Creative Process K-2 - Orange Board of Education



1600200109855000Orange Public SchoolsInstrumental Music Curriculum GuidesGrades K – 7, Concert Band I, II, III, Orchestra I, II, III, String Ensemble I, II, III & Concert Band 8 OBE Approval Date: The Orange Bard of EducationVision and Mission StatementVision The Orange Public School District commits to provide a safe and caring environment where each student is expected to grow and succeed. We pledge to prepare all students with equitable opportunities for college and career readiness, leading to lifelong learning and responsible citizenship in a competitive global community.MissionThe Orange Public School District in collaboration with all stakeholders is responsible for promoting the academic, social, emotional and personal success of all students. With a commitment to academic excellence, the district provides teachers, families, and administrators the tools needed for all students to reach their full potential. The district serves all students in our schools, acknowledging their unique backgrounds, cultural perspectives and learning styles. The district recognizes that curiosity, discipline, integrity, responsibility and respect are necessary for success. The Orange Public School District cultivates a community of 21st century learners where students take ownership of the learning process, achieve high standards of excellence, and focus on academics.Good to Great!Table of Contents TOC \o "1-3" \h \z \u Orange Public Schools PAGEREF _Toc29073419 \h 1SCHOOL BOARD MEMBERS PAGEREF _Toc29073420 \h 2Vision PAGEREF _Toc29073421 \h 3Mission PAGEREF _Toc29073422 \h 3Scope and Sequence PAGEREF _Toc29073423 \h 6Creative Process K-2 PAGEREF _Toc29073424 \h 13Creative Process 3-5 PAGEREF _Toc29073425 \h 19Creative Process 6 - 8 PAGEREF _Toc29073426 \h 25History of the Arts and Culture K - 2 PAGEREF _Toc29073427 \h 32History of the Arts and Culture 3 - 5 PAGEREF _Toc29073428 \h 38History of the Arts and Culture 6 - 8 PAGEREF _Toc29073429 \h 44Classroom Application: Performance K - 2 PAGEREF _Toc29073430 \h 51Classroom Application: Performance 3 - 5 PAGEREF _Toc29073431 \h 59Classroom Application: Performance 6 - 8 PAGEREF _Toc29073432 \h 66Grades 9 – 12 PAGEREF _Toc29073433 \h 73Concert Band I, II, III, IV PAGEREF _Toc29073434 \h 73Orchestra I, II, III, IV PAGEREF _Toc29073435 \h 73Strings Ensemble I, II, III, IV PAGEREF _Toc29073436 \h 73String Performance and Knowledge Criteria PAGEREF _Toc29073437 \h 75Creative Process 9 - 12 PAGEREF _Toc29073438 \h 78History of the Arts and Culture 9 - 12 PAGEREF _Toc29073439 \h 85Classroom Application: Performance 9 - 12 PAGEREF _Toc29073440 \h 91Appendix A PAGEREF _Toc29073441 \h 100Accommodations and Modifications for PAGEREF _Toc29073442 \h 100Appendix B PAGEREF _Toc29073443 \h 107Core Instructional and Supplemental Materials PAGEREF _Toc29073444 \h 107Specialized Programs that Reflect the Needs of Students and Community PAGEREF _Toc29073445 \h 107Scope and SequenceI. Basic Musicianship - SeptemberA. Level 11. Care and Maintenance, Instrument Assembly2. Embouchure, Tone Production, Breathing, Tonguing3. Hand Position, Body PostureB. Level 2-51. Self Analysis2. Maintenance of SkillsII. Melodic Notation - OctoberA. Level 11. Music Staff, Clefs, Bar Line, Measure, Double Bar2. Breath Mark, Repeat Sign/Fermata3. Solo, Soli/Tutti4. Tie, Slur5. Pick-up Notes6. Phrase, Melody, Accompaniment/Harmony7. Flat, Sharp, Natural Sign/AccidentalsB. Level 21. First and Second Endings2. Measure Repeat Sign3. Multiple Measure Rest4. Da Capo an Fine (DC al Fine), Dal Segno al Fine (DS al Fine), Da Capo al Coda (DC al Coda), Dal Segno al Coda (DS al Coda)5. Syncopation6. EnharmonicC. Level 31. Textures2. Unison, Division3. Monophony, Homophony4. Countermelodies5. Compose Original MelodyD. Level 41. Simile2. Key Modulation3. ImproviseE. Level 51. Alternate Fingerings2. Trill, Grace NoteIII. Time Signatures - NovemberA. Level 11. 4/4, 3/4, 2/4B. Level 21. Cut Time, Alla BreveC. Level 31. 3/8, 6/8D. Level 41. 9/8E. Level 51. 6/4, 5/4, 12/8IV. Rhythmic Notation - DecemberA. Level 11. Whole Notes and Rests2. Half Notes and Rests3. Quarter Notes and Rests4. Paired Eighth Notes5. Dotted Half NotesB. Level 21. Dotted Quarter Notes2. Single Eighth Notes and RestsC. Level 31. Sixteenth Notes2. Dotted Eighth/Sixteenth Note Combinations3. Quarter Note TripletD. Level 41. Sixteenth Note Rest/Dotted Quarter Note RestE. Level 51. Eighth Note TripletV. Dynamics - JanuaryA. Level 11. Forte, PianoB. Level 21. Mezzo Forte, Mezzo Piano2. Crescendo, DecrescendoC. Level 3/41. Pianissimo, FortissimoD. Level 51. Sforzando, Forte-PianoVI. Articulation - FebruaryA. Level 11. Tonguing, AccentB. Level 21. Legato, StaccatoC. Level 31. TenutoD. Level 41. MarcatoE. Level 51. Cantabile2. Dolce3. Sostenuto4. GraziosoVII. Scales - MarchA. Level 11. Concert F, Bb, Eb MajorB. Level 21. Concert G,D MajorC. Level 31. Concert C, A, Ab MajorD. Level 41. Concert Db Major2. Concert G, C Minor3. Chromatic ScaleE. Level 51. Concert D, F, A MinorVIII. Tempo – AprilA. Level 11. Allegro, Andante, LargoB. Level 21. Moderato, Lento, RitardandoC. Level 31. Allegretto, AccelerandoD. Level 41. Maestoso, Andantino, LarghettoE. Level 51. RubatoIX. Forms/Styles - MayA. Level 1/2/31. March2. Round3. DuetB. Level 41. Baroque, ClassicalC. Level 51. Binary Form, Ternary Form, Rondo FormX. Percussion RudimentsA. Level 11. Single Stroke, Multiple Bounce Stroke, 5 Stroke Roll2. Single Paradiddle3. Flam, Flam Tap, Flam Accent, Flam ParadiddleB. Level 21. 9 Stroke RollC. Level 31. 17 Stroke RollD. Level 41. Syncopated 9 Stroke Roll, Double Paradiddle, DragE. Level 51. Single Drag Tap, FlamacueXI. String TechniquesA. Level 11. Down and Up Bow, Lifts2. Pizzicato, ArcoB. Level 21. Left Hand Pizzicato2. Hooked Bowing, Double up bowC. Level 31. Staccato Bowing, Slurred Staccato Bowing, Spiccato Bowing2. Martele, TremoloD. Level 41. 3 Fingers on all stringsE. Level 51. Shift Sign, TuningXII. Musicianship - JuneA. Level 1/2/31. Follow conductor patterns, Follow a conductor cut off, Follow conductor dynamicsB. Level 41. Tune instrument if told sharp or flatC. Level 51. Play with a controlled tone throughout all ranges, Tune individually, Play with correct intonation. CourseInstrumental MusicGrade(s)K-2Unit Plan Title:Creative Process K-2Career Ready Practice Standard(s) CRP4. Communicate clearly and effectively and with reason.Overview/RationaleStudents will learn that musical instruments have unique qualities of tonality and resonance and that conventional instruments are divided into musical families according to shared properties.Standard(s)Standard 1.3A General Music Standards1.3A.2.Cr1a: Explore, create and improvise musical ideas using rhythmic and melodic patterns in various meters and tonalities.1.3A.2.Cr2a: Demonstrate and explain personal reasons for selecting patterns and ideas for music that represent expressive intent. 1.3A.2.Cr3a: Interpret and apply personal, peer and teacher feedback to revise personal music. 1.3A.2.Cr3b: Convey express intent for a specific purpose by presenting a final version of musical ideas to peers or informal audience.1.3A.2.Pr4a: Demonstrate and explain personal interest in, knowledge about, and purpose of varied musical selections.1.3A.2.Re8a: Demonstrate basic knowledge of music concepts and how they support creators’/performers’ expressive intent.Standard 1.3D Music Harmonizing Instruments Standards1.3D.2nov.Cr1a: Create melodic, rhythmic and harmonic ideas for simple melodies as well as chordal accompaniments for given melodies.Technology Standard(s)8.1.P.A.2 Navigate the basic functions of a browser.Media Arts Standard(s)1.2.2.Re7a: Identify, share and describe the components and messages in media artwork. Interdisciplinary Standard(s)NJSLSA.R4. Interpret words and phrases as they are used in a text, including determining technical, connotative, and figurative meanings, and analyze how specific word choices shape meaning or tone.NJSLSA.R7. Integrate and evaluate content presented in diverse media and formats, including visually and quantitatively, as well as in words.Essential Question(s)Does instrumental music have boundaries?Enduring UnderstandingsUnderlying structures in instrumental music can be found via analysis and inference.Breaking accepted norms often gives rise to new forms of artistic expression.The skill of identifying instruments can be viewed as a career path in things such as inventory, marketing, or sales.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsGlobal AwarenessECreativity and InnovationEnvironmental LiteracyTCritical Thinking and Problem SolvingHealth LiteracyTCommunicationCivic LiteracyTCollaborationFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesAfter researching musical families, students will be able to identify an instrument and its family based on various qualitiesAssessmentsFormative: Student(s) will correctly identify and label instruments. Students will also complete an exit ticket after each class, and partake in discussion questions. Benchmark: Student(s) will be able to group instruments into the correct families based on properties. Mid-cycle assessment on standards taught thus far.Authentic: Creating/performing an original piece, utilizing multiple standards.Summative: Student(s) will demonstrate competency in naming instruments, their families, and the qualities. Multiple standards assessed using a rubric, if necessary.Alternative Assessment: See appendix ATeaching and Learning ActionsInstructional StrategiesDLearning Centers/StationsDesignated areas in the classroom where students work on different tasks at the same time. Centers may be organized around ability level to ensure all students are receiving instruction at their appropriate level. The teacher should rotate to provide instruction and assistance when needed.Independent StudyStudents are given the opportunity to investigate a project independently with guidance and support from the teacher. Teacher may use this time to pull students into small groups who need extra assistance with specific content.Differentiation/Leveled InstructionWhole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a variety of activities with different levels of difficulty that will allow students to practice the skill at their own level. The teacher may choose assignments for students or give students the opportunity to choose their own activity.Individual ContractsThe teacher gives each student a list of tasks to complete that are based on their ability level. As students work to complete all tasks, they also work with other students who also need remediation on the same skill or concept. Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This is done by continuously probing the subject with questions.ActivitiesDAcademic Vocabulary word wall with picturesPull books from class and school library that have varied Lexile levels for musical instruments.Accommodations:Special ED: Adhere to all modifications and health concerns stated in each IEP.ELL: Use and post a word wall of cognate words whenever possible.At risk of failure: Students will be given more time to complete projects that were not turned in without penalty.Special Needs: Modified instructional strategies including: Socratic seminar, group discussions, think-pair-share, individual assignments, more rigorous rubrics, multimedia projects, primary source document, and completing case studies. Gifted and Talented: Modified instructional strategies including: Socratic seminar, group discussions, think-pair-share, individual assignments, more rigorous rubrics, multimedia projects, primary source document, and completing case studies. See appendix A for additional accommodations and modifications.Amistad: Focus on traditional African percussion instruments and their families idiophones, chordophones, aerophones and membranophonesHolocaust: Examples of Ammon Weinstein’s “Violins of Hope” collection of restored instruments from the Holocaust.Focus on the instrument families of the orchestra, and investigate factors that affect the pitch of brass instruments based on the length of the tubes or crooks. Explore factors that determine pitch fluctuation of brass instruments.Listen to examples of music featuring brass instrumentation, such as Hayden’s Trumpet Concerto in E-flat; the trumpet solo from Bach’s Brandenburg Concerto No.2; Wagner’s Tannhauser, featuring the trombone; the Waltz of the Flowers from Tchaikovsky’s The Nutcracker Suite; Mozart’s Horn Concerto No. 2 in E-flat major; and Ralph Vaughan Williams’ Symphony No. 6 / Tuba Concerto.ExperiencesDNJSO field trip, SOPAC field trip, school concertsResourcesInstruments, music, stands, & consumable instrumental needsSee Appendix B for Specialized Programs that Reflect the Needs of Students and Community Concerto in E-flatBrandenburg Concerto No.2Wagner’s Tannhouser Waltz of the Flowers Mozart’s Horn Concerto No. 2 in E-flat major; Ralph Vaughan Williams’ Symphony No. 6 / Tuba Concerto.Suggested Time Frame:Pacing Guide BelowUnitConceptsTopicsSkillsDays of Instruction*The creative ProcessMusic FamilyWoodwinds, Strings, Brass, Percussion, & StringsIdentifying and analyzing qualitiesMinimum of 4*In sequential order by unit.Content Area:Instrumental MusicGrade(s)3-5Unit Plan Title:Creative Process 3-5Career Ready Practice Standard(s) CRP4. Communicate clearly and effectively and with reason.CRP6. Demonstrate creativity and innovation.Overview/RationaleThe elements of music are building blocks denoting meter, rhythmic concepts, tonality, intervals, chords, and melodic and harmonic progressions, all of which contribute to musical literacy.Standard(s)Standard 1.3A General Music Standards1.3A.5.CR1a: Generate and improvise rhythmic, melodic and harmonic ideas, and simple accompaniment patterns and chord changes. Explain connection to specific purpose and context (e.g., social, cultural, historical).1.3A.5.Pr4b: Demonstrate an understanding of the structure and expanded music concepts (e.g., rhythm, pitch, form, harmony) in music selected for performance.1.3A.5.Pr6b: Demonstrate performance decorum and audience etiquette appropriate for the context, venue, genre, and style.Standard 1.3D Music Harmonizing Instruments Standards1.3D.5nov.Cr1a: Create melodic, rhythmic and harmonic ideas for simple melodies as well as chordal accompaniments for given melodies.Technology Standard(s)8.1.5.A.1 Select and use the appropriate digital tools and resources to accomplish a variety of tasks including solving problems.Media Arts Standard(s)1.2.5.Cr1a: Generate ideas for media artwork, using a variety of tools, methods and/or materials.Interdisciplinary Standard(s)RST.6-8.3. Follow precisely a multistep procedure when carrying out experiments, taking measurements, or performing technical tasks. NJSLSA.R7. Integrate and evaluate content presented in diverse media and formats, including visually and quantitatively, as well as in words.Essential Question(s)How do underlying structures unconsciously guide the creation of art works?Enduring UnderstandingsUnderlying structures in art can be found via analysis and inference.Breaking accepted norms often give rise to new forms of artistic expression.The skill of musical literacy can be viewed as a career path in things such as touring musician, music writer, composer, inventory, marketing, or sales.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsGlobal AwarenessT,ACreativity and InnovationEnvironmental LiteracyT,ACritical Thinking and Problem SolvingHealth LiteracyT,ACommunicationCivic LiteracyT,ACollaborationFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesDemonstrate the basic concepts of meter, rhythm, tonality, intervals, chords, and melodic and harmonic progressions, and differentiate basic structures.AssessmentsFormative: Student(s) will be able to identify and define terms/concepts of music appropriate for their skill level through prompts and testsBenchmark: Student(s) will be able to identify, demonstrate, and define various musical notation markings individually and/or with others as measured by a performance rubric. Mid-cycle assessment on standards taught thus far.Authentic: Creating/performing a piece, utilizing multiple standards.Summative: Student(s) will demonstrate competency of terms/concepts of music appropriate for their skill level through oral/written prompts and testsas measured by a performance rubric.Alternative Assessment: See appendix ATeaching and Learning ActionsInstructional StrategiesDLearning Centers/StationsDesignated areas in the classroom where students work on different tasks at the same time. Centers may be organized around ability level to ensure all students are receiving instruction at their appropriate level. The teacher should rotate to provide instruction and assistance when needed.Independent StudyStudents are given the opportunity to investigate a project independently with guidance and support from the teacher. Teacher may use this time to pull students into small groups who need extra assistance with specific content.Differentiation/Leveled InstructionWhole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a variety of activities with different levels of difficulty that will allow students to practice the skill at their own level. The teacher may choose assignments for students or give students the opportunity to choose their own activity.Individual ContractsThe teacher gives each student a list of tasks to complete that are based on their ability level. As students work to complete all tasks, they also work with other students who also need remediation on the same skill or concept. Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This is done by continuously probing the subject with questions.ActivitiesDAcademic vocabulary word wall with picturesBeginner, intermediate, and advanced delineated in scope and sequence.AccommodationsSpecial ED: Adhere to all modifications and health concerns stated in each IEP.ELL: Use and post a word wall of cognate words whenever possible.At risk of failure: Students will be given more time to complete projects that were not turned in without penalty.Special Needs: Modified instructional strategies including: Socratic seminar, group discussions, think-pair-share, individual assignments, more rigorous rubrics, multimedia projects, primary source document, and completing case studies. Gifted and Talented: Modified instructional strategies including: Socratic seminar, group discussions, think-pair-share, individual assignments, more rigorous rubrics, multimedia projects, primary source document, and completing case studies. See appendix A for additional accommodations and modifications.Amistad: Listen to “Dry Your Tears, Africa.” Students can learn the lyrics and music Holocaust: Introduce Gideon Klein and his musicFocus on rhythmic concepts, tonality, intervals, chords, and melodic and harmonic progressions meter, as well as measure, and music notation structures, such as measure, clefs, time signatures, note values, staff, and bar lines. Practice listening skills for hearing rhythm in text, and notational skills, using either written notation or computer assisted notation software, such as Sibelius. Record and rehearse compositions using digital recording devises and rehearsal software, such as Smart Music or Practica Musica or freeware, such as . ExperiencesDNJSO field trip, SOPAC field trip, school concertsWalking trip to OHS to visit the recording studio. NY Philharmonic field trips and virtual field tripResourcesInstruments, music, stands, & consumable instrumental needsSee Appendix B for Specialized Programs that Reflect the Needs of Students and CommunityDry Your Tears, Africa – AudioDry Your Tears, Africa – Sheet MusicGideon KleinSibelius. Smart Music Practica Musica .Suggested Time Frame:See Pacing Guide BelowUnitConceptsTopicsSkillsDays of Instruction*The creative ProcessMusic LiteracyMeter, rhythmic concepts, tonality, intervals, chords, and melodic and harmonic progressionsDefine and demonstrate musical conceptsMinimum of 10*In sequential order by unit.Content Area:Instrumental MusicGrade(s)6-8Unit Plan Title:Creative Process 6 - 8Career Ready Practice Standard(s) CRP6. Demonstrate creativity and innovation. CRP7. Employ valid and reliable research strategies. CRP8. Utilize critical thinking to make sense of problems and persevere in solving themOverview/RationaleCommon, recognizable musical forms often have characteristics related to specific cultural traditions.Understanding nuanced stylistic differences among various genres of music is a component of musical fluency. Meter, rhythm, tonality, and harmonics are determining factors in the categorization of musical genres. Standard(s)Standard 1.3A General Music Standards1.3A.8.Cr1a: Generate and improvise rhythmic, melodic and harmonic phrases and harmonic accompaniments within basic forms (e.g., AB, ABA, Theme & Variations) and expanded forms (e.g., introductions, transitions, codas) that convey expressive intent. Explain connection to specific purpose and context (e.g., social, cultural, historical).1.3A.8.Cr2a: Select, organize and document personal musical ideas for arrangements, songs and compositions within expanded forms that demonstrate concepts such as tension and release, unity and variety, balance, and convey expressive intent.1.3A.8.Cr2b: Use standard and/or iconic notation and/or recording technology to document personal rhythmic phrases, melodic phrases and harmonic sequences.1.3A.8.Cr3a: Evaluate, refine and explain their own work by selecting and applying criteria including appropriate application of elements of music, compositional techniques, style and form, and use of sound sources.1.3A.8.Cr3b: Present the final versions of documented personally and collaboratively created music that demonstrates craftsmanship and originality to others. Apply compositional techniques to achieve unity and variety, tension and release, and balance to convey expressive intent.1.3A.8.Pr4b: Compare the structure of contrasting pieces of music selected for performance, explaining how the elements of music are used in each.1.3A.8.Re7c: Identify and compare the context of programs of music from a variety of genres, cultures and historical periodsStandard 1.3D Music Harmonizing Instruments Standards1.3D.12nov.Cr1a: Create melodic, rhythmic and harmonic ideas for simple melodies as well as chordal accompaniments for given melodies.1.3D.12int.Cr1a: Create melodic, rhythmic and harmonic ideas for melodies over specified chord progressions or AB/ABA forms as well as two to three-chord accompaniments for given melodies.1.3C.12nov.Cr2a: Select and develop draft melodic and rhythmic ideas or motives that demonstrate understanding of characteristic(s) of music or text(s) studied in rehearsal.1.3C.12int.Cr2a: Select and develop draft melodies and rhythmic passages that demonstrate understanding of characteristic(s) of music or text(s) studied in rehearsal.1.3C.12nov.Cr3a: Evaluate and refine draft compositions and improvisations based on knowledge, skill and teacher-provided criteria.1.3C.12nov.Cr3b: Share personally developed melodic and rhythmic ideas or motives (individually or as an ensemble) that demonstrate understanding of characteristics of music or texts studied in rehearsal.1.3D.12nov.Cr1a: Create melodic, rhythmic and harmonic ideas for simple melodies as well as chordal accompaniments for given melodies.1.3D.12int.Cr1a: Create melodic, rhythmic and harmonic ideas for melodies over specified chord progressions or AB/ABA forms as well as two to three-chord accompaniments for given melodies.1.3D.12int.Cr1a: Create melodic, rhythmic and harmonic ideas for melodies over specified chord progressions or AB/ABA forms as well as two to three-chord accompaniments for given melodies.1.3D.12nov.Cr3a: Apply teacher or student-provided criteria to critique, improve and refine drafts of simple melodies as well as chordal accompaniments for given melodies.1.3D.12nov.Cr3b: Share final versions of simple melodies and chordal accompaniments for given melodies, demonstrating an understanding of how to develop and organize personal musical ideas.1.3D.12int.Cr3a: Apply teacher or student-provided criteria to critique, improve and refine drafts of melodies over specified chord progressions or AB/ABA forms as well as two-to-three-chord accompaniments for given melodies.1.3D.12int.Cr3b: Share final versions of melodies over specified chord progressions or AB/ABA forms as well as two-to-three-chord accompaniments for given melodies, demonstrating an understanding of how to develop and organize personal musical ideas.Technology Standard(s)8.1.5.A.1 Select and use the appropriate digital tools and resources to accomplish a variety of tasks including solving problems.Media Arts Standard(s)1.2.8.Cr1a: Generate a variety of ideas, goals and solutions for media artworks using creative processes such as sketching, brainstorming, improvising, and prototyping with increased proficiency, divergent thinking, and opportunity for student choice.Interdisciplinary Standard(s)RST.6-8.4. Determine the meaning of symbols, key terms, and other domain-specific words and phrases as they are used in a specific scientific or technical context relevant to grades 6-8 texts and topics.NJSLSA.R7. Integrate and evaluate content presented in diverse media and formats, including visually and quantitatively, as well as in words.Essential Question(s)How do underlying structures unconsciously guide the creation of instrumental works?Enduring UnderstandingsUnderlying structures in art can be found via analysis and inference.Breaking accepted norms often give rise to new forms of artistic expression.The skill of musical Literacy can be viewed as a career path in things such as touring musician, music writer, composer, inventory, marketing, or sales.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsxGlobal AwarenessTACreativity and InnovationEnvironmental LiteracyTACritical Thinking and Problem SolvingHealth LiteracyTACommunicationCivic LiteracyTACollaborationFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesAnalyze 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.Examine how aspects of meter, rhythm, tonality, intervals, chords, and harmonic progressions are organized and manipulated to establish unity and variety in genres of musical compositions. Synthesize knowledge of the elements of music in the deconstruction and performance of complex musical scores from diverse cultural contexts.AssessmentsFormative: Student(s) will be able to identify and define terms/concepts of music appropriate for their skill level through prompts and testsBenchmark: Student(s) will be able to identify, demonstrate, and define various musical notation markings individually and/or with others as measured by a performance rubric. Mid-cycle assessment on standards taught thus far.Authentic: Creating/performing a piece, utilizing multiple standards.Summative: Student(s) will demonstrate competency of terms/concepts of music appropriate for their skill level through oral/written prompts and tests as measured by a performance rubric.Alternative Assessment: See appendix ATeaching and Learning ActionsInstructional StrategiesD Learning Centers/StationsDesignated areas in the classroom where students work on different tasks at the same time. Centers may be organized around ability level to ensure all students are receiving instruction at their appropriate level. The teacher should rotate to provide instruction and assistance when needed.Independent StudyStudents are given the opportunity to investigate a project independently with guidance and support from the teacher. Teacher may use this time to pull students into small groups who need extra assistance with specific content.Differentiation/Leveled InstructionWhole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a variety of activities with different levels of difficulty that will allow students to practice the skill at their own level. The teacher may choose assignments for students or give students the opportunity to choose their own activity.Individual ContractsThe teacher gives each student a list of tasks to complete that are based on their ability level. As students work to complete all tasks, they also work with other students who also need remediation on the same skill or concept. Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This is done by continuously probing the subject with questionsActivitiesDAcademic vocabulary word wall with picturesBeginner, intermediate, and advanced delineated in scope and sequence.Accommodations:Special ED: Adhere to all modifications and health concerns stated in each IEP.ELL: Use and post a word wall of cognate words whenever possible.At risk of failure: Students will be given more time to complete projects that were not turned in without penalty.Special Needs: Modified instructional strategies including: Socratic seminar, group discussions, think-pair-share, individual assignments, more rigorous rubrics, multimedia projects, primary source document, and completing case studies. Gifted and Talented: Modified instructional strategies including: Socratic seminar, group discussions, think-pair-share, individual assignments, more rigorous rubrics, multimedia projects, primary source document, and completing case studies. See appendix A for additional accommodations and modifications.Holocaust: Introduce students to music heard in concentration campsLGBTQIA: Introduce students to Rainbow Riots advocating for human rights using the arts.Amistad: Focus on the influence of African and Afro-Cuban music on the history and development of American music, such as Jazz, Blues, Swing, Bop and Bebop. American blues music was first performed in the early 20th Century and is often said to have evolved from the acapella vocal music and oral traditions of African-American slaves imported principally from West Africa.In the 1930s, Latin American dances, such as the samba and rumba, became popular Western ballroom dances which influenced the musical styling of the big band era.In the 1950s, the Cool Jazz School imported the Bossa Nova from Brazil. ? Listen to contemporary pop music and trace how earlier interventions of style influenced this music.Practice, practice, practiceExperiencesDNJPAC and NJSO field tripsFor ages 16 and up: take a tour of the Steinway Factory in Long Island City (Queens), voted by Forbes as one of the top three factory tours in the country. Witness the making of a piano from start to finish. Factory tours are offered from September through June (no tours in July and August), every Tuesday from 9:30am - noon, for a group of 15 people, max. To schedule a tour email info@ or call 718-721-2600.Pride performance, Christmas Tree Lighting Ceremony, Marching Band, High Note, and other competitions, parades, various community and school performances, College presentations, and more.ResourcesInstruments, music, stands, & consumable instrumental needsSee Appendix B for Specialized Programs that Reflect the Needs of Students and Community Time Frame:See Pacing Guide BelowUnitConceptsTopicsSkillsDays of Instruction*The creative ProcessMusic LiteracyMeter, rhythmic concepts, tonality, intervals, chords, and melodic and harmonic progressionsDefine and demonstrate musical conceptsMinimum of 10*In sequential order by unit.Content Area:Instrumental MusicGrade(s)K-2Unit Plan Title:History of the Arts and Culture K - 2Career Ready Practice Standard(s) CRP2. Apply appropriate academic and technical skills. CRP4. Communicate clearly and effectively and with reason.Overview/RationaleInstrumental music from diverse cultures and historical eras have distinct characteristics and common themes that are revealed by contextual clues within the works. Standard(s)Standard 1.3A General Music Standards1.3A.2.Cr1a: Explore, create and improvise musical ideas using rhythmic and melodic patterns in various meters and tonalities.1.3A.2.Pr4a: Demonstrate and explain personal interest in, knowledge about, and purpose of varied musical selections.1.3A.2.Re7a: Demonstrate and explain how personal interests and experiences influence musical selection for specific purposes. 1.3A.2.Re7b: Describe how specific music concepts are used to support a specific purpose in music. 1.3A.2.Re8a: Demonstrate basic knowledge of music concepts and how they support creators’/performers’ expressive intent.1.3A.2.Re9a: Apply personal and expressive preferences in the evaluation of music. 1.3A.11a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and daily life. Standard 1.3D Music Harmonizing Instruments Standards1.3D.2nov.Cr1a: Create melodic, rhythmic and harmonic ideas for simple melodies as well as chordal accompaniments for given melodies.Technology Standard(s)8.1.2.A.4 Demonstrate developmentally appropriate navigation skills in virtual environments (i.e. games, museums).Media Arts Standard(s)1.2.2.Cr1b: Brainstorm and improvise multiple ideas using a variety of tools, methods and materials.Interdisciplinary Standard(s)NJSLSA.R7. Integrate and evaluate content presented in diverse media and formats, including visually and quantitatively, as well as in words. NJSLSA.R10. Read and comprehend complex literary and informational texts independently and proficiently with scaffolding as needed. Essential Question(s)Does music define culture or does culture define music? What is old and what is new in any work of music? How important is “new” in music?Enduring UnderstandingsCulture affects self-expression, whether we realize it or not. Every artist has a style; every artistic period has a style. Having the knowledge of history and the arts can be viewed as a career path in things such as touring musician, teacher, music writer, composer, inventory, marketing, or sales.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsxGlobal AwarenessETACreativity and InnovationEnvironmental LiteracyTCritical Thinking and Problem SolvingHealth LiteracyTCommunicationxCivic LiteracyTCollaborationFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesAfter researching the musical instruments of other cultures, the students will be able to create a presentation that explains that instrument to peers, as measured by a presentation rubric.AssessmentsFormative: Student(s) will use resources to gain knowledge/information about different musical instruments from different areas and cultures Benchmark: Student(s) correctly identify and label instruments from different cultures and areas. Mid-cycle assessment on standards taught thus far.Authentic: Creating/performing a piece, utilizing multiple standards.Summative: Through a presentation, student(s) will demonstrate competency by being able to teach and discuss instruments from different areas or cultures to peers and teachers.Alternative Assessment: See appendix ATeaching and Learning ActionsInstructional StrategiesDLearning Centers/StationsDesignated areas in the classroom where students work on different tasks at the same time. Centers may be organized around ability level to ensure all students are receiving instruction at their appropriate level. The teacher should rotate to provide instruction and assistance when needed.Independent StudyStudents are given the opportunity to investigate a project independently with guidance and support from the teacher. Teacher may use this time to pull students into small groups who need extra assistance with specific content.Differentiation/Leveled InstructionWhole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a variety of activities with different levels of difficulty that will allow students to practice the skill at their own level. The teacher may choose assignments for students or give students the opportunity to choose their own activity.Individual ContractsThe teacher gives each student a list of tasks to complete that are based on their ability level. As students work to complete all tasks, they also work with other students who also need remediation on the same skill or concept. Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This is done by continuously probing the subject with questionsActivitiesDAccommodations:Special ED: Adhere to all modifications and health concerns stated in each IEP.ELL: Use and post a word wall of cognate words whenever possible.At risk of failure: Students will be given more time to complete projects that were not turned in without penalty.Special Needs: Modified instructional strategies including: Socratic seminar, group discussions, think-pair-share, individual assignments, more rigorous rubrics, multimedia projects, primary source document, and completing case studies. Gifted and Talented: Modified instructional strategies including: Socratic seminar, group discussions, think-pair-share, individual assignments, more rigorous rubrics, multimedia projects, primary source document, and completing case studies. See appendix A for additional accommodations and modifications.Students will choose a culture to research based on a list provided by the teacher. In the technology center, students will research the culture and determine a musical instrument used by that culture. Students will then use Prezi, drawing, or PowerPoint to create a presentation about the instrument. Students will orally present their findings to their peers.Amistad: Introduce students to Spirituals such as Wade in the WaterHolocaust: Introduce students to Oyfn Pripetshik, a Yiddish Lullaby by M.M. WarshawskyExperiencesDNational Music Museum virtual tour: Instrument Museum: field trip, SOPAC field trip, school concertsResourcesInstruments, music, stands, & consumable instrumental needsSee Appendix B for Specialized Programs that Reflect the Needs of Students and Community Time Frame:See Pacing Guide BelowUnitConceptsTopicsSkillsDays of Instruction*History of the Arts and CultureMusic InstrumentsInstruments from different families from different areas and culturesCompare and contrast musical instruments from different areas and cultures Minimum of 5*In sequential order by unit.Content Area:Instrumental MusicGrade(s)3-5Unit Plan Title:History of the Arts and Culture 3 - 5Career Ready Practice Standard(s) CRP5. Consider the environmental, social and economic impacts of decisions. CRP6. Demonstrate creativity and innovation. CRP7. Employ valid and reliable research strategies. CRP8. Utilize critical thinking to make sense of problems and persevere in solving them.Overview/RationaleSometimes the contributions of an individual artist can influence a generation of artists and signal the beginning of a new art genre.Standard(s)Standard 1.3A General Music Standards1.3A.5.CR1a: Generate and improvise rhythmic, melodic and harmonic ideas, and simple accompaniment patterns and chord changes. Explain connection to specific purpose and context (e.g., social, cultural, historical).1.3A.5.Cr2a: Demonstrate developed musical ideas for improvisations, arrangements or compositions to express intent. Explain connection to purpose and context. 1.3A.5.Cr3a: Evaluate, refine and document revisions to personal music, applying collaboratively developed criteria, showing improvement over time and explaining rationale for changes.1.3A.5.Cr3b: Present to others final versions of personally and collaboratively created music that demonstrate craftsmanship. Explain connection to expressive intent. 1.3A.5.Pr4b: Demonstrate an understanding of the structure and expanded music concepts (e.g., rhythm, pitch, form, harmony) in music selected for performance.1.3A.5.Pr4d: Explain how context (e.g., personal, social, cultural, historical) informs performances. 1.3A.5.Pr6b: Demonstrate performance decorum and audience etiquette appropriate for the context, venue, genre, and style.1.3A.5.Re7a: Demonstrate and explain, citing evidence, how selected music connects to and is influenced by specific interests, experiences, purposes, or contexts. 1.3A.5.Re7b: Demonstrate and explain, citing evidence, how responses to music are informed by the structure, the use of the elements of music, and context (i.e., social, cultural, historical).1.3A.5.Re8a: Evaluate musical works and performances, applying established criteria, and explain appropriateness to the context citing evidence from the elements of music.1.3A.5.Re9a: Demonstrate and explain how the expressive qualities (e.g., dynamics, tempo, timbre, articulation) are used in performers’ and personal interpretations to reflect expressive intent.1.3A.10a: Demonstrate how interests, knowledge, and skills related to personal choices and intent when creating, performing, and responding to music. 1.3A.11a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and daily life.Standard 1.3D Music Harmonizing Instruments Standards1.3D.5nov.Cr1a: Create melodic, rhythmic and harmonic ideas for simple melodies as well as chordal accompaniments for given melodies.Technology Standard(s)8.1.5.A.1 Select and use the appropriate digital tools and resources to accomplish a variety of tasks including solving problems.8.1.5.E.1 Use digital tools to research and evaluate the accuracy of, relevance to, and appropriateness of using print and non-print electronic information sources to complete a variety of tasks.Media Arts Standard(s)1.2.5.Cr1a: Generate ideas for media artwork, using a variety of tools, methods and/or materials.Interdisciplinary Standard(s)RST.6-8.9. Compare and contrast the information gained from experiments, simulations, video, or multimedia sources with that gained from reading a text on the same topic. Essential Question(s)Does music define culture or does culture define music? What is old and what is new in any work of music? How important is “new” in music?Enduring UnderstandingsCulture affects self-expression, whether we realize it or not. Every artist has a style; every artistic period has a style.Having the knowledge of history and the arts can be viewed as a career path in things such as touring musician, teacher, music writer, composer, inventory, marketing, or sales.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsxGlobal AwarenessTACreativity and InnovationEnvironmental LiteracyTACritical Thinking and Problem SolvingHealth LiteracyTACommunicationxCivic LiteracyTACollaborationFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesAfter researching a famous instrumentalist, students will collaboratively create a project that includes the life, times, and contributions of the musician, as measured by a solo/group project rubric.AssessmentsFormative: Student(s) will use resources to gain knowledge/information about different musical artists from different areas and cultures Benchmark: Student(s) compare and contrast different artists0 from the same cultures and areas. Mid-cycle assessment on standards taught thus far.Authentic: Creating/performing a piece, utilizing multiple standards.Summative: Through a presentation, student(s) will demonstrate competency by being able to teach and discuss artists/musicians’ careers to peers and teachers.Alternative Assessment: See appendix ATeaching and Learning ActionsInstructional StrategiesDLearning Centers/StationsDesignated areas in the classroom where students work on different tasks at the same time. Centers may be organized around ability level to ensure all students are receiving instruction at their appropriate level. The teacher should rotate to provide instruction and assistance when needed.Independent StudyStudents are given the opportunity to investigate a project independently with guidance and support from the teacher. Teacher may use this time to pull students into small groups who need extra assistance with specific content.Differentiation/Leveled InstructionWhole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a variety of activities with different levels of difficulty that will allow students to practice the skill at their own level. The teacher may choose assignments for students or give students the opportunity to choose their own activity.Individual ContractsThe teacher gives each student a list of tasks to complete that are based on their ability level. As students work to complete all tasks, they also work with other students who also need remediation on the same skill or concept. Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This is done by continuously probing the subject with questions.ActivitiesDProvide graphic organizers.Scaffold vocabularyDesignate assignments for some groups while other groups self-select roles.Accommodations:Special ED: Adhere to all modifications and health concerns stated in each IEP.ELL: Use and post a word wall of cognate words whenever possible.At risk of failure: Students will be given more time to complete projects that were not turned in without penalty.Special Needs: Modified instructional strategies including: Socratic seminar, group discussions, think-pair-share, individual assignments, more rigorous rubrics, multimedia projects, primary source document, and completing case studies. Gifted and Talented: Modified instructional strategies including: Socratic seminar, group discussions, think-pair-share, individual assignments, more rigorous rubrics, multimedia projects, primary source document, and completing case studies. See appendix A for additional accommodations and modifications.Students who play the same instruments will work together in groups of 3-5 to complete the project. Select a professional musician who plays your instrument.Research online to determine the life, times, and contributions of the musician.Take notes while researching, including source, quotations, paraphrasing.Pool notes together to construct an outline for the presentation.Decide which presentation to use (oral report, Prezi, PowerPoint, newscast, Weebly, Discovery Board)Complete a draft of the presentation, including text citations.Revise presentation to conform to the requirements on the rubric.Edit the presentation for mechanics and usage.Present to the class. The teacher and students will score with the rubric.Amistad: Introduce students to Harold Battiste Jr. and his workHolocaust: Introduce students to Arnold Schoenberg and his workExperiencesDNJSO field trip, SOPAC field trip, school concertsResourcesInstruments, music, stands, & consumable instrumental needsSee Appendix B for Specialized Programs that Reflect the Needs of Students and CommunitySuggested Time Frame:See Pacing Guide BelowUnitConceptsTopicsSkillsDays of Instruction*History of the Arts and CultureArtists/MusicianArtists/Musicians from different areas and culturesCompare and contrast musical artists from different areas Minimum of 5*In sequential order by unit.Content Area:Instrumental Music 6-8Grade(s)6-8Unit Plan Title:History of the Arts and Culture 6 - 8Career Ready Practice Standard(s) CRP5. Consider the environmental, social and economic impacts of decisions. CRP6. Demonstrate creativity and innovation. CRP7. Employ valid and reliable research strategies. CRP8. Utilize critical thinking to make sense of problems and persevere in solving them.Overview/RationaleSometimes the contributions of an individual artist can influence a generation of artists and signal the beginning of a new art genre.Standard(s)Standard 1.3A General Music Standards1.3A.8.Cr1a: Generate and improvise rhythmic, melodic and harmonic phrases and harmonic accompaniments within basic forms (e.g., AB, ABA, Theme & Variations) and expanded forms (e.g., introductions, transitions, codas) that convey expressive intent. Explain connection to specific purpose and context (e.g., social, cultural, historical).1.3A.8.Cr2b: Use standard and/or iconic notation and/or recording technology to document personal rhythmic phrases, melodic phrases and harmonic sequences.1.3A.8.Pr4b: Compare the structure of contrasting pieces of music selected for performance, explaining how the elements of music are used in each.1.3A.8.Re7a: Select programs of music (e.g., a playlist, live performance) and demonstrate the connections to an interest or experience for a specific purpose.1.3A.8.Re7b: Identify and compare the context of programs of music from a variety of genres, cultures and historical periods.1.3A.8.Re7c: Identify and compare the context of programs of music from a variety of genres, cultures and historical periods.1.3A.8.Re8a: Apply appropriate personally developed criteria to evaluate musical works or performances.1.3A.8.Re9a: Support with evidence personal interpretation of contrasting programs of music and explain how the application of the elements of music and expressive qualities, within genres, cultures and historical periods convey expressive intent.1.3A.11a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and daily life.Standard 1.3D Music Harmonizing Instruments Standards1.3D.8nov.Cr1a: Create melodic, rhythmic and harmonic ideas for simple melodies as well as chordal accompaniments for given melodies.1.3D.8int.Cr1a: Create melodic, rhythmic and harmonic ideas for melodies over specified chord progressions or AB/ABA forms as well as two to three-chord accompaniments for given melodies.1.3C.12nov.Re7a: Identify reasons for selecting music based on characteristics found in the music, connection to interest, and purpose or context.1.3C.12nov.Re7b: Identify how knowledge of context and the use of repetition, similarities and contrasts inform the response to music.1.3C.12int.Re7a: Explain the reasons for selecting music citing characteristics found in the music and connections to interest, purpose and context.1.3C.12int.Re7b: Describe how understanding context and the way the elements of music are manipulated inform the response to music.1.3C.12nov.Re8a: Identify interpretations of the expressive intent and meaning of musical works, referring to the elements of music, contexts and the setting of the text (when appropriate).1.3C.12int.Re8a: Identify and support interpretations of the expressive intent and meaning of musical works, citing as evidence the treatment of the elements of music, contexts and the setting of the text (when appropriate).1.3C.12nov.Re9a: Identify and describe the effect of interest, experience, analysis, and context on the evaluation of music.1.3C.12int.Re9a: Explain the influence of experiences, analysis and context on interest in and evaluation of music.1.3C.10a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and daily life.1.3C.10a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and daily life.1.3C.11a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and daily life.1.3C.11a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and daily life.1.3D.12nov.Pr5a: Apply teacher or student-provided criteria to critique individual performances of a varied collection of music that includes melodies, repertoire pieces and chordal accompaniments selected for performance. Apply practice strategies to address performance challenges and refine the performances.1.3D.12int.Pr5a: Apply teacher or student-provided criteria to critique individual performances of a varied collection of music that includes melodies, repertoire pieces and chordal accompaniments selected for performance. Identify practice strategies to address performance challenges and refine the performances.1.3D.12nov.Pr6a: Perform with expression and technical accuracy a varied collection of music that includes melodies, repertoire pieces and chordal accompaniments, while demonstrating an understanding of the audience and the context.1.3D.12int.Pr6a: Perform with expression and technical accuracy a varied collection of music that includes melodies, repertoire pieces and chordal accompaniments, while demonstrating sensitivity to the audience and an understanding of the context (e.g., social, cultural, historical).1.3D.12nov.Re7a: Identify reasons for selecting music based on characteristics found in the music, connection to interest and purpose or context.1.3D.12nov.Re7b: Identify and describe how interest, experiences and contexts (e.g., personal, social) effect the evaluation of music.1.3D.12int.Re7a: Explain the reasons for selecting music citing characteristics found in the music and connections to interest, purpose and context.1.3D.12int.Re7b: Explain the influence of experiences and contexts (e.g., personal, social, cultural) on interest in and the evaluation of a varied repertoire of music.1.3D.12nov.Re8a: Identify interpretations of the expressive intent and meaning of musical selections, referring to the elements of music, context (e.g., personal, social), and the setting of the text (when appropriate).1.3D.12int.Re8a: Identify and support interpretations of the expressive intent and meaning of musical selections, citing as evidence the treatment of the elements of music, context, and the setting of the text (when appropriate).1.3D.12nov.Re9a: Identify how knowledge of context and the use of repetition, similarities and contrasts inform the response to music.1.3D.12int.Re9a: Describe how the elements of music are manipulated and knowledge of the context (e.g., social, cultural) informs the response.1.3C.10a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and daily life.1.3C.10a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and daily life.1.3C.11a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts and daily life.1.3C.11a: Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and daily life.Technology Standard(s)8.1.5.A.1 Select and use the appropriate digital tools and resources to accomplish a variety of tasks including solving problems.8.1.5.E.1 Use digital tools to research and evaluate the accuracy of, relevance to, and appropriateness of using print and non-print electronic information sources to complete a variety of tasks.Media Arts Standard(s)●1.2.8.Cr1a: Generate a variety of ideas, goals and solutions for media artworks using creative processes such as sketching, brainstorming, improvising, and prototyping with increased proficiency, divergent thinking, and opportunity for student choice.Interdisciplinary Standard(s)RST.6-8.9. Compare and contrast the information gained from experiments, simulations, video, or multimedia sources with that gained from reading a text on the same topic. NJSLSA.R10. Read and comprehend complex literary and informational texts independently and proficiently with scaffolding as needed. Essential Question(s)Does music define culture or does culture define music? What is old and what is new in any work of music? How important is “new” in music?Enduring UnderstandingsCulture affects self-expression, whether we realize it or not. Every artist has a style; every artistic period has a style.Having the knowledge of history and the arts can be viewed as a career path in things such as touring musician, teacher, music writer, composer, inventory, marketing, or sales.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsxGlobal AwarenessTACreativity and InnovationEnvironmental LiteracyTACritical Thinking and Problem SolvingHealth LiteracyTACommunicationxCivic LiteracyTACollaborationFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesAfter researching a famous instrumentalist, students will collaboratively create a project that includes the life, times, and contributions of the musician, as measured by a group project rubric.AssessmentsFormative: Student(s) will use resources to gain knowledge/information about different musical artists from different areas and cultures Benchmark: Student(s) compare and contrast different artists from the same cultures and areas, as well as the impact of that artist on said culture/area. Mid-cycle assessment on standards taught thus far.Authentic: Creating/performing a piece, utilizing multiple standards.Summative: Through a presentation, student(s) will demonstrate competency by being able to teach and discuss artists/musicians’ impact on cultures and areas from different areas or cultures to peers and teachers.Alternative Assessment: See appendix ATeaching and Learning ActionsInstructional StrategiesDLearning Centers/StationsDesignated areas in the classroom where students work on different tasks at the same time. Centers may be organized around ability level to ensure all students are receiving instruction at their appropriate level. The teacher should rotate to provide instruction and assistance when needed.Independent StudyStudents are given the opportunity to investigate a project independently with guidance and support from the teacher. Teacher may use this time to pull students into small groups who need extra assistance with specific content.Differentiation/Leveled InstructionWhole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a variety of activities with different levels of difficulty that will allow students to practice the skill at their own level. The teacher may choose assignments for students or give students the opportunity to choose their own activity.Individual ContractsThe teacher gives each student a list of tasks to complete that are based on their ability level. As students work to complete all tasks, they also work with other students who also need remediation on the same skill or concept. Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This is done by continuously probing the subject with questions.ActivitiesDProvide graphic organizers.Scaffold vocabularyDesignate assignments for some groups while other groups self-select roles.Accommodations:Special ED: Adhere to all modifications and health concerns stated in each IEP.ELL: Use and post a word wall of cognate words whenever possible.At risk of failure: Students will be given more time to complete projects that were not turned in without penalty.Special Needs: Modified instructional strategies including: Socratic seminar, group discussions, think-pair-share, individual assignments, more rigorous rubrics, multimedia projects, primary source document, and completing case studies. Gifted and Talented: Modified instructional strategies including: Socratic seminar, group discussions, think-pair-share, individual assignments, more rigorous rubrics, multimedia projects, primary source document, and completing case studies. See appendix A for additional accommodations and modifications.Students who play the same instruments will work together in groups of 3-5 to complete the project.Select a professional musician who plays your instrument.Research online to determine the life, times, and contributions of the musician.Take notes while researching, including source, quotations, paraphrasing.Pool notes together to construct an outline for the presentation.Decide which presentation to use (oral report, Prezi, PowerPoint, newscast, Weebly, Discovery Board)Complete a draft of the presentation, including text citations.Revise presentation to conform to the requirements on the rubric.Edit the presentation for mechanics and usage.Present to the class. The teacher and students will score with the rubric.Amistad: Introduce students to Harold Battiste Jr. and his lasting influence Holocaust: Introduce students to Arnold Schoenberg and his lasting influence.LGBTQIA: Introduce students to Bessie Smith and her workExperiencesDNJSO field trip, SOPAC field trip, school concertsNJSO: Address: 60 Park Pl, Newark, NJ 07102ResourcesInstruments, music, stands, & consumable instrumental needsSee Appendix B for Specialized Programs that Reflect the Needs of Students and Community Time Frame:See Pacing Guide BelowUnitConceptsTopicsSkillsDays of Instruction*History of the Arts and CultureArtists/MusicianArtists/Musicians from different areas and culturesCompare and contrast musical artists from different areas and cultures and their impact Minimum of 5*In sequential order by unit.Content Area:Instrumental Music Grade(s) K-2Unit Plan Title:Classroom Application: Performance K - 2Career Ready Practice Standard(s) CRP4. Communicate clearly and effectively and with reason. CRP5. Consider the environmental, social and economic impacts of decisions.Overview/RationaleThe ability to read music notation correlates with musical fluency and literacy. Notation systems are complex symbolic languages that indicate pitch, rhythm, dynamics, and tempo.Prescribed forms and rules govern music composition, rhythmic accompaniment, and the harmonizing of plex scores may include compound meters and the grand staff.Decoding musical scores requires understanding of notation systems, the elements of music, and basic compositional concepts.Standard(s)Standard 1.3A General Music Standards1.3A.2Pr5a: Apply established criteria to judge the accuracy, expressiveness and effectiveness of performance. ?● ?1.3A.2Pr5b: Rehearse, identify and apply strategies to address interpretive, performance and technical challenges of music. ?1.3A.2.Pr5c: Demonstrate knowledge of basic music concepts (e.g. tonality and meter) in music from a variety of cultures selected for performance. 1.3A.2.Pr5d: When analyzing selected music, read and perform rhythmic and melodic patterns using iconic or standard notation.● 1.3A.2.Pr5e: Demonstrate understanding of basic expressive qualities (e.g., dynamics, tempo) and how creators use them to convey expressive intent. 1.3A.2.Pr6b: Perform appropriately for the audience and purpose.1.3A.2.Cr2b: Use iconic or standard notation and/or recording technology to organize and document personal musical ideas.1.3A.2.Pr6a: Perform music for a specific purpose with expression and technical accuracy.1.3A.10a: Demonstrate how interests, knowledge and skills relate to personal choices and intent when creating, performing and responding to music.Standard 1.3D Music Harmonizing Instruments Standards1.3D.2nov.Cr2a: Use standard notation or audio/video recording to document melodic, rhythmic and harmonic ideas for drafts of simple melodies as well as chordal accompaniments for given melodies.Technology Standard(s)8.1.2.D.1: Develop an understanding of ownership of print and nonprint information.Media Arts Standard(s)1.2.2.Cr1b: Brainstorm and improvise multiple ideas using a variety of tools, methods and materials.Interdisciplinary Standard(s)NJSLSA.R4: Interpret words and phrases as they are used in a text, including determining technical, connotative, and figurative meanings, and analyze how specific word choices shape meaning or tone.NJSLSA.R7: Integrate and evaluate content presented in diverse media and formats, including visually and quantitatively, as well as in words.Essential Question(s)How does creating and performing in music differ from viewing music? To what extent does the viewer properly affect and influence the music and musician and to what extent is the music for the musician?Enduring UnderstandingsMusic serves multiple functions: enlightenment, education, and entertainment. Though the musician’s imagination and intuition drive the work, great music requires skills and discipline to turn notions into a quality product. The artistic process can lead to unforeseen or unpredictable outcomes.Having the knowledge of performing individually and/or with others can be viewed as a career path in things such as touring musician, teacher, music writer, composer, inventory, marketing, or sales.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsxGlobal AwarenessTACreativity and InnovationEnvironmental LiteracyTACritical Thinking and Problem SolvingHealth LiteracyTACommunicationCivic LiteracyTACollaborationFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesAfter practice and rehearsal, students perform a musical selection for their peers, as measured by a peer performance rubric.AssessmentsFormative: Student(s) will be able to play musical exercises in order to raise their level of competency in playing their chosen instruments in class and in performances Benchmark/Authentic: Student(s) will be able to the selected song for an upcoming performance individually and/or with others. Mid-cycle assessment on standards taught thus far.Summative: Student(s) will demonstrate competency in playing their chosen instruments in class and in performances. Perform the composition for teachers and peers. Refine the work based on critical feedback.Alternative Assessment: See appendix ATeaching and Learning ActionsInstructional StrategiesDLearning Centers/StationsDesignated areas in the classroom where students work on different tasks at the same time. Centers may be organized around ability level to ensure all students are receiving instruction at their appropriate level. The teacher should rotate to provide instruction and assistance when needed.Independent StudyStudents are given the opportunity to investigate a project independently with guidance and support from the teacher. Teacher may use this time to pull students into small groups who need extra assistance with specific content.Differentiation/Leveled InstructionWhole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a variety of activities with different levels of difficulty that will allow students to practice the skill at their own level. The teacher may choose assignments for students or give students the opportunity to choose their own activity.Individual ContractsThe teacher gives each student a list of tasks to complete that are based on their ability level. As students work to complete all tasks, they also work with other students who also need remediation on the same skill or concept. Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This is done by continuously probing the subject with questions.ActivitiesDSee scope and sequence for differentiation between beginner, intermediate, and advanced.Accommodations:Special ED: Adhere to all modifications and health concerns stated in each IEP.ELL: Use and post a word wall of cognate words whenever possible.At risk of failure: Students will be given more time to complete projects that were not turned in without penalty.Special Needs: Modified instructional strategies including: Socratic seminar, group discussions, think-pair-share, individual assignments, more rigorous rubrics, multimedia projects, primary source document, and completing case studies. Gifted and Talented: Modified instructional strategies including: Socratic seminar, group discussions, think-pair-share, individual assignments, more rigorous rubrics, multimedia projects, primary source document, and completing case studies. See appendix A for additional accommodations and modifications.Focus on the use of music as narrative by listening to and discussing works, such as Sergei Prokofiev’s Peter and the Wolf or Daniel Pinkham’s Make Way for Ducklings. View Oscar winning animated feature film of Peter and the Wolf by Suzie Templeton (PBS Great Performances). Discuss ways that music communicates both through narrative and through expression.Practice reading and playing musical scores.Amistad: Focus on traditional African percussion instruments and their families idiophones, chordophones, aerophones and membranophonesHolocaust: Examples of Ammon Weinstein’s “Violins of Hope” collection of restored instruments from the Holocaust.ExperiencesDNJSO field trip, SOPAC field trip, school concertsNJSO: Address: 60 Park Pl, Newark, NJ 07102Pride performance, Christmas Tree Lighting Ceremony, Marching Band, High Note, and other competitions, parades, various community and school performances, College presentations, and more.ResourcesInstruments, music, stands, & consumable instrumental needsSee Appendix B for Specialized Programs that Reflect the Needs of Students and Community Concerto in E-flatBrandenburg Concerto No.2Wagner’s Tannhouser Waltz of the Flowers Mozart’s Horn Concerto No. 2 in E-flat major; Ralph Vaughan Williams’ Symphony No. 6 / Tuba Concerto.Suggested Time Frame:Pacing GuideUnitConceptsTopicsSkillsDays of Instruction*Classroom Application: PerformancePerforming for peers and othersConcert PerformancePlaying alone and/or with othersMinimum of 5*In sequential order by unit.Content Area:Instrumental MusicGrade(s)3-5Unit Plan Title:Classroom Application: Performance 3 - 5Career Ready Practice Standard(s) CRP4. Communicate clearly and effectively and with reason. CRP5. Consider the environmental, social and economic impacts of decisions.Overview/RationaleThe ability to read music notation correlates with musical fluency and literacy. Notation systems are complex symbolic languages that indicate pitch, rhythm, dynamics, and tempo.Prescribed forms and rules govern music composition, rhythmic accompaniment, and the harmonizing of plex scores may include compound meters and the grand staff.Decoding musical scores requires understanding of notation systems, the elements of music, and basic compositional concepts.Standard(s)Standard 1.3A General Music Standards1.3A.2.Cr2b: Use iconic or standard notation and/or recording technology to organize and document personal musical ideas.1.3A.5.Pr4a: Demonstrate an understanding of the structure and expanded music concepts (e.g., rhythm, pitch, form, harmony) in music selected for performance1.3A.5.Pr4c: Analyze selected music by reading and performing using standard notation.1.3A.5.Pr4e: Convey creator's intents through the performers' interpretive decisions of expanded expressive qualities (e.g., dynamics, tempo, timbre, articulation/style). 1.3A.5.Pr5a: Apply teacher-provided and established criteria and feedback to evaluate the accuracy and expressiveness of ensemble and personal performance. 1.3A.5.Pr5b: Rehearse to refine technical accuracy and expressive qualities to address challenges and show improvement over time. 1.3A.5.Pr6a: Perform music, alone or with others, with expression, technical accuracy and appropriate interpretation. 1.3A.5.Pr6b: Demonstrate performance decorum and audience etiquette appropriate for the context, venue, genre, and style. Standard 1.3D Music Harmonizing Instruments Standards1.3D.5nov.Cr1a: Create melodic, rhythmic and harmonic ideas for simple melodies as well as chordal accompaniments for given melodies.Technology Standard(s)8.1.2.D.1 Develop an understanding of ownership of print and nonprint information.Media Arts Standard(s)1.2.5.Cr1a: Generate ideas for media artwork, using a variety of tools, methods and/or materials.Interdisciplinary Standard(s)NJSLSA.R4. Interpret words and phrases as they are used in a text, including determining technical, connotative, and figurative meanings, and analyze how specific word choices shape meaning or tone.NJSLSA.R7. Integrate and evaluate content presented in diverse media and formats, including visually and quantitatively, as well as in words.Essential Question(s)How does creating and performing in music differ from viewing music? To what extent does the viewer properly affect and influence the music and musician and to what extent is the music for the musician?Enduring UnderstandingsMusic serves multiple functions: enlightenment, education, and entertainment. Though the musician’s imagination and intuition drive the work, great music requires skills and discipline to turn notions into a quality product. The artistic process can lead to unforeseen or unpredictable outcomes.Having the knowledge of performing individually and/or with others can be viewed as a career path in things such as touring musician, teacher, music writer, composer, inventory, marketing, or sales.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsxGlobal AwarenessTACreativity and InnovationEnvironmental LiteracyTACritical Thinking and Problem SolvingHealth LiteracyTACommunicationCivic LiteracyTACollaborationFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/Objectives?After listening to a musical selection, students evaluate the selection, based on a rubric.?After practice and rehearsal, students perform a musical selection for their peers, as measured by a peer performance rubric.AssessmentsFormative: Student(s) will be able to play musical exercises in order to raise their level of competency in playing their chosen instruments in class and in performances Benchmark/Authentic: Student(s) will be able to the selected song for an upcoming performance individually and/or with others. Mid-cycle assessment on standards taught thus far.Summative: Student(s) will demonstrate competency in playing their chosen instruments in class and in performances. Perform the composition for teachers and peers. Refine the work based on critical feedback.Alternative Assessment: See appendix ATeaching and Learning ActionsInstructional StrategiesDLearning Centers/StationsDesignated areas in the classroom where students work on different tasks at the same time. Centers may be organized around ability level to ensure all students are receiving instruction at their appropriate level. The teacher should rotate to provide instruction and assistance when needed.Independent StudyStudents are given the opportunity to investigate a project independently with guidance and support from the teacher. Teacher may use this time to pull students into small groups who need extra assistance with specific content.Differentiation/Leveled InstructionWhole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a variety of activities with different levels of difficulty that will allow students to practice the skill at their own level. The teacher may choose assignments for students or give students the opportunity to choose their own activity.Individual ContractsThe teacher gives each student a list of tasks to complete that are based on their ability level. As students work to complete all tasks, they also work with other students who also need remediation on the same skill or concept. Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This is done by continuously probing the subject with questions.ActivitiesDSee scope and sequence for differentiation between beginner, intermediate, and advanced.Accommodations:Special ED: Adhere to all modifications and health concerns stated in each IEP.ELL: Use and post a word wall of cognate words whenever possible.At risk of failure: Students will be given more time to complete projects that were not turned in without penalty.Special Needs: Modified instructional strategies including: Socratic seminar, group discussions, think-pair-share, individual assignments, more rigorous rubrics, multimedia projects, primary source document, and completing case studies.Gifted and Talented: Modified instructional strategies including: Socratic seminar, group discussions, think-pair-share, individual assignments, more rigorous rubrics, multimedia projects, primary source document, and completing case studies. See appendix A for additional accommodations and modifications.?Focus on the use of music as narrative by listening to and discussing works, such as Sergei Prokofiev’s Peter and the Wolf or Daniel Pinkham’s Make Way for Ducklings. ?View Oscar winning animated feature film of Peter and the Wolf by Suzie Templeton (PBS Great Performances). ?Discuss ways that music communicates both through narrative and through expression.?Practice reading and playing musical scores.Amistad: Introduce students to Harold Battiste Jr. and his workHolocaust: Introduce students to Arnold Schoenberg and his workExperiencesDNJSO field trip, SOPAC field trip, school concertsNJSO: Address: 60 Park Pl, Newark, NJ 07102Pride performance, Christmas Tree Lighting Ceremony, Marching Band, High Note, and other competitions, parades, various community and school performances, College presentations, and more.ResourcesInstruments, music, stands, & consumable instrumental needsSee Appendix B for Specialized Programs that Reflect the Needs of Students and Community Time Frame:See Pacing GuideUnitConceptsTopicsSkillsDays of Instruction*Classroom Application: PerformancePerforming for peers and othersConcert PerformancePlaying alone and/or with othersMinimum of 5*In sequential order by unit.Content Area:Instrumental MusicGrade(s)6-8Unit Plan Title:Classroom Application: Performance 6 - 8Career Ready Practice Standard(s) CRP4. Communicate clearly and effectively and with reason. CRP5. Consider the environmental, social and economic impacts of decisions.Overview/RationaleWestern, non-Western, and avant-garde notation systems have distinctly different characteristics. Differentiating the characteristics allows a musician to continuously improve.Standard(s)Standard 1.3A General Music Standards1.3A.8.Cr2b: Use standard and/or iconic notation and/or recording technology to document personal rhythmic phrases, melodic phrases and harmonic sequences.1.3A.8.Pr4a: Analyze selected music by sight-reading in treble or bass clef using simple rhythmic, melodic and/or harmonic notation. 1.3A.8.Pr4c: Analyze selected music by sight-reading in treble or bass clef using simple rhythmic, melodic and/or harmonic notation.1.3A.8.Pr4d: Identify and explain how cultural and historical context inform performances and result in different musical effects.1.3A.8.Pr4e: Perform contrasting pieces of music, demonstrating as well as explaining how the music’s intent is conveyed by their interpretations of the elements of music and expressive qualities (e.g., dynamics, tempo, timbre, articulation/style, phrasing).1.3A.8.Pr5a: Identify and apply personally developed criteria (e.g., demonstrating correct interpretation of notation, technical skill of performer, originality, emotional impact, variety, interest) to rehearse, refine and determine when the music is ready to perform.1.3A.8.Pr6a: Perform music with technical accuracy, stylistic expression and culturally authentic practices to convey the creator’s intent.1.3A.8.Pr6b: Demonstrate performance decorum (e.g., stage presence, attire, behavior) and audience etiquette appropriate for venue, purpose, context, and style.1.3A.10a: Demonstrate how interests, knowledge and skills related to personal choices and intent when creating, performing, and responding to music.Standard 1.3D Music Harmonizing Instruments Standards1.3D.12nov.Cr1a: Create melodic, rhythmic and harmonic ideas for simple melodies as well as chordal accompaniments for given melodies.1.3D.12int.Cr1a: Create melodic, rhythmic and harmonic ideas for melodies over specified chord progressions or AB/ABA forms as well as two to three-chord accompaniments for given melodies1.3C.12nov.Cr3a: Evaluate and refine draft compositions and improvisations based on knowledge, skill and teacher-provided criteria.1.3C.12int.Cr3a: Evaluate and refine draft compositions and improvisations based on knowledge, skill and collaboratively developed criteria.1.3C.12nov.Cr3b: Share personally developed melodic and rhythmic ideas or motives (individually or as an ensemble) that demonstrate understanding of characteristics of music or texts studied in rehearsal.1.3C.12int.Cr3b: Share personally developed melodies and rhythmic passages (individually or as an ensemble) that demonstrate understanding of characteristics of music or texts studied in rehearsal.1.3C.12nov.Pr4a: Select varied repertoire to study based on interest, music reading skills (where appropriate), an understanding of the structure of the music, context, and the technical skill of the individual or ensemble.1.3C.12int.Pr4a: Select varied repertoire to study based on music reading skills (where appropriate), an understanding of formal design in the music, context, and the technical skill of the individual and ensemble.1.3C.12nov.Pr4b: Demonstrate, using music reading skills (where appropriate) how knowledge of formal aspects in musical works inform prepared or improvised performances.1.3C.12int.Pr4b: Demonstrate, using music reading skills (where appropriate), how the setting and formal characteristics of musical works contribute to understanding the context of the music in prepared or improvised performances.1.3C.12nov.Pr4c: Identify expressive qualities in a varied repertoire of music that can be demonstrated through prepared and improvised performances.1.3C.12int.Pr4c: Demonstrate understanding and application of expressive qualities in a varied repertoire of music through prepared and improvised performances.1.3C.12nov.Pr6a: Demonstrate attention to technical accuracy and expressive qualities in prepared and improvised performances of a varied repertoire of music.1.3C.12nov.Pr6b: Demonstrate an awareness of the context of the music through prepared and improvised performances1.3C.12int.Pr6a: Demonstrate attention to technical accuracy and expressive qualities in prepared and improvised performances of a varied repertoire of music representing diverse cultures and styles.1.3C.12int.Pr6b: Demonstrate an understanding of the context of the music through prepared and improvised performances. .3D.12nov.Pr4a: Describe and demonstrate how a varied collection of music that includes melodies, repertoire pieces, and chordal accompaniments is selected, based on personal interest, music reading skills, technical skill, and the performance context.1.3D.12nov.Pr4b: Identify prominent melodic and harmonic characteristics in a varied collection of music that includes melodies, repertoire pieces and chordal accompaniments selected for performance, including some based on reading standard notation.1.3D.12nov.Pr4c: Demonstrate and describe an understanding of the context and expressive intent in a varied collection of music selected for performance that includes melodies, repertoire pieces and chordal accompaniments.1.3D.12int.Pr4a: Describe and demonstrate how a varied collection of music that includes melodies, repertoire pieces and chordal accompaniments is selected, based on personal interest, music reading skills, identified technical challenges that need to be addressed, and the performance context.1.3D.12int.Pr4b: Identify prominent melodic, harmonic, and structural characteristics and context (e.g., social, cultural, historical) in a varied collection of music that includes melodies, repertoire pieces and chordal accompaniments selected for performance, including some based on reading standard notation.1.3D.12int.Pr4c: Demonstrate and describe an understanding of the context (e.g., social, cultural, historical) and expressive intent in a varied collection of music selected for performance that includes melodies, repertoire pieces and chordal accompaniments.Technology Standard(s)8.1.2.D.1 Develop an understanding of ownership of print and nonprint information.Media Arts Standard(s)● 1.2.8.Cr1a: Generate a variety of ideas, goals and solutions for media artworks using creative processes such as sketching, brainstorming, improvising, and prototyping with increased proficiency, divergent thinking, and opportunity for student choice.Interdisciplinary Standard(s)NJSLSA.R4. Interpret words and phrases as they are used in a text, including determining technical, connotative, and figurative meanings, and analyze how specific word choices shape meaning or tone.NJSLSA.R7. Integrate and evaluate content presented in diverse media and formats, including visually and quantitatively, as well as in words.Essential Question(s)How does creating and performing in music differ from viewing music? To what extent does the viewer properly affect and influence the music and musician and to what extent is the music for the musician?Enduring UnderstandingsMusic serves multiple functions: enlightenment, education, and entertainment. Though the musician’s imagination and intuition drive the work, great music requires skills and discipline to turn notions into a quality product. The artistic process can lead to unforeseen or unpredictable outcomes.Having the knowledge of history and the arts can be viewed as a career path in things such as touring musician, teacher, music writer, composer, inventory, marketing, or sales.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsxGlobal AwarenessTACreativity and InnovationEnvironmental LiteracyTACritical Thinking and Problem SolvingHealth LiteracyTACommunicationCivic LiteracyTACollaborationFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesAfter listening to a musical selection, students evaluate the selection, based on a rubric.After practice and rehearsal, students perform a musical selection based on their skill level for their peers, as measured by a peer performance rubric.AssessmentsFormative: Student(s) will be able to play musical exercises in order to raise their level of competency in playing their chosen instruments in class and in performances Benchmark/Authentic: Student(s) will be able to the selected song for an upcoming performance individually and/or with others. Mid-cycle assessment on standards taught thus far.Summative: Student(s) will demonstrate competency in playing their chosen instruments in class and in performances. Perform the composition for teachers and peers. Refine the work based on critical feedback.Alternative Assessment: See appendix ATeaching and Learning ActionsInstructional StrategiesDLearning Centers/StationsDesignated areas in the classroom where students work on different tasks at the same time. Centers may be organized around ability level to ensure all students are receiving instruction at their appropriate level. The teacher should rotate to provide instruction and assistance when needed.Independent StudyStudents are given the opportunity to investigate a project independently with guidance and support from the teacher. Teacher may use this time to pull students into small groups who need extra assistance with specific content.Differentiation/Leveled InstructionWhole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a variety of activities with different levels of difficulty that will allow students to practice the skill at their own level. The teacher may choose assignments for students or give students the opportunity to choose their own activity.Individual ContractsThe teacher gives each student a list of tasks to complete that are based on their ability level. As students work to complete all tasks, they also work with other students who also need remediation on the same skill or concept. Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This is done by continuously probing the subject with questions.ActivitiesDBeginner, Intermediate, and Advanced skills are differentiated in the scope and sequesnce.Accommodations:Special ED: Adhere to all modifications and health concerns stated in each IEP.ELL: Use and post a word wall of cognate words whenever possible.At risk of failure: Students will be given more time to complete projects that were not turned in without penalty.Special Needs: Modified instructional strategies including: Socratic seminar, group discussions, think-pair-share, individual assignments, more rigorous rubrics, multimedia projects, primary source document, and completing case studies. Gifted and Talented: Modified instructional strategies including: Socratic seminar, group discussions, think-pair-share, individual assignments, more rigorous rubrics, multimedia projects, primary source document, and completing case studies. See appendix A for additional accommodations and modifications.Examine examples of non-western notation systems, such as India’s Sargam notation system, China’s Jianpu notation system, the Shakuhachi musical notation of Japan, and the Javanese Gamelan music notation of Kepatihan. Listen to music from each of these cultural traditions and compare it with Western music. Focus on the Gamelan by viewing audio recordings and videos of Gamelan playing using online resources, such as Google Videos, Youtube or I Tunes.Seek out expertise on Gamelan music through organizations, such as the American Gamelan Institute and the UK Gamelan network that offer free online lessons in Gamelan technique. View the work of contemporary artists, such as composer Terry Dame and her group, the Electric Junkyard Gamelan, who are experimenting with the style and the medium. Seek out additional expertise on Gamelan music and Javanese traditions of music, theatre and dance through . Amistad: Introduce students to Harold Battiste Jr. and his lasting influence Holocaust: Introduce students to Arnold Schoenberg and his lasting influence.LGBTQIA: Introduce students to Bessie Smith and her workExperiencesDNJSO field trip, SOPAC field trip, school concertsNJSO: Address: 60 Park Pl, Newark, NJ 07102Pride performance, Christmas Tree Lighting Ceremony, Marching Band, High Note, and other competitions, parades, various community and school performances, College presentations, and more.ResourcesInstruments, music, stands, & consumable instrumental needsSee Appendix B for Specialized Programs that Reflect the Needs of Students and Community Time Frame:See Pacing GuideUnitConceptsTopicsSkillsDays of Instruction*Classroom Application: PerformancePerforming for peers and othersConcert PerformancePlaying alone and/or with othersMinimum of 5*In sequential order by unit.Grades 9 – 12Concert Band I, II, III, IVOrchestra I, II, III, IVStrings Ensemble I, II, III, IVFor each instrumental progression including Concert Band I, II, III, IV, Orchestra I, II, III, IV, Strings Ensemble I, II, III, IV students will grow in skill by reviewing and perfecting previously learn tenets involved in each unit of the instrumental music curriculum.String Performance and Knowledge CriteriaPerform major and minor scales with reasonable accuracy of pitch using:Notes of varying length and valueA variety of rhythmic patternsAscending and descending with various rhythmic patternsMore than one octave when appropriate Indigenous vocabularyPerform diverse solo selections from classical to contemporary repertory:IndividuallyIn unisonIn a variety of styles, cultures and languagesWith written music parts, no copies of lyrics onlyFrom memoryWith reasonable accuracy of pitch and rhythmWith appropriate performance practicesUsing indigenous vocabularyStudents perform appropriate standard warm-up exercises at the beginning of the class/lesson in preparation for lesson by:Using vocalizesUsing etudes/technical exercisesUsing long tonesPlaying arpeggiosUsing finger exercisesIndigenous vocabularyUsing correct breathing patternsPerform written music without total or major reliance on:a. Written-in letter names of notesWritten-in fingerings for notesCopies of lyrics onlyDemonstrate:Appropriate performance practicesUse of indigenous vocabularyPerform diverse ensemble selections from classical to contemporary repertory:With reasonable accuracy of pitch, rhythm, harmony and balanceUsing variety of styles, cultures and languagesWith written music parts; no copies of lyrics onlyWith appropriate performance practicesUsing indigenous vocabularyListening and ear training:Listens to and/or views recordings of professional performances, using relevant listening guides and scores for enrichment and critiqueListens to and/or views recordings of own and/or peer performances, using relevant listening guides and scores for enrichment and critiqueProvides appropriate and balanced keyboard and/or electronic accompaniment for student solo and/or ensemble practice or performanceUses indigenous vocabularyParticipates in music careers discussion NOTESE.g., rubato, dynamicsE.g., fugal entrances, chromatic modulations, developmental devicesE.g. imagination, craftsmanshipE.g., unity and variety, repetition and contrastE.g., Baroque, sub-Saharan African, KoreanE.g., language arts: compare the ability of music and literature to convey images, feelings, and meanings; physics: describe the physical basis of tone production in string, wind, percussion and electronic instruments and the human voice and of the transmission and perception of soundE.g., creators: painters, composers, choreographers, playwrights; performers: instrumentalists, singers, dancers, actors; others: conductors, costumers, directors , lighting designersE.g., swing, Broadway musical bluesE.g., entertainment, teacher, transmitter of cultural traditionsEND NOTESClassroom instruments: Instruments typically used in the general music classroom, including, for example, recorder-type instruments, chorded zithers, mallet instruments, simple percussion instruments, fretted instruments, keyboard instruments, and electronic instruments.Content Area:Instrumental MusicGrade(s)9-12Unit Plan Title:Creative Process 9 - 12Career Ready Practice Standard(s) CRP6. Demonstrate creativity and innovation. CRP7. Employ valid and reliable research strategies. CRP8. Utilize critical thinking to make sense of problems and persevere in solving themOverview/RationaleCommon, recognizable musical forms often have characteristics related to specific cultural traditions.Understanding nuanced stylistic differences among various genres of music is a component of musical fluency. Meter, rhythm, tonality, and harmonics are determining factors in the categorization of musical genres. Musical proficiency is characterized by the ability to sight-read advanced notation. Musical fluency is also characterized by the ability to classify and replicate the stylistic differences in music of varying traditions.Standard(s)Standard 1.3B Music Composition & Theory Standards1.3B.12prof.Cr1a: Describe how sounds and short musical ideas can be used to represent personal experiences, moods, visual images, and/or storylines.1.3B.12acc.Cr1a: Describe and demonstrate how sounds and musical ideas can be used to represent events, memories, visual images, concepts, texts, or storylines.1.3B.12adv.Cr1a: Describe and demonstrate multiple ways in which sounds and musical ideas can be used to represent extended experiences or abstract ideas.Standard 1.3C General Music Ensembles Standards1.3.C.12nov.Cr1a: Compose and improvise ideas and motives for melodies and rhythmic passages based on characteristic(s) of music or text(s) studied in rehearsal.1.3.C.12int.Cr1a: Compose and improvise ideas and motives for melodies and rhythmic passages based on characteristic(s) of music or text(s) studied in rehearsal.1.3.C.12prof.Cr1a: Compose and improvise ideas for melodies, rhythmic passages and arrangements for specific purposes that reflect characteristic(s) of music from a variety of historical periods or cultures studied in rehearsal.1.3.C.12acc.Cr1a: Compose and improvise ideas for arrangements, sections and short compositions for specific purposes that reflect characteristic(s) of music from a variety of historical periods or cultures studied in rehearsal.1.3Cadv.Cr1a: 1.3Cadv.Cr1a: Compose and improvise musical ideas for a variety of purposes and contexts.Standard 1.3D Music Harmonizing Instruments Standards1.3D.12prof.Cr1a: Create melodic, rhythmic and harmonic ideas for improvisations, compositions (e.g., theme and variation, 12-bar blues), as well as three-or-more-chord accompaniments in a variety of patterns (e.g., arpeggio, country and gallop strumming, finger picking patterns).1.3D.12acc.Cr1a: Create melodic, rhythmic and harmonic ideas for compositions (e.g., rounded binary, rondo), improvisations, accompaniment patterns in a variety of styles, as well as harmonization for given melodies.1.3D.12adv.Cr1a: Create melodic, rhythmic and harmonic ideas for a collection of compositions and improvisations in a variety of styles, as well as stylistically appropriate harmonization for given melodies.1.3D.12prof.Cr2a: Use standard notation and audio/video recording to document melodic, rhythmic and harmonic ideas for drafts of improvisations, compositions (e.g., theme and variation, 12-bar blues), as well as three-or-more- chord accompaniments in a variety of patterns (e.g., arpeggio, country and gallop strumming, finger picking patterns).1.3D.12acc.Cr2a: Use standard notation and audio/video recording to document melodic, rhythmic and harmonic ideas for drafts of compositions (e.g., rounded binary, rondo), improvisations, accompaniment patterns in a variety of styles, as well as harmonization for given melodies.1.3D.12adv.Cr2a: Use standard notation and audio/video recording to document melodic, rhythmic and harmonic ideas for drafts of compositions and improvisations in a variety of styles as well as stylistically appropriate harmonization for given melodies.1.3D.12prof.Cr3a: Develop and apply criteria to critique, improve and refine drafts of improvisations, compositions (e.g., theme and variation, 12-bar blues), as well as three-or-more- chord accompaniments in a variety of patterns (e.g., arpeggio, country and gallop strumming, fingerpicking patterns).1.3D.12prof.Cr3b: Perform final versions of improvisations, compositions (e.g., theme and variation, 12-bar blues), and three-or-more-chord accompaniments in a variety of patterns (e.g. arpeggio, country and gallop strumming, fingerpicking patterns), demonstrating technical skill in applying principles of composition, improvisation and originality.1.3D.12acc.Cr3a: Develop and apply criteria to critique, improve and refine drafts of compositions (e.g., rounded binary, rondo), improvisations, accompaniment patterns in a variety of styles, and harmonization for given melodies.1.3D.12acc.Cr3b: Perform final versions of compositions (e.g., rounded binary, rondo), improvisations, accompaniment patterns in a variety of styles, as well as harmonization for given melodies, demonstrating technical skill in applying principles of composition, improvisation and originality.1.3D.12adv.Cr3a: Develop and apply criteria to critique, improve, and refine drafts of compositions and improvisations in a variety of styles, as well as stylistically appropriate harmonization for given melodies.1.3D.12adv.Cr3b: Perform final versions of a collection of compositions and improvisations in a variety of styles, as well as stylistically appropriate harmonization for given melodies, demonstrating technical skill in applying principles of composition, improvisation and originality.1.3D.12nov.Re7a: Identify reasons for selecting music based on characteristics found in the music, connection to interest and purpose or context.1.3D.12nov.Re7b: Identify and describe how interest, experiences and contexts (e.g., personal, social) effect the evaluation of music.1.3D.12int.Re7a: Explain the reasons for selecting music citing characteristics found in the music and connections to interest, purpose and context.1.3D.12int.Re7b: Explain the influence of experiences and contexts (e.g., personal, social, cultural) on interest in and the evaluation of a varied repertoire of music.Technology Standard(s)8.1.5.A.1: Select and use the appropriate digital tools and resources to accomplish a variety of tasks including solving problems.Media Arts Standards1.2.12prof.Cr1a: Formulate multiple ideas using generative methods to develop artistic goals and solve problems in media arts creation processes.Interdisciplinary Standard(s)RST.6-8.4: Determine the meaning of symbols, key terms, and other domain-specific words and phrases as they are used in a specific scientific or technical context relevant to grades 6-8 texts and topics.NJSLSA.R7: Integrate and evaluate content presented in diverse media and formats, including visually and quantitatively, as well as in words.Essential Question(s)How do underlying structures unconsciously guide the creation of instrumental works?Enduring UnderstandingsUnderlying structures in art can be found via analysis and inference.Breaking accepted norms often give rise to new forms of artistic expression.The skill of musical Literacy can be viewed as a career path in things such as touring musician, music writer, composer, inventory, marketing, or sales.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsxGlobal AwarenessTACreativity and InnovationEnvironmental LiteracyTACritical Thinking and Problem SolvingHealth LiteracyTACommunicationCivic LiteracyTACollaborationFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesAnalyze 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.Examine how aspects of meter, rhythm, tonality, intervals, chords, and harmonic progressions are organized and manipulated to establish unity and variety in genres of musical compositions. Synthesize knowledge of the elements of music in the deconstruction and performance of complex musical scores from diverse cultural contexts.AssessmentsFormative: Student(s) will be able to identify, demonstrate, and define terms/concepts of music appropriate for their skill level through prompts and testsBenchmark/Authentic: At mid-cycle student(s) will create a score of music that demonstrates their understanding of various musical notation markings individually and/or with others as measured by a performance rubric.Summative: Student(s) will demonstrate proficiency of terms/concepts of music appropriate for their skill level through oral/written prompts and tests, and created scores of music. Student(s) will refine the work based on critical feedback. Re-record and submit the revised score to the National School Boards Association (NSBA) Student Electronic Music Composition Talent Search, sponsored by MENC and NSBA. (The Electronic Music Composition Competition recognizes outstanding compositions and is held to influence school administrators to include or improve music technology in their schools' curriculum).Alternative Assessment: See appendix ATeaching and Learning ActionsInstructional StrategiesDLearning Centers/StationsDesignated areas in the classroom where students work on different tasks at the same time. Centers may be organized around ability level to ensure all students are receiving instruction at their appropriate level. The teacher should rotate to provide instruction and assistance when needed.Independent StudyStudents are given the opportunity to investigate a project independently with guidance and support from the teacher. Teacher may use this time to pull students into small groups who need extra assistance with specific content.Differentiation/Leveled InstructionWhole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a variety of activities with different levels of difficulty that will allow students to practice the skill at their own level. The teacher may choose assignments for students or give students the opportunity to choose their own activity.Individual ContractsThe teacher gives each student a list of tasks to complete that are based on their ability level. As students work to complete all tasks, they also work with other students who also need remediation on the same skill or concept. Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This is done by continuously probing the subject with questionsActivitiesDAcademic vocabulary word wall with picturesBeginner, intermediate, and advanced delineated in scope and sequence.Accommodations:Special ED: Adhere to all modifications and health concerns stated in each IEP.ELL: Use and post a word wall of cognate words whenever possible.At risk of failure: Students will be given more time to complete projects that were not turned in without penalty.Special Needs: Modified instructional strategies including: Socratic seminar, group discussions, think-pair-share, individual assignments, more rigorous rubrics, multimedia projects, primary source document, and completing case studies. See appendix A for additional accommodations and modifications.Focus on the influence of African and Afro-Cuban music on the history and development of American music, such as Jazz, Blues, Swing, Bop and Bebop. American blues music was first performed in the early 20th Century and is often said to have evolved from the acapella vocal music and oral traditions of African-American slaves imported principally from West Africa.In the 1930s, Latin American dances, such as the samba and rumba, became popular Western ballroom dances which influenced the musical styling of the big band era.In the 1950s, the Cool Jazz School imported the Bossa Nova from Brazil. Listen to contemporary pop music and trace how earlier interventions of style influenced this music.Practice, practice, practiceAmistad: Introduce students to Roger Dickerson and his workHolocaust: Introduce students to Eric Vogel and other musicians from the Theresienstadt concentration camp and their workLGBTQIA: Introduce students to Josephine BakerExperiencesDNJPAC and NJSO field tripsFor ages 16 and up: take a tour of the Steinway Factory in Long Island City (Queens), voted by Forbes as one of the top three factory tours in the country. Witness the making of a piano from start to finish. Factory tours are offered from September through June (no tours in July and August), every Tuesday from 9:30am - noon, for a group of 15 people, max. To schedule a tour email info@ Pride performance, Christmas Tree Lighting Ceremony, Marching Band, High Note, and other competitions, parades, various community and school performances, College presentations, and more.ResourcesInstruments, music, stands, & consumable instrumental needsSee Appendix B for Specialized Programs that Reflect the Needs of Students and Community Time Frame:See Pacing Guide BelowConceptsTopicsSkillsDays of Instruction*The creative ProcessMusic LiteracyMeter, rhythmic concepts, tonality, intervals, chords, and melodic and harmonic progressionsDefine and demonstrate musical conceptsMinimum of 10*In sequential order by unit.Content Area:Instrumental MusicGrade(s)9-12Unit Plan Title:History of the Arts and Culture 9 - 12Career Ready Practice Standard(s) CRP5. Consider the environmental, social and economic impacts of decisions. CRP6. Demonstrate creativity and innovation. CRP7. Employ valid and reliable research strategies. CRP8. Utilize critical thinking to make sense of problems and persevere in solving them.Overview/RationaleSometimes the contributions of an individual artist can influence a generation of artists and signal the beginning of a new art genre.Standard(s)1.3C General Music Ensembles Standards Standard1.3C.12nov.Re8a: Identify interpretations of the expressive intent and meaning of musical works, referring to the elements of music, contexts and the setting of the text (when appropriate).1.3C.12int.Re8a: Identify and support interpretations of the expressive intent and meaning of musical works, citing as evidence the treatment of the elements of music, contexts and the setting of the text (when appropriate).1.3C.12prof.Re8a: Explain and support interpretations of the expressive intent and meaning of musical works, citing as evidence the treatment of the elements of music, contexts, the setting of the text (when appropriate), and personal research.1.3C.12acc.Re8a: Support interpretations of the expressive intent and meaning of musical works citing as evidence the treatment of the elements of music, contexts, the setting of the text (when appropriate), and varied researched sources.1.3C.12adv.Re8a: Justify interpretations of the expressive intent and meaning of musical works by comparing and synthesizing varied researched sources, including reference to other art forms.Standard 1.3B Music Composition & Theory Standards Standard 1.3B.10a: Demonstrate how interests, knowledge and skills relate to personal choices and intent when creating, performing, and responding to music. 1.3B.10a: Demonstrate how interests, knowledge, and skills relate to personal choices and intent when creating, performing, and responding to music. 1.3B.10a: Demonstrate how interests, knowledge, and skills related to personal choices and intent when creating, performing, and responding to music.Music Harmonizing Instruments Standards1.3D.12prof.Re7a: Apply criteria to select music for specified purposes, supporting choices by citing characteristics found in music and connections to interest, purpose and context.1.3D.12prof.Re7b: Develop and apply teacher or student-provided criteria based on personal preference, analysis and context (e.g., personal, social, cultural) to evaluate individual and small group musical selections for listening.1.3D.12acc.Re7a: Apply criteria to select music for a variety of purposes, justifying choices citing knowledge of music and specified purpose and context.1.3D.12acc.Re7b: Apply personally developed criteria based on research, personal preference, analysis, interpretation, expressive intent, and musical qualities to evaluate contrasting individual and small group musical selections for listening.1.3D.12adv.Re7a: Select, describe and compare a variety of individual and small group musical programs from varied cultures, genres and historical periods.1.3D.12adv.Re7b: Develop and justify evaluations of a variety of individual and small group musical selections for listening based on personally developed and established criteria, personal decision making, and knowledge and understanding of context.1.3D.12acc.Re8a: Explain and support interpretations of the expressive intent and meaning of musical selections, citing as evidence the treatment of the elements of music, context (e.g., personal, social, cultural), the setting of the text (when appropriate), and varied researched sources.1.3D.12adv.Re8a: Establish and justify interpretations of the expressive intent and meaning of musical selections by comparing and synthesizing varied researched sources, including references to other art forms.1.3D.12prof.Re9a: Compare passages in musical selections and explain how the elements of music and context (e.g., social, cultural, historical) inform the response.1.3D.12acc.Re9a: Explain how the analysis of the structures and context (e.g., social, cultural, historical) of contrasting musical selections informs the response.1.3D.12adv.Re9a: Demonstrate and justify how the structure functions within a variety of musical selections, and distinguish how context (e.g., social, cultural, historical) and creative decisions inform the response.1.3B.10a: Demonstrate how interests, knowledge, and skills relate to personal choices and intent when creating, performing, and responding to music.1.3B.10a: Demonstrate how interests, knowledge, and skills relate to personal choices and intent when creating, performing and responding to music.1.3B.12adv.C1a: Demonstrate how interests, knowledge, and skills related to personal choices and intent when creating, performing and responding to music.1.3B.11a: Demonstrate how interests, knowledge and skills relate to personal choices and intent when creating, performing and responding to music.1.3B.11a: Demonstrate how interests, knowledge and skills relate to personal choices and intent when creating, performing and responding to music.1.3B.12adv.C1a: Demonstrate how interests, knowledge and skills related to personal choices and intent when creating, performing and responding to musicTechnology Standard(s)8.1.5.A.1 Select and use the appropriate digital tools and resources to accomplish a variety of tasks including solving problems.8.1.5.E.1 Use digital tools to research and evaluate the accuracy of, relevance to, and appropriateness of using print and non-print electronic information sources to complete a variety of tasks.Media Arts Standards1.2.12prof.Cr1a: Formulate multiple ideas using generative methods to develop artistic goals and solve problems in media arts creation processes.Interdisciplinary StandardsRST.6-8.9. Compare and contrast the information gained from experiments, simulations, video, or multimedia sources with that gained from reading a text on the same topic. NJSLSA.R10. Read and comprehend complex literary and informational texts independently and proficiently with scaffolding as needed. Essential Question(s)Does music define culture or does culture define music? What is old and what is new in any work of music? How important is “new” in music?Enduring UnderstandingsCulture affects self-expression, whether we realize it or not. Every artist has a style; every artistic period has a style.Having the knowledge of history and the arts can be viewed as a career path in things such as touring musician, teacher, music writer, composer, inventory, marketing, or sales.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsxGlobal AwarenessTACreativity and InnovationEnvironmental LiteracyTACritical Thinking and Problem SolvingHealth LiteracyTACommunicationxCivic LiteracyTACollaborationFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesAfter selecting a group and modern musician and past musicians, the students will research the life, times, and contributions of a professional musician from different points of times, in order to see how often (or not so often) a genre has changed since its inceptionAssessmentsFormative: Student(s) will use resources to gain knowledge/information about different musical genres and how they vary or are similar in different areas and cultures Benchmark: Student(s) compare and contrast different artists from the same cultures and areas, as well as the impact of that artist on said culture/area and genre. Mid-cycle assessment on standards taught thus far.Authentic: Creating/performing a piece, utilizing multiple standards.Summative: Through a presentation, student(s) will show proficiency by being able to teach and discuss artists/musicians’ impact on cultures and areas from different areas or cultures to peers and teachers. Students will demonstrate their understanding of how a genre can grow and change.Alternative Assessment: See appendix ATeaching and Learning ActionsInstructional StrategiesDLearning Centers/StationsDesignated areas in the classroom where students work on different tasks at the same time. Centers may be organized around ability level to ensure all students are receiving instruction at their appropriate level. The teacher should rotate to provide instruction and assistance when needed.Independent StudyStudents are given the opportunity to investigate a project independently with guidance and support from the teacher. Teacher may use this time to pull students into small groups who need extra assistance with specific content.Differentiation/Leveled InstructionWhole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a variety of activities with different levels of difficulty that will allow students to practice the skill at their own level. The teacher may choose assignments for students or give students the opportunity to choose their own activity.Individual ContractsThe teacher gives each student a list of tasks to complete that are based on their ability level. As students work to complete all tasks, they also work with other students who also need remediation on the same skill or concept. Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This is done by continuously probing the subject with questions.ActivitiesDProvide graphic organizers.Scaffold vocabularyDesignate assignments for some groups while other groups self-select roles.Accommodations:Special ED: Adhere to all modifications and health concerns stated in each IEP.ELL: Use and post a word wall of cognate words whenever possible.At risk of failure: Students will be given more time to complete projects that were not turned in without penalty.Special Needs: Modified instructional strategies including: Socratic seminar, group discussions, think-pair-share, individual assignments, more rigorous rubrics, multimedia projects, primary source document, and completing case studies. Gifted and Talented: Modified instructional strategies including: Socratic seminar, group discussions, think-pair-share, individual assignments, more rigorous rubrics, multimedia projects, primary source document, and completing case studies. See appendix A for additional accommodations and modifications.Students who play the same instruments will work together in groups of 3-5 to complete the project. Select a professional musician who plays your instrument.Research online to determine the life, times, and contributions of the musician.Take notes while researching, including source, quotations, paraphrasing.Pool notes together to construct an outline for the presentation.Decide which presentation to use (oral report, Prezi, PowerPoint, newscast, Weebly, Discovery Board)Complete a draft of the presentation, including text citations.Revise presentation to conform to the requirements on the rubric.Edit the presentation for mechanics and usage.Present to the class. The teacher and students will score with the rubric.Amistad: Introduce students to Roger Dickerson and his workHolocaust: Introduce students to Eric Vogel and other musicians from the Theresienstadt concentration camp and their workLGBTQIA: Introduce students to Josephine BakerExperiencesDNJSO field trip, SOPAC field trip, school concertsNJSO: Address: 60 Park Pl, Newark, NJ 07102ResourcesInstruments, music, stands, & consumable instrumental needsSee Appendix B for Specialized Programs that Reflect the Needs of Students and Community Time Frame:Pacing GuideUnitConceptsTopicsSkillsDays of Instruction*History of the Arts and CultureGenreArtists/Musicians from different areas and cultures but same genreCompare and contrast musical artists from same genre but not same areas and cultures and their impact Minimum of 5*In sequential order by unit.Content Area:Instrumental MusicGrade(s)9-12Unit Plan Title:Classroom Application: Performance 9 - 12Career Ready Practice Standard(s) CRP4. Communicate clearly and effectively and with reason. CRP5. Consider the environmental, social and economic impacts of decisions.Overview/RationaleTechnical accuracy, musicality, and stylistic considerations vary according to genre, culture, and historical era.Understanding of how to manipulate the elements of music is a contributing factor to musical artistry.Basic vocal and instrumental arranging skills require theoretical understanding of music composition.Standard(s)Standard 1.3C General Music Ensembles Standards 1.3C.12nov.Pr4b: Demonstrate, using music reading skills (where appropriate) how knowledge of formal aspects in musical works inform prepared or improvised performances.1.3C.12prof.Pr4b: Demonstrate, using music reading skills (where appropriate), how compositional devices employed and theoretical and structural aspects of musical works impact and inform prepared or improvised performances.1.3C.12acc.Pr4b: Document and demonstrate, using music reading skills (where appropriate), how compositional devices employed, and theoretical and structural aspects of musical works, may impact and inform prepared and improvised performances.1.3C.12acc.Pr4c: Demonstrate how understanding the style, genre and context of a varied repertoire of music influences prepared and improvised performances as well as performers’ technical skills to connect with the audience.1.3C.12adv.Pr4b: Examine, evaluate, and critique, using music reading skills (where appropriate), how the structure and context impact and inform prepared and improvised performances.1.3C.12adv.Pr4c: Demonstrate how understanding the style, genre and context of a varied repertoire of music informs prepared and improvised performances as well as performers’ technical skills to connect with the audience.1.3D.12prof.Pr4a: Explain the criteria used when selecting a varied collection of music for individual or small group performances that include melodies, repertoire pieces, improvisations, and chordal accompaniments in a variety of patterns (e.g., arpeggio, country and gallop strumming, finger picking patterns).1.3D.12acc.Pr4a: Develop and apply criteria for selecting a varied collection of music for individual and small group performances that include melodies, repertoire pieces, improvisations, and chordal accompaniments in a variety of styles.1.3D.12adv.Pr4a: Develop and apply criteria for selecting a variety of pieces for a program of music for individual and small group performances that include melodies, repertoire pieces, stylistically appropriate accompaniments, and improvisations in a variety of contrasting styles.1.3D.12adv.Pr4b: Identify and describe important theoretical and structural characteristics and context (e.g., social, cultural, historical) in a varied collection of music selected for performance programs that includes melodies, repertoire pieces, stylistically appropriate accompaniments, and improvisations in a variety of contrasting styles.1.3D.12adv.Pr4c: Explain and present an understanding of the context (e.g., social, cultural, historical) and the creator’s intent in a varied collection of music for performance programs that include melodies, repertoire pieces, stylistically appropriate accompaniments, and improvisations in a variety of contrasting styles.1.3D.12acc.Pr4b: Identify and describe important theoretical and structural characteristics and context (e.g., social, cultural, historical) in a varied collection of music that includes melodies, repertoire pieces, improvisations and chordal accompaniments in a variety of styles.1.3D.12acc.Pr4c: Demonstrate and explain an understanding of the context (e.g., social, cultural, historical) and expressive intent in a varied collection of music selected for performance that includes melodies, repertoire pieces, improvisations, and chordal accompaniments in a variety of styles.1.3D.12prof.Pr4b: Identify and describe important theoretical and structural characteristics and context (e.g., social, cultural, historical) in a varied collection of music that includes melodies, repertoire pieces, improvisations, and chordal accompaniments in a variety of patterns (e.g., arpeggio, country and gallop strumming, finger picking patterns).1.3D.12prof.Pr4c: Demonstrate and describe an understanding of the context (e.g., social, cultural, historical) and expressive intent in a varied collection of music selected for performance that includes melodies, repertoire pieces, improvisations, and chordal accompaniments in a variety of patterns (e.g., arpeggio, country and gallop strumming, finger picking patterns).Standard 1.3B Music Composition & Theory Standards 1.3B.12prof.Pr5a: Create rehearsal plans for works, identifying repetition and variation within the form. 1.3B.12adv.Pr5a: Create rehearsal plans for works, identifying the form, repetition and variation within the form, compositional techniques, and the style and historical or cultural context of the work.Standard 1.3D Music Harmonizing Instruments 1.3E.12prof.Pr5a: Identify and implement rehearsal strategies to improve the technical and expressive aspects of prepared and improvised performances in a varied repertoire of music.1.3E.12acc.Pr5a: Develop and implement rehearsal strategies to improve and refine the technical and expressive aspects of prepared and improvised performances in a varied repertoire of music.1.3E.12adv.Pr5a: Apply appropriate criteria as well as feedback from multiple sources and develop and implement varied strategies to improve and refine the technical and expressive aspects of prepared and improvised performances in varied programs of music.Technology Standard(s)8.1.2.D.1 Develop an understanding of ownership of print and nonprint information.Media Arts Standards1.2.12prof.Cr1a: Formulate multiple ideas using generative methods to develop artistic goals and solve problems in media arts creation processes.NJSLSA.R4. Interpret words and phrases as they are used in a text, including determining technical, connotative, and figurative meanings, and analyze how specific word choices shape meaning or tone.NJSLSA.R7. Integrate and evaluate content presented in diverse media and formats, including visually and quantitatively, as well as in words.Essential Question(s)How does creating and performing in the arts differ from viewing the arts? To what extent does the viewer properly affect and influence the art and the artist and to what extent is the art for the artist?Enduring UnderstandingsMusic serves multiple functions: enlightenment, education, and entertainment. Though the musician’s imagination and intuition drive the work, great music requires skills and discipline to turn notions into a quality product. The artistic process can lead to unforeseen or unpredictable outcomes.Having the knowledge of history and the arts can be viewed as a career path in things such as touring musician, teacher, music writer, composer, inventory, marketing, or sales.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsxGlobal AwarenessTACreativity and InnovationEnvironmental LiteracyTACritical Thinking and Problem SolvingHealth LiteracyTACommunicationxCivic LiteracyTACollaborationFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesAfter listening and analyzing various music genres, students will compose and perform original pieces, as measured by a performance rubric.AssessmentsFormative: Student(s) will be able to play musical exercises in order to raise their level of competency in playing their chosen instruments in class and in performances Benchmark/Authentic: Student(s) will be able to the selected song for an upcoming performance individually and/or with others.Summative: Student(s) will demonstrate competency in playing their chosen instruments in class and in performances. Perform the composition for teachers and peers. Refine the work based on critical feedback.Alternative Assessment: See appendix A Teaching and Learning ActionsInstructional StrategiesDLearning Centers/StationsDesignated areas in the classroom where students work on different tasks at the same time. Centers may be organized around ability level to ensure all students are receiving instruction at their appropriate level. The teacher should rotate to provide instruction and assistance when needed.Independent StudyStudents are given the opportunity to investigate a project independently with guidance and support from the teacher. Teacher may use this time to pull students into small groups who need extra assistance with specific content.Differentiation/Leveled InstructionWhole group mini-lesson is provided as an introduction for the entire class. The teacher then provides a variety of activities with different levels of difficulty that will allow students to practice the skill at their own level. The teacher may choose assignments for students or give students the opportunity to choose their own activity.Individual ContractsThe teacher gives each student a list of tasks to complete that are based on their ability level. As students work to complete all tasks, they also work with other students who also need remediation on the same skill or concept. Socratic Questioning The Socratic teaching method focusing on giving students questions: not answers. The role of the teacher is to ask students inquiry-based probing questions to develop critical thinking. This is done by continuously probing the subject with questions.ActivitiesDDifferentiation appears in the scope and sequence for Beginner, Intermediate, and Advanced.Accommodations:Special ED: Adhere to all modifications and health concerns stated in each IEP.ELL: Use and post a word wall of cognate words whenever possible.At risk of failure: Students will be given more time to complete projects that were not turned in without penalty.Special Needs: Modified instructional strategies including: Socratic seminar, group discussions, think-pair-share, individual assignments, more rigorous rubrics, multimedia projects, primary source document, and completing case studies. Gifted and Talented: Modified instructional strategies including: Socratic seminar, group discussions, think-pair-share, individual assignments, more rigorous rubrics, multimedia projects, primary source document, and completing case studies. See appendix A for additional accommodations and modifications.? Trace the history of American Roots Music. Listen to American roots music from a variety of off and online sources and discuss the influence of American Roots Music that arose from folk traditions on contemporary pop music. ? Examine the contemporary pop music of Ghana for examples of the reinvention of traditional music (and native language) with the infusion of Hip Hop, Reggae, Funk and West African Highlife musical influences. ?Focus on the music and lyrics of the Afropolitan fusion band Soulfège, led by the acclaimed musician, activist and entrepreneur Derrick Ashong (a formidable speaker and impassioned advocate for social change). The band's Harvard-educated founders are creators of "Take Back the Mic? a movement to put meaning back into today's music and to challenge a new generation of youth to take leadership in society. The music and the movement have been featured in such major media as , MTV Africa, NPR, the Boston Globe, the Boston Herald, MNet Africa, ABC Chronicle and BBC Worldservice, reaching 146 million listeners worldwide.Amistad: Rehearse and Perform Dry Your Tears, Afrika.Holocaust: Listen and analyze music from the holocaust. Rehearse and Perform “The Soldiers of the Moor” LGBTQIA: Introduce the Life of Elton John and his music, as well as his success in music while being open about his sexuality.ExperiencesDWBGO : performance, Christmas Tree Lighting Ceremony, Marching Band, High Note, and other competitions, parades, various community and school performances, College presentations, and more.ResourcesInstruments, music, stands, & consumable instrumental needsSee Appendix B for Specialized Programs that Reflect the Needs of Students and Community Time Frame:Pacing Guide UnitConceptsTopicsSkillsDays of Instruction*Classroom Application: PerformancePerforming for peers and othersConcert PerformancePlaying alone and/or with othersMinimum of 5*In sequential order by unit.Sample RubricCRITERIAUNSATISFACTORY(1-5)SATISFACTORY(6-7)VERY GOOD(12)EXCELLENT(9-10)SCORESCALESUnable to perform requested scale(s)Only able to perform some requested scales with reasonable accuracy of pitch, time and/or rhythm with reasonable technical proficiencyAble to perform all the requested scales with reasonable accuracy of pitch, time and/or rhythm with technical proficiencyAble to perform all the requested scales with accuracy of pitch, time and/or rhythm with technical proficiencyPREPARED SOLOUnable to perform solo Only able to perform part of the solo with reasonable accuracy of pitch, time and/or rhythm with reasonable technical proficiencyAble to perform the entire solo with reasonable accuracy of pitch, time and/or rhythm with technical proficiencyAble to perform entire solo with accuracy of pitch, time, and/or rhythm with technical proficiencyPREPARED ENSEMBLE PARTUnable to perform ensemble part(s)Only able to perform a portion of the ensemble part(s) with reasonable accuracy of pitch, time and/or rhythm with reasonable technical proficiencyAble to perform all ensemble parts with reasonable accuracy of pitch, time and/or rhythm with technical proficiencyAble to perform all ensemble parts with accuracy of pitch, time and/or rhythm with technical proficiencySIGHT-READINGUnable to perform requested sight-reading musical selectionOnly able to sight-read a musical selection with reasonable accuracy of pitch, time and/or rhythm with reasonable technical proficiencyAble to sight-read a musical selection with reasonable accuracy of pitch, time and/or rhythm with technical proficiencyAble to sight-read a musical selection with accuracy of pitch, time and/or rhythm with technical proficiencyPREPAREDNESSReported to 50% or less of scheduled classes and/or performances with music, instrument and appropriate attireReported to 60-70% of scheduled classes and/or performances with music, instrument and appropriate attireReported to 120% of scheduled classes and/or performances with music, instrument and appropriate attireReported to 90-100% of scheduled classes and/or performances with music, instrument and appropriate attireLESSONATTENDANCEAttended and participated inless than 50% of the scheduled lessonsAttended and participated in60-70% of the scheduled lessonsAttended and participated in 120% of scheduled lessonsAttended and participated in 90-100% of scheduled lessonsPERFORMANCE ATTENDANCEAttended and participated in less than 50% of scheduled performancesAttended and participated in 60-70% of scheduled performancesAttended and participated in at least 120% of scheduled performancesAttended and participated in 90-100% of scheduled performancesTOTAL POINTSEssential SkillsAbility to internalize basic rhythms and pulseAbility to read-musical literacyAbility to perform with physical ease and technical ?efficiencyAbility to hear the notes on the pageAbility to work creatively-improvise, compose, harmonize and play by earAbility to understand basic elements of theory, form harmony, etc.Ability to respond to the interpretive elements of the composition to express the emotional character of the musicAbility to conceptualize and transfer musical ideasAbility to work independently and to problem-solveAbility to perform comfortably individually and with others in a variety of settingsAcknowledgementsMusic Teachers’ National Association New Jersey Department of Education Model Curriculum: Visual and Performing Arts. AAccommodations and Modifications forInstrumental MusicMultiple Means of EngagementK - 12Student SubgroupAccommodationsModificationsAlternative AssessmentsSpecial EducationAdhere to all modifications and health concerns stated in each IEP.Supply percussion, ukuleles, keyboards, and Orff instruments as an alternative. Give students a MENU option allowing students to pick assignments from different levels based on difficulty. Students have the option of learning the curriculum at their comfort level while challenging themselves to grow.Use the NEWELA software, which can revise the reading Lexile level to meet students at current reading level.Other instructional strategies including: read to the student aloud; the use of graphic organizers; study guides; one-on-one instruction; refer students to class website (Google Classroom); provide handouts; provide a definition list; and provide large print and outlines.Utilize Snap and Read and Co-Writer.Written quizzes, tests, and critiques may be completed orally.Projects may be scaled down to meet the students’ needs while meeting the objective of the Standard.Modify the music using Sibelius to provide lower-level scores to meet the student’s ability.Allow students to use percussion, ukuleles, keyboards, Orff and other elementary instruments as an alternative. Develop rubrics that assess the NJ Learning Standard addressed in the objective, eliminating secondary objectives.Assessments may include oral responses instead of written.Provide more time on performance preparation, tests, quizzes and written work.English Language LearnersSnap and read Google Extension addition. Will read to the student in selected language.Vocabulary Spelling City word banks.Use visuals as much as possible to support classroom instruction and classroom activities.Teacher modeling and written instructions for every assignment. Use and post a word wall of cognate words whenever possible. When available sit the child next to another child whose has the same native language and is bi-lingual. Meet with the ESL bi-lingual teacher to develop a plan of action.Provide directions in native language.Concepts taught in English or native language.Provide sentence starters for critique writing.Scale down the assignment to meet the main objective of the unit.Allowed to write in their native language and ultimately translate into English. Allow more time to translate into English.At Risk of FailureStudents will be given more time to complete projects that were not turned in without penalty.Give students a MENU options allowing students to pick activities based on interest that address the objectives and standards of the unit.Other instructional strategies including: read to the student aloud, the use of graphic organizers, study guides, one-on-one instruction, refer students to class website (Google Classroom), and provide peer support, handouts, definition lists, and outlines.Constant parental contact along with mandatory tutoring appointments. Academic Contracts.Provide more time for the completion of the project, or if the student deems the project complete before the deadline, provide a secondary project that meets the main objective.If student determines work is complete before the deadline, provide a secondary project that meets the main objective of the unit. Develop rubrics that assess the NJ Learning Standard addressed in the objective, eliminating secondary objectives.Assessments may include authentic hands-on projects incorporating student interest.Provide opportunity to make-up projects, tests, quizzes and written work.Gifted and TalentedModified instructional strategies including: Socratic seminar, group discussions, think-pair-share, individual assignments, more rigorous rubrics, multimedia projects, primary source document, and completing case studies. Student led classroom instruction also project based learning.Provide instruments to allow G&T students to take their instruments home to work on during weekends and after school hours. Provide teacher created videos or YouTube videos depicting more advanced techniques that the G&T students can watch while the general student body works on the main objective. Allow G&T students to expand on ideas and create projects that go outside of the guidelines of the assignment.Provide more advanced techniques and methods that G&T students can choose to do as an alternative to the general class assignment. Allow more time for G&T students to complete their work, when they choose to become more involved in details and perfecting their work.When G&T students finish their assignment before others, provide a more advanced assignment of the same standard.Allow students the choice to work larger than the general assignment. If opportunity allows, offer the gifted and talented students the choice to illustrate the performing arts program cover for spring and winter concert performances.Provide the student with the opportunity to self-reflect on how they could have improved their project or what they would like to try in the future.If the student elects to take advantage of the more advanced project that was offered, a rubric will be used reflecting the additional objectives of the assignment.Socratic SeminarsAs a seminar leader, the teacher's role is to guide students to (I) a deeper and clarified consideration?of the ideas of the text, (2) a respect for varying points of view, and (3) adherence to and respect for the seminar process. The leader questions,?helps paraphrase and restate ideas based on students' responses and helps students solve problems when they are at loggerheads. The leader also models behaviors that are expected?from students’ listening, thinking and interacting:...What I heard you say was___________."?...Can you compare Tamika's response to what you heard Jose say?"?"Where in the [artwork, performance] is the evidence for what you said?"?...I want?to hear what Monica thinks."There is no need to preach protocol-when students see it, they will follow suit. Teachers?may also participate?in Socratic seminars themselves (Tredway, 1995, p. 27)1.1 Tredway, L. (1995). Socratic seminars: engaging students in intellectual discourse. Educational Leadership, 53, 26–29.504 PlansAdhere to all modifications and health concerns stated in 504 plan. Then assess the academics of the student to implement the necessary modifications as described in this document.Room assignment, location of seat, or other physical changes will be adjusted as well as considerations sensitive to the student’s visual, audio, and tactile requirements. Any and all medical and psychological needs as per the individual 504 plan will be implemented. Delivery of objective and instructions as well as lessons, assignments, projects, group work, and performances will be modified to meet the needs of the individual’s 504 plan.Assess the academics of the student by evaluating the student work using the required modifications as described in the document.Intervention and Referral ServiceI & R S policies and procedures will be coordinated by the teacher and the multidisciplinary team to address the learning, behavioral, and health needs of all students. Action plans will be developed by the multidisciplinary team and the teacher. The teacher will monitor student data and desired outcomes. Appendix BCore Instructional and Supplemental MaterialsName of Instructional MaterialGrade LevelUniforms/Props/Specialized Footwear marching band9-12Musical InstrumentsAll LevelsMusical Method BooksAl LevelsInstrumental Mouthpiece/reeds/ and other consumablesAll LevelsSpecialized Programs that Reflect the Needs of Students and CommunityName of ProgramDescription of ProgramGrade LevelMarching BandProvides students who are interested in music to play for OHS marching band at football games, parades, and competitions8-12School Concert Band EnsemblesProvides students from each school’s instrumental music programs an opportunity to further musical technique and participate in school-wide and community performances.4-12Band ClubOffers an after-school program providing students with the opportunity to create music.5 - 12String ClubOffers an after-school program providing students with the opportunity to create music.5 - 12High Note FestivalStudents learn music during the school year and head to a performance where adjudicators are all current or retired Music Educators with years of experience, rate their performance4-12Stage CrewProvides students who are interested in set design, lighting and sound the opportunity to work behind the scenes to assist in the production of plays, musicals, concerts and other events.5-12 ................
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