PLYMOUTH-CANTON



MUSIC CURRICULUM

Grades K-12

Written by the graduate students in MUS 645, Music Curriculum and Assessment

Department of Music, Theatre and Dance, Oakland University

Instructor, Jackie Wiggins, Professor of Music Education

July 11-22, 2005

Underlying Philosophy of the Music Program

Music is a basic human construct, a form of (means of, vehicle for) personal expression (communication) common to all people and all cultures.

Music is a way of learning, a way of knowing, a form of knowledge common to all people.

Music is a form of intelligence (thinking) that links to other forms of (intelligence) thinking.

Music making fosters collaboration in the pursuit of common goals, developing problem solving skills, responsibility, positive self-image, and sense of community (in an academic setting).

Music is a means of enhancing students’ global awareness of historical and cultural traditions.

Everyone is capable of experiencing and engaging in music.

Music is essential to the academic experience; therefore, everyone has the right to a balanced music education.

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This Music Curriculum is designed to enable graduates of Marysville High School to achieve the following exit outcomes adopted by the Board of Education in 2009.

If there are any, fill in as needed…

Overriding Goals of the Music Curriculum

• Students will develop skills necessary to pursue music at the highest level they choose, including career preparation.

• Students will meaningfully differentiate, discern, and describe a breadth and depth of musical styles, genres, and cultures.

• Students will create and express original musical ideas.

• Students will make relevant and authentic connections between classroom learning and their lives.

Students will achieve the above goals through development of conceptual understanding of the elements (dimensions and metadimensions) of music and of how they interact to produce a musical whole:

Pitch

Register

Intonation

Rhythm (Duration)

Sound/Silence

Beat

Meter

Melody

Contour and Direction

Intervals

Phrases

Harmony

Tonality

Modality

Tempo

Dynamics

Timbre (Tone Color)

Articulation

Form

Texture

and the ways they interact to produce:

Style

Genre

and Affective Qualities such as:

Mood

Tension and Release

Climax and Denouement

Balance (as a piece of art)

Unity and Variety

reflective of:

Cultural Context

Historical Context

Personal Context

performed and understood with:

a Sense of Ensemble

a Sense of Simultaneity

a Sense of Individuality.

Students learn the above concepts through engaging in the interactive processes of music (small circles) within universal thought processes (outer circle):

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Performing, Listening, and Creating are interactive in that:

• Performing involves listening and creating (interpreting).

• Creating generally involves listening and performing.

• While audience Listening does not involve performing, it is considered a creative process in that during listening, the mind is actively interpreting and recreating what is heard (and actively constructing understanding of what is heard, which is also a creative process).

Curriculum for General Music

Grades K - 2

• In this document, the means of assessment listed in under “Students will demonstrate through” are intended as suggestions for teachers to use as a basis for lesson planning and assessment. There is no expectation that every teacher will use every assessment tool in every category for every child.

• CC = Conceptual Connection to other disciplines.

PC = Process Connection to other disciplines.

| |By the End of Second Grade… |

|Concept |In music of a variety of styles, genres, and cultural and historical |Students will demonstrate through: |National |Michigan |

| |contexts, students will be able to: | |Standards |Standards |

|Rhythm: |Identify and use steady beat and absence of beat. |• Gesture and/or whole body movements while singing or listening. |1, 2, 5, 6, 9 |1, 3, 4 |

|Understanding basic | |• Reading and manipulating graphic representations of sound. | | |

|concepts of rhythm and | |• Singing and playing in ensemble with others. | | |

|how they operate in a | |• Identifying in a listening experience. | | |

|musical work. | | | | |

| |Identify and use sound and silence (rest). | |1, 2, 3, 4, 5, |1, 2, 3, 4 |

| | | |6, 9 | |

| |Identify and use long and short sounds in a work that has as many as 3 | | | |

| |different durations. | | | |

| |CC: connects to rhythm in dance, rhythmic flow in speech, ratio in math, gross motor, fine motor, and locomotor development. |8 |5 |

| | | | |

| |PC: reading left to right, tracking, making meaning from visual representation, understanding the flow and passage of time and relative pacing | | |

| |within a time frame. | | |

| |By the End of Second Grade… |

|Concept |In music of a variety of styles, genres, and cultural and historical |Students will demonstrate through: |National |Michigan |

| |contexts, students will be able to: | |Standards |Standards |

|Pitch: |Identify and make decisions about using pitched and non-pitched sounds. |• Making appropriate choices of instruments to: |1, 2, 3, 4, 6, |1, 2, 3, 4 |

|Understanding basic | |accompany a song. |7, 9 | |

|concepts of pitch and | |arrange a song. | | |

|how they operate in a | |improvise a piece. | | |

|musical work. | |compose a piece. | | |

| | |• Identifying in a listening experience. | | |

| |Identify and perform high and low pitch (register). |Singing, playing classroom instruments, moving, and using |1, 2, 6, 9 |1, 2, 3, 4 |

| | |appropriate labels (high, low). | | |

| |CC: Relates to science work on pitch. |8 |5 |

| |By the End of Second Grade… |

|Concept |In music of a variety of styles, genres, and cultural and historical |Students will demonstrate through: |National |Michigan |

| |contexts, students will be able to: | |Standards |Standards |

|Melody: |Identify contour & direction. |• Gesture and/or whole body movements while singing or listening. |1, 2, 5, 6, 9 |1, 3, 4 |

|Understanding basic | |• Reading and manipulating graphic representations of sound. | | |

|concepts of melody and | |• Singing and playing. | | |

|how they operate in a | | | | |

|musical work, | | | | |

| |Internalize and perform a simple, authentic melody (short tonal song with |• Sing a simple melody accurately alone or as member of a group. |1, 2, 9 |1, 4 |

| |simple intervallic structure and a limited range). |• Play a simple melody on a pitched classroom instrument. | | |

| |Identify steps, skips (or leaps), and repeated tones. |• Gesture and/or whole body movements while singing or listening. |1, 2, 5, 6, 9 |1, 3, 4 |

| | |• Reading and manipulating graphic representations of sound. | | |

| | |• Singing and playing. | | |

| |CC: relate to contour in art and shape in dance, parallels to sentence structure, making meaning. |8 |5 |

| | | | |

| |PC: reading left to right, tracking, making meaning from visual representation. | | |

| |By the End of Second Grade… |

|Concept |In music of a variety of styles, genres, and cultural and historical |Students will demonstrate through: |National |Michigan |

| |contexts, students will be able to: | |Standards |Standards |

|Expressive Qualities: |Recognize and understand how musicians use expressive qualities as tools |• Gesture and/or whole body movements while singing or |1, 2, 5, 6, 9 |1, 3, 4 |

|Dynamics, Tempo, |for musical expression. |listening. | | |

|Articulation |Expressive tools include: |• Reading and manipulating graphic representations of sound. | | |

| |Dynamics (loud and soft) |• Singing and playing. | | |

| |Tempo (fast and slow) | | | |

| |Articulation (smooth & choppy) | | | |

| |By the End of Second Grade… |

|Concept |In music of a variety of styles, genres, and cultural and historical |Students will demonstrate through: |National |Michigan |

| |contexts, students will be able to: | |Standards |Standards |

|Timbre: |Use their voices to produce a healthy sound throughout their vocal range. |• Making appropriate choices when singing. |1, 6, 7, 9 |1, 3, 4 |

|Understanding basic | |• Identifying in a listening experience. | | |

|concepts of timbre and how | |• Distinguish between singing and non-singing voices. | | |

|it is used as a tool of | |• Identifying their own head [high, light] and chest [low, | | |

|expression. | |heavy] registers [voices] | | |

| |Use and group classroom instruments in ways that produce characteristically |• Using appropriate mallets for percussion |2, 3, 4, 6, 7, |1, 2, 3, 4 |

| |appropriate sounds |• Instrument choice in performing or creating |9 | |

| | |• Identifying in a listening experience. | | |

| |CC: connects to science work on sound |8 |5 |

| |By the End of Second Grade… |

|Concepts |In music of a variety of styles, genres, and cultural and historical |Students will demonstrate through: |National |Michigan |

| |contexts, students will be able to: | |Standards |Standards |

|Harmony & Texture |Maintain a simple ostinato against a melody. |Singing and playing in ensemble with others. |1, 2, 9 |1, 4 |

| |Students in second grade will have had many other experiences with texture |These experiences lay the groundwork for more complex work in |1, 2, 3, 4, 6, |1, 2, 3, 4, 5 |

| |and harmony, (in a musical context) but are not expected to show mastery of |future years, but student understanding of these concepts |7, 8, 9 | |

| |most aspects of these concepts at this point. |would not be assessed at this time. | | |

| |By the End of Second Grade… |

|Concepts |In music of a variety of styles, genres, and cultural and historical contexts, |Students will demonstrate through: |National |Michigan |

| |students will be able to: | |Standards |Standards |

| | | | | |

|Form, Meter, Style, Affect |Students in second grade will have had extensive experience with form, meter, |These experiences lay the groundwork for more complex work in |1, 2, 3, 4, 6, |1, 2, 3, 4, 5 |

| |style, and affective qualities of music (in a musical context) but are not |future years, but student understanding of these concepts |7, 8, 9 | |

| |expected to show mastery of these concepts at this point. |would not be assessed at this time. | | |

Curriculum for General Music

Grades 3 - 5

| |By the End of Fifth Grade… |

|Concepts |In music of a variety of styles, genres, and cultural and historical |Students will demonstrate through: |National |Michigan |

| |contexts, students will be able to: | |Standards |Standards |

|Rhythm & Meter: |Identify and use representations of rhythm (with 3 or more durations of |• Reading, manipulating, and realizing graphic representations |1, 2, 3, 4, 5, |1, 2, 3, 4 |

| |sound, rests lasting a beat or longer). |and/or simple notation. |6, 9 | |

|Understanding how rhythm| |• Gesture and/or body movements while singing or listening. | | |

|functions and how it may| |• Singing and playing in ensemble with others | | |

|be used to create motion| |• Creating original music. | | |

|in music. | |• Identifying in a listening experience. | | |

| | | | | |

|Understanding how meter | | | | |

|functions and how it may| | | | |

|be used to structure | | | | |

|music. | | | | |

| | | | | |

| |Identify meter as groups of 2 and groups of 3. |• Gesture and/or body movements while singing or listening. |1, 2, 3, 4, 6, 9|1, 2, 3, 4 |

| | |• Singing and playing in ensemble with others | | |

| | |• Creating original music. | | |

| | |• Identifying in a listening experience. | | |

| |Distinguish between music that sounds metered and non-metered. |• Gesture and/or body movements while singing or listening. |1, 2, 3, 4, 6, 9|1, 2, 3, 4 |

| | |• Singing and playing in ensemble with others | | |

| | |• Creating original music. | | |

| | |• Identifying in a listening experience. | | |

| |Maintain a part in a polyrhythmic work. |Singing or playing in ensemble with others. |1, 2, 9 |1, 4 |

| |CC: rhythm or word flow of poetry |8 |5 |

| |By the End of Fifth Grade… |

|Concepts |In music of a variety of styles, genres, and cultural and historical |Students will demonstrate through: |National |Michigan |

| |contexts, students will be able to: | |Standards |Standards |

|Melody & Pitch: |Use contour & direction as a vehicle for expression. |• Reading, manipulating, and realizing graphic representations of |1, 2, 3, 4, 5, 9|1, 2, 4 |

| | |sound. | | |

|Understanding how pitch | |• Singing and playing. | | |

|functions and how it | |• Creating original music. | | |

|operates in the context | | | | |

|of melody. | | | | |

| |Internalize and perform authentic melodies from a variety of styles, |• Sing or play accurately alone or as member of a group. |1 2, 6, 9, |1, 2, 3, 4 |

| |genres, and cultural and historical contexts. | | | |

| |Identify phrases and use phrasing as a vehicle for expression. |• Gesture and/or body movements while singing or listening. |1, 2, 3, 4, 6, 9|1, 2, 3, 4 |

| | |• Singing and playing in ensemble with others • Creating original | | |

| | |music. | | |

| | |• Identifying in a listening experience. | | |

| |By the End of Fifth Grade… |

|Concept |In music of a variety of styles, genres, and cultural and historical |Students will demonstrate through: |National |Michigan |

| |contexts, students will be able to: | |Standards |Standards |

|Harmony: |Identify and use tonal center (home tone, do, 1, tonic, resting tone). |• Gesture and/or body movements while singing or listening. |1, 2, 3, 4, 6, 9|1, 2, 3, 4 |

| | | | | |

|Understanding how harmony| |• Singing and playing. | | |

|functions and how it may | | | | |

|be used to create motion | |• Creating original music. | | |

|in music. | | | | |

| | |• Identifying in a listening experience. | | |

| |Differentiate among modalities (such as major and minor) and understand | | | |

| |how they may be used as vehicles for expression. | | | |

| |Hear, identify and use tonic, dominant, and subdominant sonorities (I, V7,| | | |

| |IV or home, away, and resting chords). | | | |

| |Learn the structure of a triad and begin to understand the relationship |• Making appropriate choices when planning accompaniments and |1, 2, 7, 9 |1, 3, 4 |

| |between melodies and chordal accompaniments. |accompanying singing. | | |

| |CC: interdependence in science and social studies. |8 |5 |

| |By the End of Fifth Grade… |

|Concept |In music of a variety of styles, genres, and cultural and historical |Students will demonstrate through: |National |Michigan |

| |contexts, students will be able to: | |Standards |Standards |

|Timbre: |Use their voices to produce a healthy sound throughout their vocal range as |• Making stylistically appropriate choices when singing. |1, 6, 7, 9 |1, 3, 4 |

| |it changes and develops. |• Identifying in a listening experience. | | |

|Understanding how timbre | |• Identifying their own head [high, light] and chest [low, heavy] | | |

|functions and how it is | |registers [voices] | | |

|used as a tool of | |• Making an effort to blend with others when performing in an | | |

|expression. | |ensemble setting. | | |

| |Aurally and visually recognize and categorize instruments in common ensembles|•  Identifying in a listening experience. |6, 9 |3, 4 |

| |(e.g., band, orchestra, rock band, steel band, jazz trio, etc.) | | | |

| |Use and describe timbre as a tool of expression. |• Instrument choice in performing or creating |2, 3, 4, 6, 7,|1, 2, 3, 4 |

| | |•  Identifying in a listening experience. |9 | |

| |CC: connects to science work on sound. |8 |5 |

| |By the End of Fifth Grade… |

|Concept |In music of a variety of styles, genres, and cultural and historical |Students will demonstrate through: |National |Michigan |

| |contexts, students will be able to: | |Standards |Standards |

|Expressive Qualities: |Recognize and understand how musicians use a breadth of expressive |• Gesture and/or body movements while singing or listening. |1, 2, 3, 4, 5, |1, 2, 3, 4 |

|Dynamics, Tempo, |qualities as tools for musical expression (e.g., forte, piano and |• Reading and manipulating graphic representations of sound. |6, 7, 9 | |

|Articulation |gradations in between). |• Singing and playing. | | |

| | |• Creating original music. | | |

| | |• Identifying in a listening experience. | | |

| |CC & PC: interpretation in language arts, dance, and drama. |8 |5 |

| |By the End of Fifth Grade… |

|Concept |In music of a variety of styles, genres, and cultural and historical |Students will demonstrate through: |National |Michigan |

| |contexts, students will be able to: | |Standards |Standards |

|Form |Recognize and understand how musicians use form as an organizational tool |• Gesture and/or body movements while |1, 2, 3, 4, 5, |1, 2, 3, 4 |

| |and as a vehicle for expression. |singing or listening. |6, 7, 9 | |

| | |• Reading and manipulating graphic | | |

| | |representations of sound. | | |

| | |• Singing and playing. | | |

| | |• Creating original music. | | |

| | |• Identifying in a listening experience. | | |

| |Recognize and use particular forms, e.g.: monothematic music, bi-thematic |• Creating original music. |3, 4, 6, 9 |2, 3, 4 |

| |music, poly-thematic, introduction, bridge (transition), coda, theme and |• Identifying in a listening experience. | | |

| |variation | | | |

| |CC & PC: form in poetry, dance, visual art (architecture) | | |

| |By the End of Fifth Grade… |

|Concept |In music of a variety of styles, genres, and cultural and historical |Students will demonstrate through: |National |Michigan |

| |contexts, students will be able to: | |Standards |Standards |

|Texture |Recognize and understand how musicians use texture as an organizational |• Gesture and/or body movements while singing or listening. |1, 2, 3, 4, 5, |1, 2, 3, 4 |

| |tool and as a vehicle for expression. |• Singing and playing. |6, 7, 9 | |

| | |• Improvising and composing original music. | | |

| | |• Identifying in a listening experience. | | |

| |Recognize and use particular textures, e.g.: |• Singing and playing. |1, 2, 3, 4, 5, |1, 2, 3, 4 |

| |Polyphony: round, canon, melody and |• Reading and manipulating graphic representations of sound. |6, 7, 9 | |

| |melodic ostinato, partner song, |• Improvising and composing original music. | | |

| |countermelody |• Identifying in a listening experience. | | |

| |Homophony: melody and accompaniment | | | |

| |(chords, rhythmic ostinato, etc.) | | | |

| |Monophony: solo (and ensemble) | | | |

| |CC: layers of life in forests, striation in geology. |8 |5 |

| |By the End of Fifth Grade… |

|Concepts |In music of a variety of styles, genres, and cultural and historical |Students will demonstrate through: |National Standards|Michigan |

| |contexts, students will be able to: | | |Standards |

| Style & Genre |Understand the ways musical elements (dimensions) interact to produce |• Describing (verbally, visually, kinesthetically) and/or comparing |1, 2, 6, 7, 9 |1, 3, 4 |

| |style and genre. |different musical works (experienced through listening or performing).| | |

| | |• Performing in a stylistically appropriate manner (at a very basic | | |

| | |level). | | |

| |Develop understanding of how musicians use style and genre to produce a | | | |

| |particular intended effect. | | | |

| |Begin to understand and recognize a variety of styles and genres and in | | | |

| |appropriate cultural and historical contexts. | | | |

| |CC: interdependence in science and social studies; style in visual art, dance, drama, language arts. | | |

| |By the End of Fifth Grade… |

|Concept |In music of a variety of styles, genres, and cultural and historical |Students will demonstrate through: |National Standards|Michigan |

| |contexts, students will be able to: | | |Standards |

|Affect |Understand the ways musical elements (dimensions) interact to elicit |• Describing (verbally, visually, kinesthetically) and/or comparing |1, 2, 3, 4, 6, 7, |1, 2, 3, 4 |

| |affective response in an audience. |different musical works (experienced through listening or performing).|9 | |

| | |• Interpreting music when performing and creating to produce a | | |

| | |particular affective quality (at a very basic level). | | |

| |CC: affect in visual art, dance, drama, and language arts. |8 |5 |

Curriculum for Performance-Based Music Classes

Grades 4 (5 or 6) - 8

• In performance classes, the primary activity is performing. However, performing should be enhanced with listening and creating experiences, all three in the context of authentic music.

• Authentic music is music that could be found outside the classroom in real world contexts (as opposed to music that is contrived for teaching purposes). Students should engage in the processes of listening, creating, and performing in ways that are most similar to the ways in which experienced musicians engage. Classroom activities should not be “exercises” that prepare students for “real” musical engagement.

• The curriculum for a performance class is organized around music literature that embodies multiple musical dimensions. Therefore, music selected for study should be rich enough to provide opportunities for exploring multiple musical dimensions and what students learn in each experience is guided by the nature of the piece they are studying.

• For the purposes of this document, “Basic Level” is for students who have completed only 1 (or 2) years of study in the ensemble setting. “Advanced Level” students would have completed 3 (4 or 5) years of study, having participated consistently throughout their (upper elementary and) middle school experience. It is assumed that Advanced Level students also have the skills and understandings expected of Basic Level students.

• This document assumes that students have experienced the K-5 portion of this curriculum.

| |By the End of Eighth Grade… |

|Concepts: |In music of a variety of styles, genres, and cultural and historical |Students will demonstrate through: |National |Michigan |

| |contexts, students will be able to: | |Standards |Standards |

|Melody = Pitch + |All |Identify and use phrasing as a vehicle for expression and musical |Singing or playing accurately alone or as member of a group. |1, 2, 9 |1, 4 |

|Rhythm: |Studen|organization. | | | |

| |ts | | | | |

|Understanding how | | | | | |

|pitch and rhythm | | | | | |

|function in the | | | | | |

|context of melody. | | | | | |

| | |Realize (interpret, decode, make meaning of) and perform contour |• Performing with musical sensitivity to phrase shape and duration. |1, 5, 6, 7. 9 |1, 3, 4 |

| | |and direction in the context of a simple notated melodic line. |• Identifying phrases in the score. | | |

| | | |• Graphically representing phrases. | | |

| | |Reproduce melodic phrases by ear. |Singing or playing accurately alone or as member of a group. |1, 2, 9 |1, 4 |

| |Choral|Basic: Realize and perform music that has basic rhythms in simple |• Singing accurately alone or as member of a group. |1, 5, 9 |1, 4 |

| | |meters (2/4, 3/4, 4/4) and mostly stepwise motion in the context of| | | |

| | |a notated melodic line. |• Sight-read melodies alone or as a member of group. (Melodies for | | |

| | | |sight-reading are usually simpler than music students are able to | | |

| | | |perform.) | | |

| | |Advanced: Realize and perform music that has basic rhythms in | |1, 5, 9 |1, 4 |

| | |simple and compound meter and increasingly complex intervallic | | | |

| | |relationships (including perfect 4ths, 5ths, and accidentals) in | | | |

| | |the context of a notated melodic line. | | | |

| |Instru|Basic: Realize (interpret, decode, make meaning of) and perform |• Playing accurately alone or as member of a group. |2, 5, 9 |1, 4 |

| |mental|basic rhythms in simple and compound meter in the context of a | | | |

| | |notated melodic line |• Sight-read melodies alone or as a member of group. (Melodies for | | |

| | | |sight-reading are usually simpler than music students are able to | | |

| | | |perform. It is preferable for instrumental students to have some | | |

| | | |experience sight-singing as well.) | | |

| | | Advanced: Realize (interpret, decode, make meaning of) and perform| |2, 5, 9 |1, 4 |

| | |basic rhythms in simple and compound meter in the context of a | | | |

| | |notated melodic line. | | | |

| | |Use fingering charts to figure out how to play unfamiliar passages.|• Using information learned from the charts in performing. |2 |1 |

| |By the End of Eighth Grade… |

|Concepts |In music of a variety of styles, genres, and cultural and historical |Students will demonstrate through: |National |Michigan |

| |contexts, students will be able to: | |Standards |Standards |

|Harmony & Texture |Understand how individual parts of a work relate to the whole in a variety |• Distinguishing the role of their individual part within the whole|1, 2, 6, 7, 9 |1, 3, 4 |

| |of styles, genres, and cultural and historical contexts. |(e.g., melody, bass line, countermelody, accompanying part). | | |

|Understanding how | |• Maintaining an individual part in the context of the ensemble. | | |

|harmony and texture | |• Performing in balance and blend with the rest of the ensemble. | | |

|function and how they | |• Performing unison, two-part, three-part (or more in instrumental)| | |

|may be used to create | |music in both small and large ensemble settings. | | |

|motion and structure in| |• Verbal or written reflection. | | |

|music. | |• Identification in a listening experience (a recording or in their| | |

| | |own performance). | | |

| | |• Gesture or body motion. | | |

| |Understand how tonal center and modality create key and operate in the |• Verbal description of what they hear and see in the score. |3, 4, 5, 6, 7,|2, 3, 4 |

| |musical works they are performing. |• Creating original music (in a small group setting) in particular |9 | |

| | |modalities and keys. | | |

| | |• Verbally identify basic key signatures in the score (most basic | | |

| | |to the instrument). | | |

| |Understand how harmonic motion and cadence function in musical works, |• Verbal description of what they hear and see in the score. |1, 2, 3, 4, 5,|1, 2, 3, 4 |

| |including the ability to identify (by ear) some basic chord progressions. |• Creating original music over simple chord progressions. |6, 7, 9 | |

| | |• Identifying in a listening experience (a recording or in their | | |

| | |own performance). | | |

| | |• Making appropriate personal decisions about how to perform based | | |

| | |on understanding of harmonic motion. | | |

| |CC: interdependence in science and social studies. |8 |5 |

| |By the End of Eighth Grade… |

|Concepts |In music of a variety of styles, genres, and cultural and historical contexts, |Students will demonstrate through: |National |Michigan |

| |students will be able to: | |Standards |Standards |

|Expressive Qualities: |Perform |Timbre: |• Making appropriate musical decisions while singing, |1, 2, 3, 4, 5,|1, 2, 3, 4 |

|Dynamics, Tempo, Timbre, |with |• Understand how to create a characteristic tone on their instruments or |playing, or leading their peers within. |6, 7, 9 | |

|Articulation |awareness |with their voices (i.e., performing with appropriate technique). | | | |

| |of | | | | |

|Understanding how dynamics,|expressive| |• Performing appropriately reflecting their understanding. | | |

|tempo, timbre, and |qualities | | | | |

|articulation may be used to|that | | | | |

|interpret music for |enables a | |• Representing their understanding through graphic, verbal, | | |

|expression. |sense of | |and/or kinesthetic expression. | | |

| |simultanei| | | | |

| |ty and | | | | |

| |ensemble. | |• Composing or improvising original music that reflects | | |

| | | |their understanding and performing with sensitivity as a | | |

| | | |member of the ensemble performing those works. | | |

| | | | | | |

| | |Dynamics: | | | |

| | |• Perform with attention to dynamic markings in the score. | | | |

| | |• Make decisions about using dynamics to shape music to make it | | | |

| | |expressive. | | | |

| | |• Understand how to use dynamics to achieve appropriate balance in an | | | |

| | |ensemble setting. | | | |

| | |Tempo: | | | |

| | |• Perform with attention to tempo markings in the score. | | | |

| | |• Make decisions about using tempo to make music expressive. | | | |

| | |Articulation: | | | |

| | |• Perform with attention to articulation marks in the score. | | | |

| | |• Use articulation as an expressive tool. | | | |

| | |• For singers, articulation often shows itself in diction. Students | | | |

| | |should know how to use proper diction to achieve an effective | | | |

| | |performance. | | | |

| | |Listen reflectively (to their own performance, recordings of the | | | |

| | |ensemble’s performance, live performance of other ensembles, recorded | | | |

| | |ensembles) to begin to discriminate, critique, evaluate, problem solve, | | | |

| | |and use the information to improve future performance. | | | |

| | |CC & PC: interpretation in language arts, dance, and drama. |8 |5 |

| |By the End of Eighth Grade… |

|Concept |In music of a variety of styles, genres, and cultural and historical |Students will demonstrate through: |National |Michigan |

| |contexts, students will be able to: | |Standards |Standards |

|Form |Understand how form structures a work and how form influences interpretation.|• Verbally describing what they hear and see in the score. |1, 2, 3, 4, 5,|1, 2, 3, 5 |

| | |• Identifying in a listening experience (a recording or in their own |6, 7, 9 | |

| | |performance). | | |

| | |• Making appropriate personal decisions about how to perform based on | | |

| | |understanding of form. | | |

| | |• Creating original music with form as an organizer. | | |

| |CC: form in poetry, dance, theatre, visual art, architecture. |8 |5 |

| |By the End of Eighth Grade… |

|Concepts |In music of a variety of styles, genres, and cultural and historical |Students will demonstrate through: |National |Michigan |

| |contexts, students will be able to: | |Standards |Standards |

| Style & Genre |Understand the ways musical elements (dimensions) interact to produce style | |1, 2, 6, 7, 9 |1, 3, 4 |

| |and genre. |• Describing (verbally, visually, kinesthetically) and/or comparing | | |

| | |different musical works (experienced through listening or performing). | | |

| | | | | |

| | |• Performing in a stylistically appropriate manner. | | |

| |Develop understanding of how musicians use style and genre to produce a | | | |

| |particular intended effect. | | | |

| |Understand and recognize a variety of styles and genres and in appropriate | | | |

| |cultural and historical contexts. | | | |

| |CC: Style and genre in visual art, theatre, dance, language arts (produced by the ways the elements of those art forms are combined to produce a work|8 |5 |

| |of art). | | |

| |By the End of Eighth Grade… |

|Concept |In music of a variety of styles, genres, and cultural and historical contexts,|Students will demonstrate through: |National |Michigan |

| |students will be able to: | |Standards |Standards |

|Affect |Understand the ways musical elements (dimensions) interact to elicit affective|• Describing (verbally, visually, kinesthetically) and/or comparing |1, 2, 3, 4, 6,|1, 2, 3, 4 |

| |response. |different musical works (experienced through listening or performing).|7, 9 | |

| | |• Interpreting music when performing and creating to produce a | | |

| | |particular affective quality. | | |

| |PC & CC: Understand the ways elements (dimensions) within each of the other arts (visual art, language arts, dance, theatre) interact to elicit |8 |5 |

| |affective response. | | |

Curriculum for Performance-Based Music Classes

Grades 9 - 12

• In performance classes, the primary activity is performing. However, performing should be enhanced with listening and creating experiences, all three in the context of authentic music.

• Authentic music is music that could be found outside the classroom in real world contexts (as opposed to music that is contrived for teaching purposes). Students should engage in the processes of listening, creating, and performing in ways that are most similar to the ways in which experienced musicians engage. Classroom activities should not be “exercises” that prepare students for “real” musical engagement.

• The curriculum for a performance class is organized around music literature that embodies multiple musical dimensions. Therefore, music selected for study should be rich enough to provide opportunities for exploring multiple musical dimensions and what students learn in each experience is guided by the nature of the piece they are studying.

• For the purposes of this document, “Basic Level” is for students who have completed only 1 (or 2) years of study in the ensemble setting. “Advanced Level” students would have completed 4 years of study in high school and have the potential to pursue higher level, pre-professional study at the college level. It is assumed that Basic Level students also have the skills and understandings expected of Advanced Level students.

• This document assumes that students have experienced the K-8 portion of this curriculum.

| |By the End of Twelfth Grade… |

|Concepts: |In increasingly more complex music of a variety of styles, genres, and |Students will demonstrate through: |National |Michigan |

| |cultural and historical contexts, students will be able to: | |Standards |Standards |

|Melody, Pitch, Rhythm,|All |Identify and use phrasing as a vehicle for expression and musical |Singing or playing accurately alone or as member of a group. |1, 2, 9 |1, 4 |

| |Studen|organization. | | | |

|Understanding how |ts | | | | |

|pitch and rhythm | | | | | |

|function in the | | | | | |

|context of melody. | | | | | |

| | |Realize (interpret, decode, make meaning of) and perform contour and |• Performing with musical sensitivity to phrase shape and duration.|1, 5, 6, 7, 9 |1, 3, 4 |

| | |direction in the context of a simple notated melodic line. | | | |

| | | |• Identifying phrases in the score. | | |

| | | |• Graphically representing phrases. | | |

| | |Reproduce melodic phrases by ear. |• Singing or playing accurately alone or as member of a group. |1, 2, 9 |1, 4 |

| |Choral|Basic: Realize and perform music that has basic rhythms in simple and|• Singing accurately alone or as member of a group. |1, 5, 9 |1, 4 |

| | |compound meter and increasingly complex intervallic relationships | | | |

| | |(including perfect 4ths, 5ths, and accidentals) in the context of a |• Sight-read simple melodies alone or as a member of group. | | |

| | |notated melodic line. |(Melodies for sight-reading are usually simpler than music students| | |

| | | |are able to perform.) | | |

| | | | | | |

| | | |• Advanced: Notate a simple melody by ear. | | |

| | |Advanced: Realize and perform music in any meter with increasingly | |1, 5, 9 |1, 4 |

| | |complex intervallic relationships (all intervals within an octave, | | | |

| | |including accidentals in major and minor keys) in the context of a | | | |

| | |notated melodic line. | | | |

| |Instru|Basic: Realize (interpret, decode, make meaning of) and perform |• Playing accurately alone or as member of a group. |2, 5, 9 |1, 4 |

| |mental|rhythms with increasingly complex intervallic relationships in simple|• Sight-read melodies alone or as a member of group. | | |

| | |and compound meter in the context of a notated melodic line. |(Melodies for sight-reading are usually simpler than music students| | |

| | | |are able to perform. It is preferable for instrumental students to | | |

| | | |have some experience sight-singing as well.) | | |

| | | | | | |

| | | |• Advanced: Notate a simple melody by ear. | | |

| | |Advanced: Realize (interpret, decode, make meaning of) and perform | |2, 5, 9 |1, 4 |

| | |complex rhythms with increasingly complex intervallic relationships | | | |

| | |in any meter in the context of a notated melodic line. | | | |

| |By the End of Twelfth Grade… |

|Concepts |In increasingly more complex music of a variety of styles, |Students will demonstrate through: |National |Michigan |

| |genres, and cultural and historical contexts, students will be | |Standards |Standards |

| |able to: | | | |

|Harmony & Texture |Understand how individual parts of a work relate to the whole. |• Distinguishing the role of their individual part within the whole (e.g., |1, 2, 6, 7, 9 |1, 3, 4 |

| | |melody, bass line, countermelody, accompanying part). | | |

|Understanding how | |• Maintaining an individual part in the context of the ensemble. | | |

|harmony and texture | |• Performing in balance and blend with the rest of the ensemble. | | |

|function and how they | |• Performing unison, two-part, three-part (or more in instrumental) music in | | |

|may be used to create | |both small and large ensemble settings. | | |

|motion and structure in| |• Verbal or written reflection. | | |

|music. | |• Identification in a listening experience (a recording or in their own | | |

| | |performance). | | |

| | |• Gesture or body motion. | | |

| |Understand how tonal center and modality create key and operate |• Verbal description of what they hear and see in the score. |3, 4, 5, 6, 7, |2, 3, 4 |

| |in the musical works they are performing. |• Creating original music (in a small group setting) in particular modalities|9 | |

| | |and keys. | | |

| | |• Verbally identify key signatures in the score. | | |

| | |• Playing or singing in a variety of keys. | | |

| |Understand how harmonic motion and cadence function in musical |• Verbal description of what they hear and see in the score. |1, 2, 3, 4, 5, |1, 2, 3, 4 |

| |works, including the ability to identify (by ear) chord |• Creating original music over simple chord progressions. |6, 7, 9 | |

| |progressions. |• Identifying in a listening experience (a recording or in their own | | |

| | |performance). | | |

| | |• Making appropriate personal decisions about how to perform based on | | |

| | |understanding of harmonic motion. | | |

| |CC: interdependence in science and social studies. |8 |5 |

| |By the End of Twelfth Grade… |

|Concepts |In increasingly more complex music of a variety of styles, genres, and cultural and historical|Students will demonstrate through: |National |Michigan |

| |contexts, students will be able to: | |Standards |Standards |

|Expressive Qualities: |Perform |Timbre: | |1, 2, 3, 4, 5,|1, 2, 3, 4 |

|Dynamics, Tempo, Timbre, |with |• Consistently create a characteristic tone on their instruments or with their |• Making appropriate musical decisions while |6, 7, 9 | |

|Articulation |awareness |voices (i.e., performing with appropriate technique). |singing, playing, or leading their peers. | | |

| |of | | | | |

| |expressive| |• Performing appropriately reflecting their | | |

| |qualities | |understanding. | | |

| |that | | | | |

| |enables a | |• Representing their understanding through | | |

| |sense of | |graphic, verbal, and/or kinesthetic expression. | | |

| |simultanei| | | | |

| |ty and | |• Composing or improvising original music that | | |

| |ensemble. | |reflects their understanding and performing with | | |

| | | |sensitivity as a member of the ensemble performing| | |

| | | |those works. | | |

| | |Dynamics: | | | |

| | |• Perform with attention to dynamic markings in the score. | | | |

| | |• Make decisions about using dynamics to shape music to make it expressive. | | | |

| | |• Understand how to use dynamics to achieve appropriate balance in an ensemble | | | |

| | |setting. | | | |

| | |Tempo: | | | |

| | |• Perform with attention to tempo markings in the score. | | | |

| | |• Make decisions about using tempo to make music expressive. | | | |

| | |Articulation: | | | |

| | |• Perform with attention to articulation marks in the score. | | | |

| | |• Use articulation as an expressive tool. | | | |

| | |• For singers, articulation often shows itself in diction. Students should know how| | | |

| | |to use proper diction to achieve an effective performance. | | | |

| | |Demonstrate independence in their ability to make discriminating choices about how | | | |

| | |expressive qualities may be used to interpret music. | | | |

| | |Make decisions about performing with attention to text in a variety of language | | | |

| | |contexts. | | | |

| | |Listen reflectively (to their own performance, recordings of the ensemble’s | | | |

| | |performance, live performance of other ensembles, recorded ensembles) to | | | |

| | |discriminate, critique, evaluate, problem solve, and use the information to improve| | | |

| | |future performance. | | | |

| | |CC & PC: interpretation in language arts, dance, and drama. |8 |5 |

| |By the End of Twelfth Grade… |

|Concept |In increasingly more complex music of a variety of styles, genres, and |Students will demonstrate through: |National |Michigan |

| |cultural and historical contexts, students will be able to: | |Standards |Standards |

|Form |Understand how form structures a work and how form influences interpretation.|• Verbal description of what they hear and see in the score. |1, 2, 3, 4, 6,|1, 2, 3, 4 |

| | |• Identifying in a listening experience (a recording or in their own |7, 9 | |

| | |performance). | | |

| | |• Making appropriate personal decisions about how to perform based on | | |

| | |understanding of form. | | |

| | |• Creating original music with form as an organizer. | | |

| |CC: form in poetry, dance, theatre, visual art, architecture. |8 |5 |

| |By the End of Twelfth Grade… |

|Concepts |In increasingly more complex music of a variety of styles, genres, and cultural|Students will demonstrate through: |National |Michigan |

| |and historical contexts, students will be able to: | |Standards |Standards |

| Style & Genre |Understand the ways musical elements (dimensions) interact to produce style and|• Describing (verbally, visually, kinesthetically) and/or comparing |1, 2, 6, 7, 9 |1, 3, 4 |

| |genre. |different musical works (experienced through listening or | | |

| | |performing). | | |

| | |• Performing in a stylistically appropriate manner. | | |

| | |• Creating original music in a particular style or genre. | | |

| |Develop understanding of how musicians use style and genre to produce a | | | |

| |particular intended effect. | | | |

| |Understand and recognize a variety of styles and genres. | | | |

| |CC: Style and genre in visual art, theatre, dance, language arts (produced by the ways the elements of those art forms are combined to produce a work|8 |5 |

| |of art). | | |

| |By the End of Twelfth Grade… |

|Concept |In increasingly more complex music of a variety of styles, genres, and cultural|Students will demonstrate through: |National |Michigan |

| |and historical contexts, students will be able to: | |Standards |Standards |

|Affect |Understand the ways musical elements (dimensions) interact to elicit affective |• Describing (verbally, visually, kinesthetically) and/or comparing |1, 2, 3, 4, 6,|1, 2, 3, 4 |

| |response. |different musical works (experienced through listening or |7, 9 | |

| | |performing). | | |

| | | | | |

| | |• Interpreting music when performing and creating to produce a | | |

| | |particular affective quality. | | |

| | | | | |

| |Listen reflectively (to their own performance, recordings of the ensemble’s |• Verbally describing the experience. | | |

| |performance, live performance of other ensembles, recorded ensembles) to | | | |

| |discriminate, critique, evaluate, problem solve, and use the information to |• Successfully implementing improvement in their performance, based | | |

| |improve future performance. |on self-assessment. | | |

| |Demonstrate independence in their ability to make discriminating choices about |Performing a work and then verbally commenting on the choices they | | |

| |how they choose to interpret a piece of music. |made. | | |

| |PC & CC: Understand the ways elements (dimensions) within each of the other arts (visual art, language arts, dance, theatre) interact to elicit |8 |5 |

| |affective response. | | |

Music Curriculum for Nontraditional Music Classes

Grades 6 - 12

(For districts that are organized K-6, 7-8, 9-12, music for 6th graders might include elements of this secondary curriculum.)

Nontraditional music classes provide access to music learning without requiring prior musical experience or skills.

While performance process is likely to be part of most classes, public performance is not the primary goal and will not necessarily be required.

These classes are:

• organized around real world musical roles (such as audio engineering, music business, music technology, video technology)

• cross-disciplinary in nature (sociological, historical, cultural)

• designed to enable (foster) meaningful connections to students’ lives.

Class content will be flexible, based on student interest.

Classes are open to all students, including those who already participate in traditional performance classes.

Students may elect to repeat courses at any time (not necessarily concurrently). Because students are working at their own levels of musical proficiency within the context of the group, repeated participation will enable deeper understanding through increasingly complex experiences.

Regardless of the specific nature of the course, students in all classes will work with core dimensions and meta-dimensions of music within a context appropriate for the focus of the class. In all classes, students will encounter exemplary music of a variety of styles, genres, and historical and cultural contexts and explore to the extent that it relates to the projects generated in the class.

Because students will be working with all aspects of music in a variety of contexts, making a variety of connections, their work in these courses will meet all of the Michigan and National Standards.

| |Sample Nontraditional Class… |

|“Write Your Own Film |Students in this class will create original film score music to serve as a soundtrack for video material. To accomplish this, |

|Music” |students will: |

| |Work at computer stations with keyboard synthesizers and appropriate software. |

| |Have access to a rich collection of audio recordings and DVDs to use as models and resources (for research purposes, inquiry-based) |

| |Learn about how compositional techniques can be used to create moods and elicit affective responses in audiences in relation to the |

| |visual image. |

| |Utilize analytical skills in analyzing visual and aural images in the context of plot, character, development, setting, voice, etc. |

| |As an integral part of the process, be constantly involved in assessment and evaluation of the product and process (from their |

| |perspective) and use these assessments to inform future decisions in their work. |

| |Produce a DVD that may be shared with peers and/or interested others. |

Other Sample Course Names:

Write your Own Rock Songs [Rap Songs, Film Music, etc.]

Garage Band

Learn to Play Guitar

Learn to Play Keyboard

American Idol 101

Musical Theatre Workshop

Music in Advertising

Music Business

Rock Music 1950s to present

Sound Studio

Music for Dance

World Musics

Music Technology

Proposals

This music curriculum will enable students to meet the highest levels of state and national standards, and achieve the quality of excellence that the _______________ community has come to expect. In order to carry out this curriculum:

• We propose

(what you need to carry out this curriculum)

Basic Equipment For Elementary General Music Classrooms

(list here)

and so on for all areas of curriculum.

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