Greenwich Public Schools Core (General) Music Curriculum PK-5

Greenwich Public Schools Core (General) Music Curriculum PK-5 Overview As a means of having a uniform teaching approach and methodology for core music, grades Pre-K through 5 th grade, the core music faculty have decided they will implement the music curriculum created by Dr. John Feierabend. A national leader in music education, Dr. Feierabend is Professor of Music and the Director of the Music Education Division at The Hartt School of the University of Hartford. First Steps in Music for Preschool and Beyond 1 is Feierabend s text for Pre-K through the end of 1 st grade. Its focus is developing singing and movement skills, and is rich in traditional folk music. The design encourages students to be tuneful, beatful, and artful (p.10). He suggests the following musical workout: 1. Pitch Exploration 5. Song Tales (songs that tell a story) 2. Song Fragments (echo/call & response songs) 6. Movement Exploration 3. Simple Songs 7. Movement for Form and Expression 4. Arioso (Child-created Tunes) 8. Movement with the Beat Based on this methodology, the Pre-K/Kindergarten and Grade 1 Core Music Units of Instruction include three strands Tuneful, Beatful, and Artful. At the end of first grade, students are assessed for their readiness to move into Conversational Solfege. Beginning in second grade and continuing through fifth grade, students begin Conversational Solfege Level One 2, Feierabend s curriculum for teaching music literacy. This method uses a twelve-step process developing students aural skills, the way language is taught, before musical symbols are introduced. The curriculum incorporates rhymes, songs, games, and movement activities. This provides teachers with opportunities for differentiation (process as well as product), meeting the needs of individual students and their various learning styles, specifically visual, auditory, and kinesthetic learners. Steps one and two are rote learning, or readiness activities that have students echo the teacher. Steps three and four involve Conversational Solfege techniques in which the teacher speaks/sings familiar and unfamiliar patterns and the students are then required to aurally decode. These steps serve as an assessment of the skills gained and also require students to use higher-order thinking. In step five students are asked to create their own rhythm and tonal patterns then followed by musical notation. In the sixth step, students read patterns and music by rote, and then decode familiar and unfamiliar patterns and songs (read/sing out loud) similarly as they do in language literacy classes. Following three reading steps, the students then begin to write notation. In step eleven, the teacher speaks, sings, or plays unfamiliar rhythm and tonal patterns for students to write down. The final step in the twelve-step process is composition. They are required to first create their own musical patterns, and then write them down. Students are informally assessed at each step with a summative assessment at the end of step twelve. Based on this methodology, the Grade 2 through Grade 5 General Music Units of Instruction include all twelve steps of Units 1-10 and Unit 19 of Conversational Solfege, Levels One and Two with 3-4 units apportioned to each grade. In Grade 5, students are required to do a vocal assessment. Additionally, there is a Grade 2-5 unit devoted to Music and Movement, and both a Grade 2-3 unit and a Grade 4-5 unit devoted to the Greenwich Symphony Orchestra s Young People s Concerts. 1 Feierabend, John. First Steps in Music for Preschool and Beyond. Chicago: GIA Publications, 2003. 2 Feierabend, John. Conversational Solfege, Level One. Chicago: GIA Publications, 2000. 1

Table of Contents Pre-K/Kindergarten Units of Instruction 3 Tuneful 4 Beatful 5 Artful 7 Grade 1 Units of Instruction 11 Tuneful 11 Beatful 10 Artful 13 Grades 2-5 Unit of Instruction 15 Music and Movement 15 Grades 2-3 Unit of Instruction 17 GSO Young People s Concert 17 Grades 4-5 Unit of Instruction 19 GSO Young People s Concert 19 Grade 2 Units of Instruction 21 Conversational Solfege Level 1, Unit 1 Rhythmic (Steps 1-12) 21 Conversational Solfege Level 1, Unit 2 Rhythmic (Steps 1-5) 24 Conversational Solfege Level 1, Unit 4 Tonal (Steps 1-3) 26 Grade 3 Units of Instruction 28 Conversational Solfege Level 1, Unit 2 Rhythmic (Steps 6-12) 28 Conversational Solfege Level 1, Unit 3 Rhythmic (Steps 1-12) 31 Conversational Solfege Level 1, Unit 4 Tonal (Steps 4-12) 34 Grade 4 Units of Instruction 37 Conversational Solfege Level 2, Unit 5 Tonal (Steps 1-12) 37 Conversational Solfege Level 2, Unit 6 Rhythmic (Steps 1-12) 40 Conversational Solfege Level 2, Unit 7 Rhythmic (Steps 1-12) 43 Conversational Solfege Level 2, Unit 8 Rhythmic (Steps 1-12) 46 Grade 5 Units of Instruction 49 Conversational Solfege Level 2, Unit 9 Rhythmic (Steps 1-12) 49 Conversational Solfege Level 2, Unit 10 Tonal (Steps 1-12) 52 Conversational Solfege Level 3, Unit 19 Rhythmic (Steps 1-12) 55 Fifth Grade Vocal Assessment 58 2

Title: Tuneful How We Use Our Voice Topic: Songs & Pitch Exploration Stage 1 Desired Results Course: Core Music Grade: PK-K Established Goals: National Standards Standard 1: Singing, alone and with others, a varied repertoire of music. Standard 2: on instruments, alone and with others, a varied repertoire of music. Standard 6: Listening to, analyzing, and describing music. Standard 8: Understanding relationships between music, the other arts, and disciplines outside the arts. GPS Overarching Big Ideas Making meaningful expression/performing to the arts Making connections to and through the arts Understandings: Students will understand that Singing and playing an instrument are means of communication, capable of expressing feelings and emotions that surpass the spoken language. Humans are born with an instrument for making music-the voice. Playing an instrument allows a musician to express musical ideas that exceed the range, timbre, and dynamics of the voice. The depth of musical knowledge one possesses impacts how, and to what degree, one analyzes, describes, and evaluates music. The music to which one has been exposed influences one s musical preferences. People listen to music for a variety of reasons (e.g. to be energized, to gain focus, to enhance or alter a current emotional state, to entertain). Listening to music evokes emotions, whether or not one has chosen to listen to it. Music connects us to the past, present, and future. Students will know The four different ways of using their voices: speaking, singing, shouting, and whispering. The terms high/low, soft/loud, and fast/slow. Essential Questions: In what ways is singing easier than playing an instrument? In what ways is playing an instrument easier than singing? How does having an audience impact the performers? Is the audience an essential component of a performance? How is making music in a group different than making music by oneself? In what ways is making music by oneself more fulfilling than making music with a group? In what ways is making music with a group more fulfilling than making music by oneself? Why do we listen to music? Why do we like the music we like? How can we be open to liking music we do not understand? How does familiarity with a piece of music affect how we respond? Why is some music timeless? How does my artistic work connect to other subjects I study? Students will be able to... Identify, demonstrate, and differentiate between the four different ways of using the voice speaking, singing, shouting, and whispering. 3

That correct body position is necessary in order to sing well. That breathing is part of singing well. Echo song fragments and rhymes. Explore pitch using vocal sliding activities (glissandi). Sing songs/say rhymes while maintaining a steady beat. Hear sounds that are high and low, loud and soft, and fast and slow. Listen and respond to teacher-performed song tales. Make connections between music they hear in class and music/activities in their daily lives. Stage 2 Assessment Evidence Performance Tasks: Learn and perform simple songs as a group and/or individually. Key Criteria: Students will be assessed on their ability in singing songs based on a 3-point rubric (3 = consistently competent, 2=competent, and 1=emerging). Other Evidence: Formative assessments, ongoing informal assessments, and activities incorporating singing and listening will be used. Stage 3 Learning Plan Learning Activities: To be developed by the individual teacher. 4

Title: Beatful Feeling the Pulse/Beat Topic: Pulse/Steady Beat & Beats in 2s/3s Stage 1 Desired Results Course: Core Music Grade: PK-K Established Goals: National Standards Standard 1: Singing, alone and with others, a varied repertoire of music. Standard 2: on instruments, alone and with others, a varied repertoire of music. Standard 6: Listening to, analyzing, and describing music. Standard 8: Understanding relationships between music, the other arts, and disciplines outside the arts. GPS Overarching Big Ideas Making meaningful expression/performing to the arts Making connections to and through the arts Understandings: Students will understand that Singing and playing an instrument are means of communication, capable of expressing feelings and emotions that surpass the spoken language. Humans are born with an instrument for making music-the voice. Playing an instrument allows a musician to express musical ideas that exceed the range, timbre, and dynamics of the voice. The depth of musical knowledge one possesses impacts how, and to what degree, one analyzes, describes, and evaluates music. The music to which one has been exposed influences one s musical preferences. People listen to music for a variety of reasons (e.g. to be energized, to gain focus, to enhance or alter a current emotional state, to entertain). Listening to music evokes emotions, whether or not one has chosen to listen to it. Music connects us to the past, present, and future. Students will know The terms: steady beat, fast/slow, and same/different. That music can be in 2 s or 3 s. Essential Questions: In what ways is singing easier than playing an instrument? In what ways is playing an instrument easier than singing? How does having an audience impact the performers? Is the audience an essential component of a performance? How is making music in a group different than making music by oneself? In what ways is making music by oneself more fulfilling than making music with a group? In what ways is making music with a group more fulfilling than making music by oneself? Why do we listen to music? Why do we like the music we like? How can we be open to liking music we do not understand? How does familiarity with a piece of music affect how we respond? Why is some music timeless? How does my artistic work connect to other subjects I study? Students will be able to Maintain teachergenerated steady beat on their bodies or ageappropriate classroom instruments. Create a steady beat to familiar songs/rhymes on their bodies or age-appropriate instruments. 5

Move to the beat in 2 s and 3 s to recorded music, familiar songs, and rhymes by following the teacher s lead. Make connections between music they hear in class and music/activities in their daily lives. Stage 2 Assessment Evidence Performance Tasks: Students will maintain a steady beat in 2 s and 3 s to a familiar song, rhyme, or recorded music. Key Criteria: Students will be assessed on their ability in maintaining a steady beat in 2 s and 3 s based on a 3-point rubric (3 = consistently competent, 2=competent, and 1=emerging). Other Evidence: Formative assessments, ongoing informal assessments, and activities incorporating movement, singing, playing instruments, and body percussion will be used. Stage 3 Learning Plan Learning Activities: To be developed by the individual teacher. 6

Title: Artful Creative Exploration in Music Topic: Moving to Music & Creating Simple Songs Stage 1 Desired Results Course: Core Music Grade: PK-K Established Goals: National Standards Standard 1: Singing, alone and with others, a varied repertoire of music. Standard 2: on instruments, alone and with others, a varied repertoire of music. Standard 3: Improvising melodies, variations, and accompaniments. Standard 6: Listening to, analyzing, and describing music. Standard 8: Understanding relationships between music, the other arts, and disciplines outside the arts. GPS Overarching Big Ideas Making meaningful expression/performing Expressing personal ideas/creating to the arts Making connections to and through the arts Understandings: Students will understand that Singing and playing an instrument are means of communication, capable of expressing feelings and emotions that surpass the spoken language. Humans are born with an instrument for making music-the voice. Playing an instrument allows a musician to express musical ideas that exceed the range, timbre, and dynamics of the voice. involves interpretative decisions. Creating Improvisation expresses ideas and feelings in the moment. The depth of musical knowledge one possesses impacts how, and to what degree, one analyzes, describes, and evaluates music. The music to which one has been exposed influences one s musical preferences. People listen to music for a variety of reasons (e.g. to be energized, to gain focus, to enhance or alter a current emotional state, to entertain). Listening to music evokes emotions, whether or not one has chosen to listen to it. Essential Questions: In what ways is singing easier than playing an instrument? In what ways is playing an instrument easier than singing? How does having an audience impact the performers? Is the audience an essential component of a performance? How is making music in a group different than making music by oneself? In what ways is making music by oneself more fulfilling than making music with a group? In what ways is making music with a group more fulfilling than making music by oneself? Creating How do I express my ideas, feelings, or mood through music? Why do we listen to music? Why do we like the music we like? How can we be open to liking music we do not understand? How does familiarity with a piece of music affect how we respond? Why is some music timeless? How does my artistic work connect to other subjects I study? 7

Music connects us to the past, present, and future. Students will know Age-appropriate movements to music (as reflected in suggested Kindergarten movement repertoire). The following terms: arioso, fast/slow, high/low, same/different, pattern, personal space, and movement. Students will be able to... Discover the sounds they can make with their voices (e.g. oo, ah, yee-ha, mm, etc.). Explore pitch using vocal sliding activities/create vocal glissandi. Create (improvise) Level 1 ariosos (child-created songs without words) on a neutral syllable using a minimum of 2-3 pitches. Recognize same/different in Level 1 ariosos. Discover different ways they can move their bodies. Demonstrate an awareness of personal space. Use age-appropriate movements (based on suggested movement repertoire) to recorded music. Recognize patterns in movements. Make connections between the vocal sounds and movements they make in class to other disciplines (math, language arts, P.E., art) and to their daily lives. Stage 2 Assessment Evidence Performance Tasks: Students will create (improvise) Level 1 ariosos (songs without words) based on teacher guidelines. Students will create their own movements to recorded music based on teacher guidelines. Key Criteria: Students will be assessed on their ability in creating Level 1 ariosos, and movements based on a 3-point rubric (3 = consistently competent, 2=competent, and 1=emerging). Other Evidence: Formative assessments, ongoing informal assessments, and activities incorporating movement, singing and improvising will be used. Stage 3 Learning Plan Learning Activities: To be developed by the individual teacher. 8

Title: Tuneful How We Use Our Voice Course: Core Music Topic: Songs & Pitch Exploration Grade: 1 Stage 1 Desired Results Established Goals: National Standards Standard 1: Singing, alone and with others, a varied repertoire of music. Standard 2: on instruments, alone and with others, a varied repertoire of music. Standard 6: Listening to, analyzing, and describing music. Standard 8: Understanding relationships between music, the other arts, and disciplines outside the arts. GPS Overarching Big Ideas Making meaningful expression/performing to the arts Making connections to and through the arts Understandings: Students will understand that Singing and playing an instrument are means of communication, capable of expressing feelings and emotions that surpass the spoken language. Humans are born with an instrument for making music-the voice. Playing an instrument allows a musician to express musical ideas that exceed the range, timbre, and dynamics of the voice. involves interpretative decisions. The depth of musical knowledge one possesses impacts how, and to what degree, one analyzes, describes, and evaluates music. The music to which one has been exposed influences one s musical preferences. People listen to music for a variety of reasons (e.g. to be energized, to gain focus, to enhance or alter a current emotional state, to entertain). Listening to music evokes emotions, whether or not one has chosen to listen to it. Music connects us to the past, present, and future. Essential Questions: In what ways is making music a more effective form of communication than speaking? In what ways is speaking a more effective form of communication than making music? In what ways is singing easier than playing an instrument? In what ways is playing an instrument easier than singing? How does having an audience impact the performers? Is the audience an essential component of a performance? How is making music in a group different than making music by oneself? In what ways is making music by oneself more fulfilling than making music with a group? In what ways is making music with a group more fulfilling than making music by oneself? Why do we listen to music? Why do we like the music we like? How can we be open to liking music we do not understand? How does familiarity with a piece of music affect how we respond? Why is some music timeless? How does my artistic work connect to other subjects I study? 9

Students will know The terms posture, Song Tale, high/low, loud/soft, and fast/slow. That breathing and correct posture is part of singing well. Students will be able to... Echo song fragments and rhymes. Explore pitch using vocal sliding activities (glissandi). Sing songs/say rhymes while maintaining a steady beat. Maintain correct body position while singing. Distinguish between sounds that are high and low, loud and soft, and fast and slow. Listen and respond to teacher-performed song tales. Make connections between music they hear in class to other disciplines (math, language arts, P.E., art) and to their daily lives. Stage 2 Assessment Evidence Performance Tasks: Learn and perform simple songs as a group and/or individually. Key Criteria: Students will be assessed on their ability in singing songs based on a 3-point rubric (3 = consistently competent, 2=competent, and 1=emerging). Other Evidence: Formative assessments, ongoing informal assessments, and activities incorporating singing, improvising, and listening will be used. Stage 3 Learning Plan Learning Activities: To be developed by the individual teacher. 10

Title: Beatful Feeling the Pulse/Beat Course: Core Music Topic: Pulse/Steady Beat & Beats in 2s/3s Grade: 1 Stage 1 Desired Results Established Goals: National Standards Standard 1: Singing, alone and with others, a varied repertoire of music. Standard 2: on instruments, alone and with others, a varied repertoire of music. Standard 6: Listening to, analyzing, and describing music. Standard 8: Understanding relationships between music, the other arts, and disciplines outside the arts. GPS Overarching Big Ideas Making meaningful expression/performing to the arts Making connections to and through the arts Understandings: Students will understand that Singing and playing an instrument are means of communication, capable of expressing feelings and emotions that surpass the spoken language. Humans are born with an instrument for making music-the voice. Playing an instrument allows a musician to express musical ideas that exceed the range, timbre, and dynamics of the voice. involves interpretative decisions. Creating Improvisation expresses ideas and feelings in the moment. Improvisation and composition involve guidelines and structure, which may be amended during the creative process. The depth of musical knowledge one possesses impacts how, and to what degree, one analyzes, describes, and evaluates music. The music to which one has been exposed influences one s musical preferences. People listen to music for a variety of reasons (e.g. to be energized, to gain focus, to enhance or alter a current emotional state, to entertain). Listening to music evokes emotions, whether or Essential Questions: In what ways is making music a more effective form of communication than speaking? In what ways is speaking a more effective form of communication than making music? In what ways is singing easier than playing an instrument? In what ways is playing an instrument easier than singing? How does having an audience impact the performers? Is the audience an essential component of a performance? How is making music in a group different than making music by oneself? In what ways is making music by oneself more fulfilling than making music with a group? In what ways is making music with a group more fulfilling than making music by oneself? Creating How do I express my ideas, feelings, or mood through music? Why do we listen to music? Why do we like the music we like? How can we be open to liking music we do not understand? How does familiarity with a piece of music affect how we respond? 11

not one has chosen to listen to it. Music connects us to the past, present, and future. Students will know The terms steady beat, fast/slow, and same/different. That music can be in 2 s or 3 s. Why is some music timeless? How does my artistic work connect to other subjects I study? Students will be able to... Maintain teacher-generated steady beat on their bodies or age-appropriate classroom instruments. Establish and maintain a steady beat to familiar songs and rhymes on their bodies or ageappropriate instruments. Move to the beat in 2 s and 3 s to recorded music, familiar songs, and rhymes by following the teacher s lead. Make connections between music they hear in class to other disciplines (math, language arts, P.E., art) and to their daily lives. Stage 2 Assessment Evidence Performance Tasks: Students will establish and maintain a steady beat in 2 s and 3 s to a familiar song, rhyme or recorded music. Key Criteria: Students will be assessed on their ability in establishing and maintaining a steady beat in 2 s and 3 s based on a 3-point rubric (3 = consistently competent, 2=competent, and 1=emerging). Other Evidence: Formative assessments, ongoing informal assessments, and activities incorporating movement, singing, playing instruments, and body percussion will be used. Stage 3 Learning Plan Learning Activities: To be developed by the individual teacher. 12

Title: Artful Creative Exploration in Music Course: Core Music Topic: Moving to Music & Creating Simple Songs Grade: 1 Stage 1 Desired Results Established Goals: National Standards Standard 1: Singing, alone and with others, a varied repertoire of music. Standard 2: on instruments, alone and with others, a varied repertoire of music. Standard 3: Improvising melodies, variations, and accompaniments. Standard 6: Listening to, analyzing, and describing music. Standard 8: Understanding relationships between music, the other arts, and disciplines outside the arts. GPS Overarching Big Ideas Making meaningful expression/performing Expressing personal ideas/creating to the arts Making connections to and through the arts Understandings: Students will understand that Singing and playing an instrument are means of communication, capable of expressing feelings and emotions that surpass the spoken language. Humans are born with an instrument for making music-the voice. Playing an instrument allows a musician to express musical ideas that exceed the range, timbre, and dynamics of the voice. involves interpretative decisions. Creating Improvisation expresses ideas and feelings in the moment. Improvisation and composition involve guidelines and structure, which may be amended during the creative process. The depth of musical knowledge one possesses impacts how, and to what degree, one analyzes, describes, and evaluates music. The music to which one has been exposed influences one s musical preferences. People listen to music for a variety of reasons (e.g. to be energized, to gain focus, to enhance or Essential Questions: In what ways is making music a more effective form of communication than speaking? In what ways is speaking a more effective form of communication than making music? In what ways is singing easier than playing an instrument? In what ways is playing an instrument easier than singing? How does having an audience impact the performers? Is the audience an essential component of a performance? How is making music in a group different than making music by oneself? In what ways is making music by oneself more fulfilling than making music with a group? In what ways is making music with a group more fulfilling than making music by oneself? Creating How do I express my ideas, feelings, or mood through music? Why do we listen to music? Why do we like the music we like? How can we be open to liking music we do not understand? How does familiarity with a piece of music affect how we respond? 13

alter a current emotional state, to entertain). Listening to music evokes emotions, whether or not one has chosen to listen to it. Music connects us to the past, present, and future. Students will know The terms: arioso, heavy/light, and high/middle/low. Age appropriate movement vocabulary (based on suggested Grade 1 movement repertoire). Why is some music timeless? How does my artistic work connect to other subjects I study? Students will be able to... Create (improvise) Level 1, 2, and 3 ariosos (child-created tunes) using a minimum of 2-3 pitches. Respond to music by using different ways of using their bodies based on age-appropriate movement vocabulary. Demonstrate an awareness of heavy/light, and high/middle/low levels through age-appropriate movement activities (based on suggested movement repertoire). Make connections between the vocal sounds and movements they make in class to other disciplines (math, language arts, P.E., art), and to their daily lives. Stage 2 Assessment Evidence Performance Tasks: Students will create (improvise) Level 3 ariosos based on teacher guidelines. Students will create their own movements to recorded music based on teacher guidelines. Key Criteria: Students will be assessed on their ability in creating ariosos, and movements based on a 3-point rubric (3 = consistently competent, 2=competent, and 1=emerging). Other Evidence: Formative assessments, ongoing informal assessments, and activities incorporating movement, singing and improvising will be used. Stage 3 Learning Plan Learning Activities: To be developed by the individual teacher. 14

Title: Music and Movement Course: Core Music Topic: Moving/Dancing to Songs & Recorded Music Grades: 2-5 Stage 1 Desired Results Established Goals: National Standards Standard 1: Singing, alone and with others, a varied repertoire of music. Standard 6: Listening to, analyzing, and describing music. Standard 7. Evaluating music and music performances. Standard 8: Understanding relationships between music, the other arts, and disciplines outside the arts. Standard 9: Understanding music in relation to history and culture. GPS Overarching Big Ideas Making meaningful expression/performing to the arts Making connections to and through the arts Understandings: Students will understand that Singing is a means of communication, capable of expressing feelings and emotions that surpass the spoken language. The music to which one has been exposed influences one s musical preferences. People listen to music for a variety of reasons (e.g. to be energized, to gain focus, to enhance or alter a current emotional state, to entertain). Music connects us to the past, present, and future. The arts connect to other disciplines, personal experiences, and daily life. There are similarities and differences in the arts produced among cultures and across time. Students will know The following terms: folk dance, movement theme, steady beat, rhythm, and tempo. Age-appropriate movement themes selected from the following: awareness of body parts and Essential Questions: In what ways is making music a more effective form of communication than speaking? In what ways is speaking a more effective form of communication than making music? How is making music in a group different than making music by oneself? In what ways is making music by oneself more fulfilling than making music with a group? In what ways is making music with a group more fulfilling than making music by oneself? How does familiarity with a piece of music affect how we respond? How does the addition of music to other art forms (e.g. dance, theater, movies, TV shows, commercials, video games) affect how we respond? Why is some music timeless? How does my artistic work connect to other subjects I study? Students will be able to... Perform/respond to music by using ageappropriate movements and movement themes (based on suggested movement repertoire). Perform a variety of age-appropriate folk dance 15

whole; awareness of time; awareness of space; awareness of levels; awareness of weight; awareness of locomotion; awareness of flow; awareness of shape; awareness of others; student created movement. Age-appropriate movement terms selected from the following: hop (one foot), jump, leap, gallop, skip, do-si-do, elbow swing, kick, sashay, forward, backward, clockwise, and counterclockwise; and formations such as circle, line, and scattered formation. movements and folk dances while singing. Recognize patterns in movements and their connection to musical form. Make connections between movements and dances to other disciplines (math, language arts, social studies, geography, P.E., art), cultures and their daily lives. Stage 2 Assessment Evidence Performance Tasks: Students will be able to perform a variety of age-appropriate songs, movements, and folk dances in a group setting. Key Criteria: Students will be assessed on their ability to sing and move/dance based on a 3-point rubric (3 = consistently competent, 2=competent, and 1=emerging). Other Evidence: Formative assessments, ongoing informal assessments, and activities incorporating movement and singing and dancing will be used. Stage 3 Learning Plan Learning Activities: To be developed by the individual teacher, based on the following suggested movement repertoire list: Feierabend, John and Kahan, Jane. The Book of Movement Exploration. Chicago, IL: GIA Publications, Inc. 2003. Amidon, Peter et al. Down in the Valley. Brattleboro, VT: New England Dancing Masters Production. 2000. Amidon, Peter et al. Chimes of Dunkirk. Brattleboro, VT: New England Dancing Masters Production. 1991. Amidon, Peter et al. Sashay the Doughnut. Brattleboro, VT: New England Dancing Masters Production. 1991. Amidon, Peter et al. Listen to the Mockingbird. Brattleboro, VT: New England Dancing Masters Production. 1991. Weikart, Phyllis. Weikart: Beginning Folk Dances with Phyllis Weikart (vol. 1-6) HighScope Educational Research Foundation. DVD. Feierabend, John and Lyman, Peggy. Feierabend: Move It! 1 and Move It! 2. Chicago, IL: GIA Publications, Inc. DVD/CD. Weikart, Phyllis. Teaching Folk Dance. Ypsilanti, MI: High/Scope Press. 1997. Trinka, Jill. The Little Black Bull. Chicago, IL: GIA Publications, Inc. 1996. Trinka, Jill. My Little Rooster. Chicago, IL: GIA Publications, Inc. 1996. Trinka, Jill. Bought Me a Cat. Chicago, IL: GIA Publications, Inc. 1996. Trinka, Jill. John the Rabbit. Chicago, IL: GIA Publications, Inc. 1996. 16

Title: Young People s Concert/Greenwich Symphony Course: Core Music Topic: Variable depending on repertoire/materials* Grades: 2-3 Stage 1 Desired Results Established Goals: National Standards Standard 6: Listening to, analyzing, and describing music. Standard 7. Evaluating music and music performances. Standard 9: Understanding music in relation to history and culture. *Depending on the repertoire, other standards may be incorporated. GPS Overarching Big Ideas to the arts Making connections to and through the arts Understandings: Students will understand that The music to which one has been exposed influences one s musical preferences. Listening to music evokes emotions, whether or not one has chosen to listen to it. Music connects us to the past, present, and future. Second Grade Students will know The names of the families of instruments (strings, woodwinds, brass, percussion), the names of all the string instruments (violin, viola, cello, string bass, and harp), and one representative instrument from the other three families. How sound is produced for each family of instruments. The following terms: conductor, symphony orchestra. Age-appropriate characteristics of the repertoire. The basic principles of concert etiquette. Third Grade Students will know all of above with the addition of The names of all the woodwind instruments (flute, piccolo, oboe, clarinet, saxophone, and bassoon), the names of all the brass instruments (trumpet, French horn, trombone, and tuba) and the following percussion instruments: bass drum, snare drum, bells, cymbals, xylophone, piano, triangle, and auxiliary instruments of the Essential Questions: Why do we listen to music? Why do we like the music we like? How can we be open to liking music we do not understand? How does familiarity with a piece of music affect how we respond? Why is some music timeless? Second Grade Students will be able to... Visually identify the four families of the orchestra. Aurally identify the string and percussion families. Visually identify all the string instruments. Use age-appropriate words to describe the mood of the pieces listened to in class (for e.g. scary, excited, sad, happy etc.). Apply the principles of concert etiquette during the concert. Discuss the role of the conductor. Third Grade Students will be able to do all of above with the addition of Visually identify all the instruments of each family of the orchestra. Aurally identify the brass and woodwind families. 17

teacher s choice. Stage 2 Assessment Evidence Performance Tasks: Students will attend the Greenwich Symphony Orchestra Young People s Concert and apply the principles of concert etiquette. Key Criteria: Students will be assessed on their ability to visually and aurally indentify the families/instruments of the orchestra as outlined above. Students will reflect on their experience after the concert. Other Evidence: Formative assessments, ongoing informal assessments, and activities incorporating listening and describing music will be used based on the materials sent from the YPC Committee. Stage 3 Learning Plan Learning Activities: To be developed by the individual teacher based on the materials sent. *Greenwich Public School students in grades 2-3 attend an annual performance of the Greenwich Symphony Orchestra s Young People s Concert. The repertoire that the Greenwich Symphony performs is different every year. The Young People s Concert Committee sends the materials to all teachers at least one month prior to the concert. 18

Title: Young People s Concert/Greenwich Symphony Course: Core Music Topic: Variable depending on repertoire/materials* Grades: 4-5 Stage 1 Desired Results Established Goals: National Standards Standard 6: Listening to, analyzing, and describing music. Standard 7. Evaluating music and music performances. Standard 9: Understanding music in relation to history and culture. *Depending on the repertoire, other standards may be incorporated. GPS Overarching Big Ideas to the arts Making connections to and through the arts Understandings: Students will understand that The depth of musical knowledge one possesses impacts how, and to what degree, one analyzes, describes, and evaluates music. The music to which one has been exposed influences one s musical preferences. People listen to music for a variety of reasons (e.g. to be energized, to gain focus, to enhance or alter a current emotional state, to entertain). Listening to music evokes emotions, whether or not one has chosen to listen to it. Music connects us to the past, present, and future. Studying the music of a time period can provide insight into the emotional climate and historical and cultural milieu. Students will know The names of the families of instruments (strings, woodwinds, brass, percussion), the names of the instruments of each family (strings violin, viola, cello, string bass, harp; woodwinds - flute, piccolo, oboe, clarinet, saxophone, bassoon; brass - trumpet, French horn, trombone, tuba; percussion - bass drum, snare drum, bells, cymbals, xylophone, piano, triangle; How sound is produced for each family of instruments. The following terms: conductor, symphony Essential Questions: Why do we listen to music? Why do we like the music we like? How can we be open to liking music we do not understand? How does familiarity with a piece of music affect how we respond? Why is some music timeless? What would our world be like if we didn t have the arts? How do artists from different eras and cultures explore and express similar themes? Students will be able to... Visually identify the four families of the orchestra and the individual instruments of each. Aurally identify the families of the orchestra and a minimum of two instruments from each (for e.g. contrasting instrument sounds violin/string bass, trumpet/tuba). Describe the mood of the pieces listened to in class. Describe how the musical elements (dynamics, timbre, tempo, tonality, meter, etc) create the mood 19

orchestra, and concertmaster. General characteristics of the style periods of the repertoire being studied. General information about the composers being studied. The principles of concert etiquette. Discuss the role of the conductor and practice conducting patterns (2/4, 3/4, and 4/4). Identify the style period for the composers represented. Apply the principles of concert etiquette during the concert. Stage 2 Assessment Evidence Performance Tasks: Students will attend the Greenwich Symphony Orchestra Young People s Concert and apply the principles of concert etiquette. Key Criteria: Students will be assessed on their ability to visually and aurally indentify the families/instruments of the orchestra as outlined above. Students will reflect on their experience after the concert. Based on the materials sent from the YPC Committee students will be assessed according to the teacher s choice, for e.g. a written reflection, a thank-you letter, class discussion, pair-share. Other Evidence: Formative assessments, ongoing informal assessments, and activities incorporating listening, conducting, and describing music based on the musical elements will be used based on the materials sent from the YPC Committee. Stage 3 Learning Plan Learning Activities: To be developed by the individual teacher based on the materials sent. *Greenwich Public School students in grades 2-3 attend an annual performance of the Greenwich Symphony Orchestra s Young People s Concert. The repertoire that the Greenwich Symphony performs is different every year. The Young People s Concert Committee sends the materials to all teachers at least one month prior to the concert. 20

Title: Conversational Solfege Unit 1 (Steps 1-12) Course: Core Music Topic: Quarter & Paired Eighth Notes in 2/4 Meter Grade: 2 Stage 1 Desired Results Established Goals: National Standards Standard 1: Singing, alone and with others, a varied repertoire of music. Standard 2: on instruments, alone and with others, a varied repertoire of music. Standard 3: Improvising melodies, variations, and accompaniments. Standard 4: Composing and arranging music within specified guidelines. Standard 5: Reading and notating music. Standard 6: Listening to, analyzing, and describing music. Standard 7. Evaluating music and music performances. Standard 8: Understanding relationships between music, the other arts, and disciplines outside the arts. Standard 9: Understanding music in relation to history and culture. GPS Overarching Big Ideas Making meaningful expression/performing Expressing personal ideas/creating to the arts Interpreting symbolic expressions/literacy Making connections to and through the arts Understandings: Students will understand that Singing and playing an instrument are means of communication, capable of expressing feelings and emotions that surpass the spoken language. Humans are born with an instrument for making music-the voice. Playing an instrument allows a musician to express musical ideas that exceed the range, timbre, and dynamics of the voice. involves interpretative decisions. Creating Improvisation expresses ideas and feelings in the moment. Composition requires imagining, planning, creating, evaluating, and refining one s musical ideas. Composition results in a work that can be performed and replicated. Improvisation and composition involve guidelines Essential Questions: In what ways is making music a more effective form of communication than speaking? In what ways is speaking a more effective form of communication than making music? In what ways is singing easier than playing an instrument? In what ways is playing an instrument easier than singing? How does having an audience impact the performers? Is the audience an essential component of a performance? How is making music in a group different than making music by oneself? In what ways is making music by oneself more fulfilling than making music with a group? In what ways is making music with a group more fulfilling than making music by oneself? Creating How does improvisation differ from composition? How are improvisation and composition similar? How is composing more satisfying or less 21

and structure, which may be amended during the creative process. The depth of musical knowledge one possesses impacts how, and to what degree, one analyzes, describes, and evaluates music. The music to which one has been exposed influences one s musical preferences. People listen to music for a variety of reasons (e.g. to be energized, to gain focus, to enhance or alter a current emotional state, to entertain). Listening to music evokes emotions, whether or not one has chosen to listen to it. Literacy Notational literacy empowers independent musicians. Notation gives permanence to a composition. Standard music notation includes symbols that visually represent sounds, and a universal set of terms that aid understanding. Since music is an aural art form, aural literacy (e.g. listening critically) is an important component of being musically literate. Music connects us to the past, present, and future. Studying the music of a time period can provide insight into the emotional climate and historical and cultural milieu. Students will know The names of the following notation symbols: ta and ta-ti (quarter note, paired eighth notes), bar line, ending bar line, stem, beam, and note-head. The terms steady beat, tempo. satisfying than performing works of other composers? How is performing my own composition more satisfying or less satisfying than performing works of other composers? How do I express my ideas, feelings, or mood through music? How can I use the elements of music (e.g. melody, harmony, rhythm, timbre, texture, and expressive devices) to convey my ideas and intent? Why do we listen to music? Why do we like the music we like? How can we be open to liking music we do not understand? How does familiarity with a piece of music affect how we respond? Literacy Why do composers use standard notation? Is notation music? What is the value in becoming musically literate? What would change if we didn t have a system of written music notation? Why is some music timeless? How does my artistic work connect to other subjects I study? Students will be able to... Chant rhythmic patterns and sing/play (on nonpitched age-appropriate classroom instruments) songs/rhymes using ta and ta-ti (quarter note, paired eighth notes). Conversationally decode familiar and unfamiliar rhythmic patterns and songs, phrase by phrase, using ta and ta-ti. Conversationally create (improvise) rhythmic patterns using ta and ta-ti. Read, create and write (compose) rhythmic patterns using ta and ta-ti. Write stems, note heads, and beams properly. 22

Stage 2 Assessment Evidence Performance Tasks: Students will decode, create and write (compose) rhythmic patterns using ta and ta-ti. Key Criteria: Students will be assessed on the accuracy of their decoding and creating using teacher-created rubrics. Proficiency will be based on an 80% level of accuracy. Students writing will be assessed for accuracy with a manuscript checklist. Other Evidence: Formative assessments, ongoing informal assessments, and activities incorporating decoding, creating, reading, writing, and performing will be used from Conversational Solfege, Unit 1. Stage 3 Learning Plan Learning Activities: To be developed by the individual teacher. While teaching this unit, it is important to include readiness and rote activities from Units 2 & 4 in preparation for future learning objectives. 23

Title: Conversational Solfege Unit 2 (Steps 1-5) Topic: Dotted Quarter & 3-Beamed Eighth Notes in 6/8 Meter Grade: 2 Stage 1 Desired Results Established Goals: National Standards Standard 1: Singing, alone and with others, a varied repertoire of music. Standard 2: on instruments, alone and with others, a varied repertoire of music. Standard 3: Improvising melodies, variations, and accompaniments. Standard 4: Composing and arranging music within specified guidelines. Standard 6: Listening to, analyzing, and describing music. Standard 7. Evaluating music and music performances. Course: Core Music GPS Overarching Big Ideas Making meaningful expression/performing Expressing personal ideas/creating to the arts Understandings: Students will understand that Singing and playing an instrument are means of communication, capable of expressing feelings and emotions that surpass the spoken language. Humans are born with an instrument for making music-the voice. Playing an instrument allows a musician to express musical ideas that exceed the range, timbre, and dynamics of the voice. Creating Improvisation expresses ideas and feelings in the moment. Improvisation and composition involve guidelines and structure, which may be amended during the creative process. Since music is an aural art form, aural literacy (e.g. listening critically) is an important component of being musically literate. The depth of musical knowledge one possesses impacts how, and to what degree, one analyzes, describes, and evaluates music. Listening to music evokes emotions, whether or not one has chosen to listen to it. Essential Questions: In what ways is making music a more effective form of communication than speaking? In what ways is speaking a more effective form of communication than making music? In what ways is singing easier than playing an instrument? In what ways is playing an instrument easier than singing? How does having an audience impact the performers? Is the audience an essential component of a performance? How is making music in a group different than making music by oneself? In what ways is making music by oneself more fulfilling than making music with a group? In what ways is making music with a group more fulfilling than making music by oneself? Creating How does improvisation differ from composition? How are improvisation and composition similar? How is composing more satisfying or less satisfying than performing works of other composers? How is performing my own composition more satisfying or less satisfying than performing works of other composers? How do I express my ideas, feelings, or mood 24

Students will know The terms ta and ta-to-te (dotted quarter note and three-beamed eighth notes). The terms steady beat, tempo, and improvise. through music? How can I use the elements of music (e.g. melody, harmony, rhythm, timbre, texture, and expressive devices) to convey my ideas and intent? Why do we listen to music? Why do we like the music we like? How can we be open to liking music we do not understand? How does familiarity with a piece of music affect how we respond? Students will be able to... Chant rhythmic patterns and sing/play (on nonpitched age-appropriate classroom instruments) songs/rhymes using ta and ta-to-te (dotted quarter and three-beamed eighth notes). Conversationally decode familiar and unfamiliar rhythmic patterns and songs, phrase by phrase, using ta and ta-to-te. Conversationally create (improvise) rhythmic patterns using ta and ta-to-te. Stage 2 Assessment Evidence Performance Tasks: Students will conversationally decode rhythmic patterns, songs and rhymes using ta and ta-to-te. Students will conversationally create (improvise) rhythmic patterns using ta and ta-to-te. Key Criteria: Students will be assessed on the accuracy of their decoding and creating using teacher-created rubrics. Proficiency will be based on an 80% level of accuracy. Other Evidence: Formative assessments, ongoing informal assessments, and activities incorporating decoding, creating, and performing will be used from Conversational Solfege, Unit 2. Stage 3 Learning Plan Learning Activities: To be developed by the individual teacher. While teaching this unit, it is important to review previously learned rhythmic concepts from Unit 1 and to include readiness and rote activities from Unit 4 in preparation for future learning objectives. 25