.1.7 - Analyze how harmony evolved from the late Romantic Period (e.g., Strauss, Mahler) to the Second Viennese School (the group of composers comprised Arnold Schoenberg and his pupils) to early 20th century music (e.g., Stravinsky). 31 P a g e

CPI#: 1.2.8.A.1 Map historical innovations in dance, music, theatre, and visual art that were caused by the creation of new technologies. o 8.5.1 - Compare and contrast the impact of technology on two listening examples of a student recording presented with and without the application of autotune". o 8.5.2 - Create an original piece of music in the style of Musique Concrète using appropriate digital audio software. Compare and contrast the process and final product to Musique Concrete created in the 1940's to created using today's computer technologies. CPI#: 1.2.8.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. o 8.5.3 - Research, listen, write and discuss major historic and cultural events that influenced and inspired American music in the last 50 years (e.g., Civil Rights Movement, Vietnam War, Moon Landing, etc.). CPI#: 1.2.8.A.3 Analyze the social, historical, and political impact of artists on culture and the impact of culture on the arts. o 8.5.3 - Research, listen, write and discuss major historic and cultural events that influenced and inspired American music in the last 50 years (e.g., Civil Rights Movement, Vietnam War, Moon Landing, etc.). CPI#: 1.4.8.A.1 Generate observational and emotional responses to diverse culturally and historically specific works of dance, music, theatre, and visual art. o 8.4.1 - Generate observational and emotional responses to diverse culturally and historically specific works of dance, music, theatre, and visual art. CPI#: 1.4.8.A.2 Identify works of dance, music, theatre, and visual art that 32 P a g e

are used for utilitarian and non-utilitarian purposes. o 8.4.2 - Identify music which was originally written for utilitarian purposes and was later used for non- utilitarian, such as movies, commercials. 33 P a g e

Vocabulary Overview for Grade 8 (Level 10 Introduced) Bold print indicates new terminology A * indicates a new concept/term which is introduced at this level Rhythm - Concepts that explain what occurs to sound over time, using the beat as a frame of reference. Meter (L8 6 th ) - Identify (through movement, verbal, and written responses), notate (through pictorial representation), and perform (with voice and instruments) poems, stories, and repertoire that contain mixed meters. (L9 7 th ) - Identify (through movement, verbal, and written responses), notate (through pictorial representation), and perform (with voice and instruments) poems, stories, and repertoire that contain irregular meters. * (L10 8 th ) - Identify (through movement, verbal, and written responses), notate (through pictorial representation), and perform (with voice and instruments) poems, stories, and repertoire that contain additive meters. Patterns (L8 6 th ) - Identify (through movement, verbal, and written responses), notate (through traditional and/or non-traditional notation), and perform (with voice and instruments) poems, stories, and repertoire that includes metrical rhythms. (L9 7 th ) - Identify (through movement, verbal, and written responses), notate (through traditional and/or non-traditional notation), and perform (with voice and instruments) poems, stories, and repertoire that includes free rhythms. * (L10 8 th ) - - Identify (through movement, verbal, and written responses), notate (through traditional and non-traditional notation), and perform (with voice and instruments) poems, stories, and repertoire that includes free rhythms. Tempo (L8 6 th ) Identify (through movement, verbal, and written responses), notate (through traditional and non-traditional notation), and perform (with voice and instruments) poems, stories, and repertoire using tempo terms and/or metronome markings. (L9 7 th ) Identify (through movement, verbal, and written responses), notate (through traditional and non-traditional notation), and perform (with voice and instruments) poems, stories, and repertoire using tempo terms and/or metronome markings. 34 P a g e

* (L10 8 th ) Identify (through movement, verbal, and written responses), notate (through traditional and non-traditional notation), and perform (with voice and instruments) poems, stories, and repertoire using tempo terms and/or metronome markings. Dynamics (L8 6 th ) Identify (through movement, verbal, and written responses), notate (through traditional and non-traditional notation), and perform (with voice and instruments) poems, stories, and repertoire using dynamic terms and/or symbols. (L9 7 th ) Identify (through movement, verbal, and written responses), notate (through traditional and non-traditional notation), and perform (with voice and instruments) poems, stories, and repertoire using dynamic terms and/or symbols. * (L10 8 th ) Identify (through movement, verbal, and written responses), notate (through traditional and non-traditional notation), and perform (with voice and instruments) poems, stories, and repertoire using dynamic terms and/or symbols. Articulation (L8 6 th ) Identify (through movement, verbal, and written responses), notate (through traditional and non-traditional notation), and perform (with voice and instruments) poems, stories, and repertoire that is enhanced by appropriate articulation techniques. (L9 7 th ) Identify (through movement, verbal, and written responses), notate (through traditional and non-traditional notation), and perform (with voice and instruments) poems, stories, and repertoire that is enhanced by appropriate articulation techniques. * (L10 8 th ) Identify (through movement, verbal, and written responses), notate (through traditional and non-traditional notation), and perform (with voice and instruments) poems, stories, and repertoire that is enhanced by appropriate articulation techniques. Melody - Concepts that explain our perception of sound in the vertical space Contour (L8 6 th ) Identify (through movement, verbal, and written responses), notate (through traditional and non-traditional notation), and perform (with voice and instruments) poems, stories, and repertoire that contain conjunct and/or disjunct melodic motion with sounds that are ascending by steps/leaps, descending by steps/leaps, or repeating. (L9 7 th ) Identify (through movement, verbal, and written responses), notate (through traditional and non-traditional notation), and perform (with 35 P a g e

voice and instruments) poems, stories, and repertoire that contain conjunct and/or disjunct melodic motion with sounds that are ascending by steps/leaps, descending by steps/leaps, or repeating. * (L10 8 th ) Identify (through movement, verbal, and written responses), notate (through traditional and non-traditional notation), and perform (with voice and instruments) poems, stories, and repertoire that contain conjunct and/or disjunct melodic motion with sounds that are ascending by steps/leaps, descending by steps/leaps, or repeating. Scales (L8 6 th ) Identify (through movement, verbal, and written responses), notate (through traditional and non-traditional notation), and perform (with voice and instruments) poems, stories, and repertoire that contain a variety of scales. (L9 7 th ) Identify (through movement, verbal, and written responses), notate (through traditional and non-traditional notation), and perform (with voice and instruments) poems, stories, and repertoire that contain a variety of scales. * (L10 8 th ) Identify (through movement, verbal, and written responses), notate (through traditional and non-traditional notation), and perform (with voice and instruments) poems, stories, and repertoire that contain a variety of scales. Harmony (L8 6 th ) Identify (through movement, verbal, and written responses), notate (through traditional and non-traditional notation), and perform (with voice and instruments) poems, stories, and repertoire that contain basic chord progressions. (L8 6 th ) Recognize cadences that ends a chord progression (phrase) as being authentic, plagal, half, or deceptive. (L9 7 th ) Identify (through movement, verbal, and written responses), notate (through traditional and non-traditional notation), and perform (with voice and instruments) poems, stories, and repertoire that contain basic chord progressions and cadences. * (L10 8 th ) Identify (through movement, verbal, and written responses), notate (through traditional and non-traditional notation), and perform (with voice and instruments) poems, stories, and repertoire that contain basic chord progressions and cadences. Tonality (L8 6 th ) Identify the key signatures of major and minor keys, as well as enharmonic and relative keys. (L8 6 th ) Transpose melodies and use knowledge of chords and keys to modulate melodies. 36 P a g e

(L9 7 th ) Identify the key signatures of major and minor keys, as well as enharmonic and relative keys. (L9 7 th ) Transpose and modulate melodies. * (L10 8 th ) Identify the key signatures of major and minor keys, as well as enharmonic and relative keys. * (L10 8 th ) Transpose and modulate melodies. Texture Whereas melody is the trees, texture is the forest. The relationship between melodies and accompaniment (if present), as well as the number of different sounds involved. Relationship of Melodies and Accompaniment (L8 6 th ) Identify (through movement, verbal, and written responses), notate (through traditional and non-traditional notation), and perform (with voice and instruments) poems, stories, and repertoire that contain monophonic, homophonic, and polyphonic textures. (L9 7 th ) Identify (through movement, verbal, and written responses), notate (through traditional and non-traditional notation), and perform (with voice and instruments) poems, stories, and repertoire that contain monophonic, homophonic, and polyphonic textures. * (L10 8 th ) Identify (through movement, verbal, and written responses), notate (through traditional and non-traditional notation), and perform (with voice and instruments) poems, stories, and repertoire that contain monophonic, homophonic, and polyphonic textures. Quantity of Voices (L8 6 th ) Identify (through movement, verbal, and written responses), notate (through traditional and non-traditional notation), and perform (with voice and instruments) poems, stories, and repertoire that contain solo and/or group performances. (L8 6 th ) Distinguish between groups that are performing in unison versus those that are performing as a duet, trio, quartet, quintet, etc. (L8 6 th ) Identify modern and historic music ensembles. (L9 7 th ) Identify (through movement, verbal, and written responses), notate (through traditional and non-traditional notation), and perform (with voice and instruments) poems, stories, and repertoire that contain solo and/or group performances. (L9 7 th ) Distinguish between groups that are performing in unison versus those that are performing as a duet, trio, quartet, quintet, etc. (L9 7 th ) Identify modern and historic music ensembles. 37 P a g e

Timbre The kind of sound an instrument produces. * (L10 8 th ) Identify (through movement, verbal, and written responses), notate (through traditional and non-traditional notation), and perform (with voice and instruments) poems, stories, and repertoire that contain solo and/or group performances. * (L10 8 th ) Distinguish between groups that are performing in unison versus those that are performing as a duet, trio, quartet, quintet, etc. * (L10 8 th ) Identify modern and historic music ensembles. Vocal (L8 6 th ) Identify the vocal process: volition, respiration, phonation, resonation, articulation, registration, and vocal coordination. (L8 6 th ) Recognize healthy sound for each process, as well as potential issues. (L8 6 th ) Understand the voice change process from child s singing voice to adult singing voice. (L8 6 th ) Understand how to keep the voice healthy and potential health issues related to the voice. (L8 6 th ) Identify adult voice types. (L9 7 th ) Identify the vocal process: volition, respiration, phonation, resonation, articulation, registration, and vocal coordination. (L9 7 th ) Recognize healthy sound for each process, as well as potential issues. (L9 7 th ) Understand the voice change process from child s singing voice to adult singing voice. (L9 7 th ) Understand how to keep the voice healthy and potential health issues related to the voice. (L9 7 th ) Identify adult voice types. * (L10 8 th ) Identify the vocal process: volition, respiration, phonation, resonation, articulation, registration, and vocal coordination. * (L10 8 th ) Recognize healthy sound for each process, as well as potential issues. * (L10 8 th ) Understand the voice change process from child s singing voice to adult singing voice. 38 P a g e