Curriculum Map for AP Music Theory Quarter One Targeted Standard(s): NJCCCS 1.2, 1.3,1.4 Enduring Understandings (The big ideas): Active participation in the arts leads to a comprehensive understanding of the imaginative and creative process. An understanding of the elements and principles of art is essential to the creative process and artistic production. All students will develop, apply and reflect upon knowledge of the process of critique. Essential Questions: How does creating and performing music differ from just listening to it? How do underlying stuctures guide the creation of music? How does describing, analyzing and evaluating artworks lead to informed judgments regarding the relative merits of artworks? What is musical dictation and how can I be successful at it? What are musical meters and how are they conducted? In what ways are musical pitches organized? Core Content/Objectives Instructional Actions Concepts Skills Activities/Strategies Assessment What students will know What students will be able to do Learning Activities/ Differentiation How learning will be assessed Review strategies for rhythmic and melodic dictation. Identify meter. Identify rhythmic patterns. Identify intervals, inversions, melodic patterns using solfege syllables. Develop audiation skills. Interdisciplinary Connections Practice conducting patterns. Take rhythmic and melodic dictation. Practice error detection exercises. Summative: Weekly quizzes. Define simple and complex, duple and triple meters. Demonstrate different conducting patterns. Aurally ID different meters. Identify meter visually and aurally. Write examples of various meters. Conduct all basic meters. Add time signatures to written examples. Aurally ID meters. Conduct literature excerpts. Conduct other students playing or singing. Peer and teacher assessment of student conducting skills. Summative: Quizzes and tests. Reviewed 9/09 Page 1
Define structure of intervals, triads and inversions, 7 th chords, tetrachords, modes, major/minor scales and key signatures, circle of 5ths. Identify all structures listed by sight, by sound. Write them at all pitch levels. Sing major/minor scales and melodic patterns using solfege syllables. Sing/spell/write/play all of the above. Visually ID all of the above in literature excerpts. Aurally ID all of the above in listening excerpts. Summative: Weekly quizzes, homework, tests. 2 Unit Tests Resources/Technology: Piano, cd player, computer for drills. Textbooks: Clendinning and Marvin: The Musician s Guide to Theory and Analysis, Norton 2005. Phillips, Clendinning, and Marvin: The Musician s Guide to Aural Skills, Vol 1, Norton 2005. Baugess: The Jenson Sight Singing Course, Vol 1 & 2, Leonard: 1984 Reviewed 9/09 Page 2
Targeted Standard(s): NJCCCS 1.2, 1.3 Quarter Two Enduring Understandings (The big ideas): Active participation in the arts leads to a comprehensive understanding of the imaginative and creative process. An understanding of the elements and principles of art is essential to the creative process and artistic production. Essential Questions: What is harmonic dictation and how can I be successful at it? What is musical form? How do underlying structures guide the creation of musical works? What are the essential characteristics of music during the Baroque, Classical, and Romantic eras? What is tonality and how was it used in music of the common practice period? Concepts What students will know Core Content/Objectives Strategies for soprano-bass dictation using voice leading, interval ID, phrase structure ID, tonic-dominant cadential chunks. Skills What students will be able to do Identify phrase structure, tonic-dominant cadences and chunks. Identify larger melodic leaps. Activities/Strategies Learning Activities/ Differentiation Interdisciplinary Connections Write longer examples of melodic dication which incorporate larger intervals. 2 part dictation, using knowledge of phrase and cadential structure. Error detection exercises. Instructional Actions Assessment How learning will be assessed Summative: Weekly quizzes, tests, graded HW. Define phrases, cadences, periods, types of motion, motivic analysis, binary and ternary forms. motives, binary and ternary forms. cadences, phrases, and periods. Listen to literature excerpts and identify phrase structure and form. Visually identify phrases, periods, cadences, motives and form in literature examples. Compose melodies in binary and ternary form. Play/sing consequent and antecedent phrases. Summative: Quizzes; tests; homework. Reviewed 9/09 Page 3
Students will know that each era in the CPP has characteristic composers, elements, styles, and sound ideals. Students will be able to aurally and visually identify sound and style characteristics, and assign them to a period and/or composer. Listen to short works and literature excerpts and identify aspects of form, texture, tonality, orchestration, dynamics, subject matter, language, genre, possible composers and period. Summative: Quizzes; tests; homework. Read scores of short works and excerpts from music literature and identiry aspects of form, texture, tonality, orchestration, dynamics, subject matter, language, genre, possible composers and period. Define rules of 2 part counterpoint. Review figured bass procedure. Analyze chorales, simple chord progressions. Realize a figured bass. Write/play/sing/aurally identify all parts of simple progressions, cadential chunks, and common suspensions. Summative: Quizzes, tests, graded HW. Define Roman numeral analysis and chorale harmonization, simple progressions. Review rules for voice leading, non-chord tones, and common suspensions. Identify non-chord tones, types of suspensions, and voice leading errors. Simple score analysis in class. Compose 8 measures of 2 part counterpoint. Realize a figured bass (written). Harmonize melodies according to Roman numerals (written). Add Roman numerals to harmonic progressions. Summative: Quizzes, tests, graded HW. Unit test December Mid-term Exam Reviewed 9/09 Page 4
Resources/Technology: Piano, instruments, cds, computer for drill Textbooks: Clendinning and Marvin: The Musician s Guide to Theory and Analysis, Norton 2005. Phillips, Clendinning, and Marvin: The Musician s Guide to Aural Skills, Vol 1, Norton 2005. Baugess: The Jenson Sight Singing Course, Vol 1 & 2, Leonard: 1984 Reviewed 9/09 Page 5
Targeted Standard(s): NJCCCS 1.2, 1.3, 1.4 Quarter Three Enduring Understandings (The big ideas): Active participation in the arts leads to a comprehensive understanding of the imaginative and creative process. An understanding of the elements and principles of art is essential to the creative process and artistic production. All students will develop, apply and reflect upon knowledge of the process of critique. Essential Questions: How does creating and performing music differ from just listening to it? How do underlying stuctures guide the creation of music? How does describing, analyzing and evaluating artworks lead to informed judgments regarding the relative merits of artworks? What is harmonic dictation and how can I be successful at it? What is musical form? How do underlying structures guide the creation of musical works? What is tonality and how was it used in music of the common practice period? Concepts What students will know Strategies for 2-4 part dictation using Roman numeral analysis, following all voice-leading rules. Core Content/Objectives Skills What students will be able to do Identify phrase structure, cadential chunks, suspensions in soprano/bass lines. Add inner parts, supported by Roman numeral analysis. Activities/Strategies Learning Activities/ Differentiation Interdisciplinary Connections Listen, write, review. Error detection exercises. Instructional Actions Assessment How learning will be assessed Summative: Weekly quizzes; graded HW; tests; excerpts from past AP exams. Define phrase expansion through pre-dominant, 6-4 chords, voice exchange. Define diatonic sequences. Define song, rondo, variations, sonata and concerto forms. use of pre-dominant, 6-4 chords and voice exchange. diatonic sequences. forms listed above. Play/write short diatonic sequences, progressions showing phrase expansion. Score analysis of longer, more complex works. Summative: Homework, quizzes, tests. Reviewed 9/09 Page 6
Define structure and use of predominant and 6-4 chords, voice exchange. Define plagal, Phrygian and deceptive cadences. Define mediant triad, diminished 7 th chords. use of pre-dominant and 6-4 chords, plagal, Phrygian and deceptive cadences. occurrences of the mediant triad and diminished 7 th chords. Write/play cadential chunks using pre-dominant, 6-4 chords, and voice exchange. Write/play harmonic progressions using diminished 7th chords, mediant triad. Write/play plagal, Phrygian and deceptive cadential chunks. Summative: Homework, quizzes, tests. Know characteristics of Baroque, Classical, Romantic, and Impressionist music and composers. examples of music from each of these eras and styles. Be able to describe differences in harmonic structure, forms, and performance practices. Know names and dates for several important composers/works in these periods. Listen, analyze aurally, examine score excerpts. Memorize some dates and names. Formative: Class discussion. Summative: Tests on each era. March Unit Test Theme and Variations Project Resources/Technology: Piano, instruments, cds, computer for drill Textbooks: Clendinning and Marvin: The Musician s Guide to Theory and Analysis, Norton 2005. Phillips, Clendinning, and Marvin: The Musician s Guide to Aural Skills, Vol 1, Norton 2005. Baugess: The Jenson Sight Singing Course, Vol 1 & 2, Leonard: 1984 Reviewed 9/09 Page 7
Quarter Four Targeted Standard(s): NJCCCS 1.2, 1.3, 1.4 Enduring Understandings (The big ideas): Active participation in the arts leads to a comprehensive understanding of the imaginative and creative process. An understanding of the elements and principles of art is essential to the creative process and artistic production. All students will develop, apply and reflect upon knowledge of the process of critique. Essential Questions: How does creating and performing music differ from just listening to it? How do underlying structures guide the creation of music? How does describing, analyzing and evaluating artworks lead to informed judgments regarding the relative merits of artworks? What is harmonic dictation and how can I be successful at it? What is musical form? How do underlying structures guide the creation of musical works? What is tonality and how was it used in music of the common practice period? Concepts What students will know Define passacaglia, imitative counterpoint and fugal procedure. Core Content/Objectives Skills What students will be able to do passacaglia themes. Identify structure of music written using imitative counterpoint. Activities/Strategies Learning Activities/ Differentiation Interdisciplinary Connections In small groups compose and perform short works in Theme and Variation and rondo form. In small groups compose a passacaglia. Break down and re-compose a Bach 2 part invention. Instructional Actions Assessment How learning will be assessed Summative: Graded projects, quizzes, tests, AP exam. Define secondary dominant, secondary leading tone chords and correct voice leading. Define polytonality, serialism. Define 9 th, 11 th, and 13 th chords and their use in jazz idiom. Score analysis of short polytonal and serial works. Score analysis of short jazz pieces/excerpts. Compose and perform short pieces using secondary dominant and leading tone chords. Compose and perform short pieces using 9 th, 11 th, and 13 th chords. Compose a short work based on Summative: Graded projects, quizzes, tests, AP exam. Reviewed 9/09 Page 8
an original 12 tone row. Define origins and development of 12 bar blues, its musical and textural structure. 12 bar blues sequences. Recognize names of several famous blues singers and songs. Compose and perform a verse in 12 bar blues form. Listen to famous examples of this music. performances. Summative: graded project, quiz. Students will make in-depth studies of a particular music of their choice, so that they can then share this expertise with others. Students will research a topic of their choice and present it to the class. Aspects such as form, structure, harmonic materials, lyrics, and performance practices will be explained and demonstrated through video and cd clips. Live performances are especially welcome. Individual or paired class presentations, analyzing and performing/showing performances of the chosen genre/style/group/composer. performances. Summative: graded project, quiz on highlights of all presentations. AP Exam Resources/Technology: Piano, instruments, cds, computer for drill, AP exam Textbooks: Clendinning and Marvin: The Musician s Guide to Theory and Analysis, Norton 2005. Phillips, Clendinning, and Marvin: The Musician s Guide to Aural Skills, Vol 1, Norton 2005. Baugess: The Jenson Sight Singing Course, Vol 1 & 2, Leonard: 1984 Reviewed 9/09 Page 9