206 Catholic Educators Convention Milwaukee Step by Step: Standards-Based Assessment in General Music Jill K. Anderson andersjk@uwm.edu Laurie Calbaum calbauml@swallowschool.org
206 Catholic Educators Convention Milwaukee Understanding by Design -Page Unit Template Stage One--Desired Results Grade Level: Established Goals: Standard: http://nationalartsstandards.org/sites/default/files/music%20at%20a%20glance%20rev%203-5-5.pdf Understandings: Students will understand that Essential Question: Students will know Students will be able to Performance Tasks: Stage Two Assessment Evidence Other Evidence: Learning Activities: Stage Three Learning Plan Wiggins, G. & McTighe, J. (2005). Understanding by Design. Alexandria, VA: ASCD
206 Catholic Educators Convention Milwaukee Understanding by Design -Page Unit Template Stage One--Desired Results Grade Level: th or 5 th Established Goals: Standard: NCAS Music, Performing, Anchor Standard : Select, analyze, and interpret artistic work for presentation. Enduring Understanding: Analyzing creators context and how they manipulate elements of music provides insight into their intent and informs performance. Essential Question: How does understanding the structure and context of musical works inform performance? Performance Standard: 5 th grade (MU:Pr.2.5): a. Demonstrate understanding of the structure and the elements of music (such as rhythm, pitch, form, and harmony ) in music selected for performance. http://nationalartsstandards.org/sites/default/files/music%20at%20a%20glance%20rev%203-5-5.pdf Understandings: Students will understand that Analyzing creators context and how they manipulate elements of music provides insight into their intent and informs performance. Conceptual Understandings: Harmony: --Chords and melody may move simultaneously in relation to each other. --Two or more pitches may be sounded --Two or more musical lines may occur Rhythm: --Individual sounds and silence within a rhythmic line may be longer than, shorter than, or the same as other sounds within the line. Students will know How to listen carefully and sing accurately (melody, rhythm, harmony), maintaining their own parts while singing. Performance Tasks: Students will sing a song as a 3 part round in harmony, with melodic and rhythmic accuracy, and with stylistically appropriate expression. -- I Can Statement : I can expressively sing a three-part round with mostly correct pitches and rhythms. --Learning Target attached. --Draft Self-Assessment attached. Stage Two Assessment Evidence Essential Question: How does understanding the structure and context of musical works inform performance? Students will be able to --Analyze the harmony of a simple round and accompany with chords. --Analyze the rhythm (understand the relationship between the rhythm and the meter) --Sing a song as a 3 part round in harmony, with melodic and rhythmic accuracy, and with stylistically appropriate expression Other Evidence: Teacher will ask students to pair/share how they felt singing the song in harmony. How did it sound? (Students Pair/Share, then class discussion.) Stage Three Learning Plan Learning Activities: Lesson Plan attached Wiggins, G. & McTighe, J. (2005). Understanding by Design. Alexandria, VA: ASCD
CONCEPT BANK Concepts Ikon Musical Symbol R Music may be comparatively fast or slow, depending on the speed of the underlying pulse. or RHYTHM R2 Music may become faster or slower by changing the speed of he underlying pulse. R3 Music may move in relation to the underlying steady beat or shortest pulse. R A series of beats may be organized into regular or irregular groupings by stressing certain beats. R5 Individual sounds and silences within a rhythmic line may be longer than, shorter than, or the same as other sounds within the line. R6 Individual sounds and silences within a rhythmic line may be longer than, shorter than, or the same as the underlying steady beat or shortest pulse. 3 2 3 > > R7 Accented sounds with a rhythmic line may sound with, before, or after the accented underlying beat. M A series of pitches may move up, down, or remain the same. M2 A series of pitches may move up or down by steps or skips. 2 3 5 3 MELODY M3 Each pitch within a melody moves in relation to a home tone. M A series of pitches bounded by the octave belong together, forming a tonal set. 2 3 5 6 7 M5 A melody may be relatively high or low. M6 Individual pitches, when compared to each other, may be higher, lower, or the same. T The quality of a sound is determined by the sound source. 2 3 2 TIMBRE T2 The quality of a sound is affected by the material shape, and size of the source. T3 The quality of a sound is affected by the way the sound is produced. T The total sound is affected by the number and qualities of sounds occurring at the same time. DYNAMICS D Music may be comparatively loud or soft. D2 Music may become louder or softer. f p
ARTICULATION A A series of sounds may move from one to the next in either a smoothly connected or a detached manner. A2 The quality of a sound is affected by the way the sound begins, continues, and ends. H Chords and melody may move simultaneously in relation to each other. 2 HARMONY H2 A series of simultaneous sounds may alternate between activity and rest. H3 Two or more pitches may be sounded 5 3 6 2 H Two or more musical lines may occur TEXTURE T Musical quality is affected by the distance between the musical lines. T2 Musical quality is affected by the number of or degree of contrast between musical lines occurring F A musical whole begins, continues, and ends. F2 A musical whole is a combination of smaller segments FORM F3 A musical whole may be made up of same, varied, or contrasting segments. F A series of sounds may form a distinct musical idea within the musical whole. F5 A musical whole may include an introduction, interludes, and an ending segment. EXPRESSION E Musical elements are combined into a whole to express a musical or extramusical idea. E2 The expressiveness of music is affected by the way timbre, dynamics, articulation, rhythm, melody, harmony, form, tempo and texture contribute to the musical whole. TIME & PLACE TP The way musical elements are combined into a whole reflects the origin of the music. TP2 A particular use of timbre, dynamics, articulation, rhythm, melody, harmony, and form reflects the origin of the musical whole.
LESSON PLAN: Allelujah & Sing Together Grade: or 5 (Based on: Boardman, Andress, Pautz, & Willman, Holt Music, 988, Grade, pp. 0-) CONCEPTS: Harmony: --Chords and melody may move simultaneously in relation to each other. --Two or more pitches may be sounded --Two or more musical lines may occur Rhythm: --Individual sounds and silence within a rhythmic line may be longer than, shorter than, or the same as other sounds within the line. KNOWN: Students know many songs. Generally speaking, students sing in tune. Students have some experience with rounds. Students understand concepts related to melody (ie: A series of pitches may move up, down, or remain the same. A series of pitches may move up or down by steps or skips.) and form (A musical whole is a combination of smaller segments. A musical whole may be made up of same, varied, or contrasting segments.) NEW KNOWN: (objective): An understanding of the harmony that results when singing a 3-part round. How to listen carefully and sing accurately (melody, rhythm, harmony), and pleasingly, maintaining their own parts while singing. MATERIALS: Printed or projected lesson materials, instrument to establish starting pitch, pitched instrument(s) (resonator bells, xylophone, metallophone). STANDARDS: NCAS Music, Performing, Anchor Standard : Select, analyze, and interpret artistic work for presentation. Performance Standard: 5 th grade (MU:Pr.2.5): a. Demonstrate understanding of the structure and the elements of music (such as rhythm, pitch, form, and harmony ) in music selected for performance. CONTEXT CONCEPT BEHAVIOR MODE PROCEDURES & STRATEGIES Allelujah Harmony: --Chords and melody may move simultaneously in relation to each other. Describe (Respond) Enactive Students listen for something specific as Allelujah is sung: --the words --the relationship of the pitches in each line of the song same same Perform Enactive Students sing the song together, repeating until comfortably independent. same Harmony: --Chords and melody may move simultaneously in relation to each other. Describe (Respond) Iconic / Symbolic Students are asked to analyze the rhythm and chords as depicted on the printed or projected page.
Rhythm: --Individual sounds and silence within a rhythmic line may be longer than, shorter than, or the same as other sounds within the line. same same Perform Enactive Students sing Alleluia together as a round. same same Perform Enactive Student sing Alleluia together as a round with I chord accompaniment. Sing Together Rhythm: --Individual sounds and silence within a rhythmic line may be longer than, shorter than, or the same as other sounds within the line. Describe (Respond) Iconic / Symbolic Using print or projected page, students analyze the rhythm of Sing Together, referring to graphic representation viewed previously as necessary. (How long does the dotted half note last? As long as 6 short sounds!) same same Describe (Respond) same Harmony: --Chords and melody may move simultaneously in relation to each other. Iconic / Symbolic Students listen for something specific as Sing Together is sung: --the words --the rhythm of the words --the relationship of the pitches in each line of the song Perform Symbolic Students sing Sing Together together as a round. same same Perform Symbolic Evaluations: (Changes for next time) Student sing Sing Together together as a round with I and V7 chord accompaniment. Lesson Plan Table Format 200 Laurie Calbaum