| Time-Period Currently Unspecified |
|---|
observe classroom rules.
(DA.912.S.2.1BAC )
| | respect peers and equipment.
(DA.912.S.2.1BAC )
|
| show focus and pacing during self-directed practice time. (DA.912.S.2.1BAC )
|
| Time-Period Currently Unspecified |
|---|
Read a score while listening to the piece, compare it to another arrangement or edition, and discuss the differences and similarities in class.
(LAFS.1112.SL.1.2BAC )
- score reading: systems, parts, score order
| Watch two performances of a piece on YouTube and determine what techniques contribute to the musicality. (LAFS.1112.SL.1.2BAC )
- proper performance posture, position, and technique
|
Listen to two recordings of a piece of music on Naxos and determine which rendition most effectively conveys the composer's intent. (LAFS.1112.SL.1.2BAC )
- stylistic characteristics based on style period, nationality, cultural background
|
evaluate the efficacy and value of a guest clinician, conductor, or adjudicator's presentation with regard to their delivery. (LAFS.1112.SL.1.3BAC )
- vocal tone, facial expression, gestures
- syntax, semantics, lexicon
|
discuss the content of a speaker's or lecturer's presentation (live or recorded) with regard to substantiated evidence. (LAFS.1112.SL.1.3BAC )
- evidence, data, statistics
|
present comparisons of works within a genre citing specific style characteristics and using domain-specific vocabulary to represent a point of view. (LAFS.1112.SL.2.4BAC )
- genre, style characteristics
|
| research and prepare a piece of music for rehearsal (score study). (LAFS.1112.SL.2.4BAC )
|
lead a sectional or rehearsal utilizing communication conventions, such as referencing the measure number before making relevant comments. (LAFS.1112.SL.2.4BAC )
- rehearsal communication conventions
|
| describe correlations between technique and performance in a rehearsal piece. (LAFS.1112.SL.2.4BAC )
|
write a reflection of both formal and informal performances, identifying strengths and weaknesses specific to musical elements such as articulations, phrasing, intonation, balance, and rhythmic precision (LAFS.1112.WHST.2.4BAC )
- musical elements such as articulations, phrasing, intonation, balance, and rhythmic precision
|
write an eight measure melodic/rhythmic dictation including steps, skips and chromatics (LAFS.1112.WHST.2.4BAC )
- knowledge of music notation fundamentals
|
compose an eight measure melody over a given harmonic structure. (LAFS.1112.WHST.2.4BAC )
- knowledge of music notation fundamentals
|
| write a short critique of a rehearsal (LAFS.1112.WHST.2.4BAC )
|
| listen to multiple recordings of the same piece to develop a preferred interpretation of a musical element (e.g., phrasing, tempo, dynamic contrast). (LAFS.1112.WHST.3.9BAC )
|
| listen to multiple recordings within a specific genre to understand the defining stylistic elements. (LAFS.1112.WHST.3.9BAC )
|
listen to a recording or watch video of a performance and use the FVA adjudication rubric to assign a rating, drawing evidence from the rubric and/or the octavo to support the rating. (LAFS.1112.WHST.3.9BAC )
- understanding and applying technical vocabulary of rubric
- active listening skills
|
| listen to multiple pieces by the same composer to realize a composer’s style and technique. (LAFS.1112.WHST.3.9BAC )
|
prepare a varied repertoire with attention to technical, stylistic, and expressive elements as indicated in the music. (LAFS.1112.WHST.3.9BAC )
- notes and rest values
- dynamic and expressive markings
- articulation markings
- musical styles/genres: see MU.912.C.1.4
|
| Time-Period Currently Unspecified |
|---|
aurally identify major, minor, diminished, and augmented chords.
(MU.912.C.1.1BAC )
| | aurally identify melodic and harmonic elements.
(MU.912.C.1.1BAC )
|
| follow a detailed listening map and respond kinesthetically.
(MU.912.C.1.1BAC )
|
| engage in active listening by identifying specific forms, e.g., binary, ternary, rondo, verse and refrain, strophic, and through composed. (MU.912.C.1.1BAC )
|
| use a checklist to identify musical characteristics common to various styles of choral literature. (MU.912.C.1.1BAC )
|
| listen to, discuss, and evaluate quality recordings of vocal performances.
(MU.912.C.1.2I R)
|
| relate the importance of title, text, and context to a composer’s intent.
(MU.912.C.1.2I R)
|
| aurally and visually describe voicing, accompaniment, and expressive elements indicated in the music.
(MU.912.C.1.2I R)
|
| analyze and discuss compositional intent of the composer.
(MU.912.C.1.2I R)
|
| analyze choral performances using established criteria.
(MU.912.C.1.2I R)
|
| perform and evaluate peer/group performances. (MU.912.C.1.2I R)
|
| listen to, analyze, and discuss various types of choral ensembles, e.g., chorus, chorale, chamber, madrigal, glee club, show choir, Barbershop/Sweet Adeline, etc.
(MU.912.C.1.4E R)
|
| listen to, analyze, and discuss various types of choral styles and literature, e.g., chant, spiritual, folk, aria/opera, world, jazz, Broadway, Barbershop, pop, chorale, chamber, madrigal, glee club, show, etc.
(MU.912.C.1.4E R)
|
| perform a variety of quality choral literature.
(MU.912.C.1.4E R)
|
| analyze and characterize the use of text as it pertains to style and genre. (MU.912.C.1.4E R)
|
| independently and in small groups, identify and improve performance accuracy and technique relative to pitch, intonation, balance, blend, phrasing, etc.
(MU.912.C.2.1BAC )
|
| cooperatively assess areas for improvement and develop strategies for growth.
(MU.912.C.2.1BAC )
|
| apply feedback individually, cooperatively and with teacher guidance. (MU.912.C.2.1BAC )
|
| analyze, compare, and discuss two or more examples of the same recording.
(MU.912.C.2.2I R)
|
| listen to and select quality recordings based on performance evaluations.
(MU.912.C.2.2I R)
|
| demonstrate examples of quality performance through use of choral literature being studied. (MU.912.C.2.2I R)
|
| evaluate and provide feedback for a student generated composition and/ or improvisation.
(MU.912.C.2.3BAC )
|
| analyze performance options and suggest improvements based on self analysis or cooperative feedback.
(MU.912.C.2.3BAC )
|
| integrate evaluations and suggestions into current and future performances. (MU.912.C.2.3BAC )
|
| analyze and discern elements of outstanding or representative performances.
(MU.912.C.3.1E R)
|
| listen to and analyze selected examples of model choral recordings and discuss the specific performance aspects/criteria which make them highly effective.
(MU.912.C.3.1E R)
|
| utilize and incorporate ideas and techniques derived from this analysis into further musical development.
(MU.912.C.3.1E R)
|
| attend performances of quality performing groups in the choral and theatrical setting. (MU.912.C.3.1E R)
|
| Time-Period Currently Unspecified |
|---|
attend performances of quality performing groups in the choral and theatrical setting. (MU.912.C.3.1E R)
- access to community resources
| | Time-Period Currently Unspecified |
|---|
describe how teamwork in the music ensemble translates to other areas and skills.
(MU.912.F.3.1BAC )
| | describe how skills in the music room transfer into other content areas.
(MU.912.F.3.1BAC )
|
| explore leadership opportunities and leadership positions outside of the music room.
(MU.912.F.3.1BAC )
|
| list skills that are developed in the music room, e.g., mastering a task, problem-solving, self-discipline, dependability, organization, cultural awareness, and mutual respect, etc.
(MU.912.F.3.1BAC )
|
| model effective rehearsal and performance expectations and behaviors.
(MU.912.F.3.1BAC )
|
| model proper audience etiquette, expectations, and interaction with performers. (MU.912.F.3.1BAC )
|
| Time-Period Currently Unspecified |
|---|
define “copyright” and discuss applicable materials, media, and performances.
(MU.912.F.3.2NTK R)
- licensing information
- guidelines for posting performances online
- definition of copyright
| list materials subject to copyright law and discuss proper usage, payment, etc.
(MU.912.F.3.2NTK R)
- music
- software
- literature
- MP3's
- other works
|
discuss the implications of copyright infringement, e.g., loss of revenue, pirated original compositions, recorded materials, web-based media, etc. (MU.912.F.3.2NTK R)
- financial impact on composers and artist, etc
|
| Time-Period Currently Unspecified |
|---|
analyze the elements of a given performance.
(MU.912.F.3.3BAC )
| | sequence the tasks necessary to organize a performance event.
(MU.912.F.3.3BAC )
|
| design and implement materials related to the performance. (MU.912.F.3.3BAC )
|
| identify strengths and weaknesses regarding skill level and competency in a given musical discipline.
(MU.912.F.3.4BAC )
|
| list practice and performance goals related to the given musical discipline.
(MU.912.F.3.4BAC )
|
| design and implement strategies related to pedagogy, instruction, and assessment.
(MU.912.F.3.4BAC )
|
| reflect on musical activities and performances throughout the year. (MU.912.F.3.4BAC )
|
| listen to, discuss, and perform representative examples of music from diverse cultures and eras.
(MU.912.H.1.1BAC )
|
| identify, discuss, and perform music having a cultural function, e.g., anthems, fanfares, religious and ceremonial music, holidays, athletic events, etc. (MU.912.H.1.1BAC )
|
| listen to, identify, and discuss characteristic elements of choral music from Medieval, Renaissance, Baroque, Classical, Romantic, 20th Century, and 21st Century.
(MU.912.H.1.2I R)
|
| perform quality, representative choral literature from Medieval, Renaissance, Baroque, Classical, Romantic, 20th Century, and 21st Century.
(MU.912.H.1.2I R)
|
| identify and discuss two or more significant choral composers and/or compositions. (MU.912.H.1.2I R)
|
| Time-Period Currently Unspecified |
|---|
listen to and identify examples of music from diverse cultures and eras (MU.912.H.1.2I R)
| | Time-Period Currently Unspecified |
|---|
listen to and analyze separate compositions, with varied medium, of a single composer, e.g., orchestral and choral, guitar and string quartet, piano solo and piano concerto, etc.
(MU.912.H.1.3NTK R)
| | listen to and analyze selections by an exemplary composer using a different performance mediums, e.g., symphonic arrangement vs. jazz arrangement of the same piece. (MU.912.H.1.3NTK R)
|
| listen to, identify, and discuss characteristic elements of representative music from Medieval, Renaissance, Baroque, Classical, Romantic, 20th Century, and 21st Century.
(MU.912.H.1.4NTK R)
|
| listen to, identify, and discuss music of American composers and performers.
(MU.912.H.1.4NTK R)
|
| analyze and list characteristic elements of a variety of American music, e.g., ragtime, blues, jazz, opera, operetta, Broadway, barbershop, symphonic, choral, etc.
(MU.912.H.1.4NTK R)
|
| research and discuss cultural, regional, and historical influences on the development of “American” music and its unique sound qualities and characteristics.
(MU.912.H.1.4NTK R)
|
| identify current stylistic influences of other cultures on American music, e.g. African, European, traditional folk, South American, Caribbean, Latino, etc.
(MU.912.H.1.4NTK R)
|
| rehearse and perform quality choral literature from diverse cultures. (MU.912.H.1.4NTK R)
|
| Time-Period Currently Unspecified |
|---|
listen to, identify, and discuss the characteristics of music from diverse cultures and eras (MU.912.H.1.4NTK R)
| | Time-Period Currently Unspecified |
|---|
identify and discuss cultural, regional and historical elements of various indigenous music, e.g., rhythms, textures, modalities, tonalities, folksongs and lore, instrumentation, vocal style, etc.
(MU.912.H.1.5I R)
| | analyze and discuss structural and expressive elements that characterize musical and cultural identity.
(MU.912.H.1.5I R)
|
| rehearse and perform quality choral literature from diverse cultures. (MU.912.H.1.5I R)
|
| identify and discuss music as an influential component of various societal and historical events.
(MU.912.H.2.1BAC )
|
| identify and discuss specific historical events inspired by music, musicians and/or composers.
(MU.912.H.2.1BAC )
|
| identify and compare popular vs. art music historically, e.g., madrigal vs. motet, operetta vs. opera, etc. (MU.912.H.2.1BAC )
|
| identify and discuss characteristics of specific musical genres.
(MU.912.H.2.3NTK R)
|
| identify and discuss historical events as influential components of musical growth and identity.
(MU.912.H.2.3NTK R)
|
| trace significant developments regarding innovations, compositions, and key players.
(MU.912.H.2.3NTK R)
|
| predict next generation musical styles, influences and technologies. (MU.912.H.2.3NTK R)
|
| identify, discuss and apply cross curricular musical connections and applications in the various academic content areas, e.g., science and math, etc.
(MU.912.H.3.1NTK R)
|
| analyze, discuss, and apply various technological aspects of musical learning, performing, recording, and delivery systems.
(MU.912.H.3.1NTK R)
|
| explore and evaluate pros and cons of recorded vs. live performance and the role of technology as a component and influence.
(MU.912.H.3.1NTK R)
|
| examine and list the physical properties of sound, acoustics, sound amplification, digital technologies, and related materials and applications.
(MU.912.H.3.1NTK R)
|
| conceptualize and integrate multi-disciplinary knowledge into a musical performance. (MU.912.H.3.1NTK R)
|
| conceptualize and integrate connections between music and non-musical content areas, e.g., music and health, music and art, music and advertising, etc.
(MU.912.H.3.2BAC )
|
| conceptualize and integrate learning connections between music and personal interest subjects such as world languages, African American history, drama and theatre, T.V./film production, scientific research, public speaking, data analysis, computer programming, etc.
(MU.912.H.3.2BAC )
|
| conceptualize and integrate knowledge and skills developed from varied content areas to musical concepts. (MU.912.H.3.2BAC )
|
| consistently define music terms and symbols in a given piece, e.g, tempo markings, dynamics, key, and meter, etc. (MU.912.O.1.1I R)
|
| consistently identify melody, counter melody, and accompaniment.
(MU.912.O.1.1I R)
|
| consistently differentiate between melody and harmony.
(MU.912.O.1.1I R)
|
| consistently differentiate between major and minor tonality.
(MU.912.O.1.1I R)
|
| consistently describe timbre, tone color, and texture.
(MU.912.O.1.1I R)
|
| consistently differentiate between solo, small ensemble, and large ensemble.
(MU.912.O.1.1I R)
|
| consistently identify major musical themes including sections and patterns that outline structural form. (MU.912.O.1.1I R)
|
| Time-Period Currently Unspecified |
|---|
consistently define music terms and symbols in a given piece, e.g., tempo markings, dynamics, key, and meter, etc.
(MU.912.O.1.1I R)
| | Time-Period Currently Unspecified |
|---|
listen to, identify, and discuss compositions with contrasting styles.
(MU.912.O.2.1BAC )
| | identify and describe the similarities and differences of contrasting compositions.
(MU.912.O.2.1BAC )
|
| compare musical, structural, and aesthetic elements of two or more contrasting compositions.
(MU.912.O.2.1BAC )
|
| perform repertoire with contrasting styles and structural elements.
(MU.912.O.2.1BAC )
|
| identify and apply stylistic and technical performance practices relative to text, language and historical context, e.g., syllabic stress, foreign language pronunciation and translation, interpretative elements, etc. (MU.912.O.2.1BAC )
|
| identify and discuss musical terms and symbols in a given piece, e.g., tempo markings, expressive markings, articulations, phrasing, key, meter, etc.
(MU.912.O.3.1I R)
|
| apply expressive elements to the musical work being studied.
(MU.912.O.3.1I R)
|
| identify and discuss structural and compositional elements relative to harmony, rhythm, scale, mode, timbre, voicing, text, vocal/instrumental texture, and orchestration.
(MU.912.O.3.1I R)
|
| infer compositional intent based on the structural elements of the musical work being studied. (MU.912.O.3.1I R)
|
| learn basic conducting patterns for 2/4, 3/4, 4/4, and 6/8.
(MU.912.O.3.2E P)
|
| identify, explain, and apply, to the current choral literature, the conductor’s gestural cues relating to tempo, dynamics, phrasing and expressive elements.
(MU.912.O.3.2E P)
|
| analyze and perform a piece based on the expressive elements of the score and/or conductor.
(MU.912.O.3.2E P)
|
| apply and discuss expressive criteria to a variety of musical selections, experiences, non-musical events, and cross-curricular content. (MU.912.O.3.2E P)
|
| create a short melody from an established key, meter, and tempo.
(MU.912.S.1.1BAC C)
|
| vocally improvise short sections of given literature using text, neutral, or scat syllables.
(MU.912.S.1.1BAC C)
|
| vocally improvise a melody over a tonic/dominant chord progression, with or without accompaniment.
(MU.912.S.1.1BAC C)
|
| vocally improvise a rhythmic/melodic ostinato on a given simple chord progression. (MU.912.S.1.1BAC C)
|
| aurally identify and sing melodic and harmonic intervals using solfeggio.
(MU.912.S.1.4E P)
|
| aurally identify and sing major and minor chords using solfeggio.
(MU.912.S.1.4E P)
|
| repeat a simple dictated melody using solfeggio.
(MU.912.S.1.4E P)
|
| notate simple dictated rhythmic patterns.
(MU.912.S.1.4E P)
|
| notate simple melodic dictated patterns.
(MU.912.S.1.4E P)
|
| discuss, understand, and apply the principles of audiation, including types and stages. (MU.912.S.1.4E P)
|
| identify and discuss melody, counter melody, and accompaniment.
(MU.912.S.2.1E P)
|
| identify and discuss major musical themes including sections and patterns that outline the form of a composition.
(MU.912.S.2.1E P)
|
| demonstrate expressive and dynamic elements of a piece.
(MU.912.S.2.1E P)
|
| perform basic themes, melodic, and rhythmic patterns with accuracy.
(MU.912.S.2.1E P)
|
| part-sing with independence and awareness of other vocal parts.
(MU.912.S.2.1E P)
|
| apply and demonstrate sequencing strategies for memorizing a piece. (MU.912.S.2.1E P)
|
| identify and discuss shared concepts, skills, and processes between two or more pieces.
(MU.912.S.2.2E P)
|
| recall and apply learned concepts, skills, processes, and techniques to varied musical repertoire. (MU.912.S.2.2E P)
|
| sing with awareness of vocal techniques, e.g., posture, breath support, vowel placement, proper use of consonants, diphthongs, etc.
(MU.912.S.3.1E P)
|
| sing independently with appropriate expression, dynamics, and phrasing.
(MU.912.S.3.1E P)
|
| sing independently with unified vowels and tone color.
(MU.912.S.3.1E P)
|
| sing independently with proper intonation, balance, and blend in an ensemble setting.
(MU.912.S.3.1E P)
|
| demonstrate an understanding of blend and intonation by singing in a quartet.
(MU.912.S.3.1E P)
|
| identify and apply stylistic and technical performance practices relative to text, language and historical context, e.g., syllabic stress, foreign language pronunciation and translation, interpretative elements, etc.
(MU.912.S.3.1E P)
|
| respond artistically to conducting patterns.
(MU.912.S.3.1E P)
|
| identify and demonstrate basic conducting patterns. (MU.912.S.3.1E P)
|
| independently identify rhythmic note and rest values, e.g., whole note/rest, half note/rest, quarter note/rest, eighth note/rest, sixteenth note/rest, and their respective dotted note values.
(MU.912.S.3.2E O)
|
| independently identify letter names of the spaces and lines of both bass and treble clefs.
(MU.912.S.3.2E O)
|
| independently demonstrate rhythmic patterns in simple and compound meters, e.g., 2/4, 3/4, 4/4, 2/2, 6/8.
(MU.912.S.3.2E O)
|
| independently sight-read major, minor, and perfect melodic intervals within a diatonic scale.
(MU.912.S.3.2E O)
|
| independently sight-read melodic exercises step-wise, with skips, without accompaniment.
(MU.912.S.3.2E O)
|
| independently identify key signatures of the literature being sung.
(MU.912.S.3.2E O)
|
| independently define and apply relevant musical terms and expressive markings in the literature being sung. (MU.912.S.3.2E O)
|
independently transcribe the correct rhythms of short dictated exercises in simple duple and triple meters.
(MU.912.S.3.3E R)
- dotted notes and corresponding rests
|
independently transcribe simple step-wise and appegiated skips in a given key. (MU.912.S.3.3E R)
- transcribe melodies within an octave range
- transcribe within a diatonic scale as well as dictate a 4th below tonic and a 2nd above high do
|
| work cooperatively in small groups/sectionals to generate relevant vocal exercises and assessments.
(MU.912.S.3.4I R)
|
| develop strategies for learning individual vocal parts.
(MU.912.S.3.4I R)
|
| apply large group rehearsal strategies to small group/sectional settings. (MU.912.S.3.4I R)
|
| Time-Period Currently Unspecified |
|---|
differentiate between effective and ineffective rehearsal techniques (MU.912.S.3.4I R)
| | suggest appropriate rehearsal strategies to improve upon performance (MU.912.S.3.4I R)
|
recognize, in self and others, the correct singing position for the body and understand the direct impact on quality tone and intonation. (MU.912.S.3.5E P)
- standing and seated singing posture
- age-appropriate vocal quality
- recognize and self-correct posture for intonation issues
|
| All Year |
|---|
describe how teamwork in the music ensemble translates to other areas and skills.
(DA.912.F.3.8BAC )
- how to operate effectively as a team member
| describe how skills in the music room transfer into other content areas.
(DA.912.F.3.8BAC )
- exhibit self-discipline in the MESH courses
|
interpret unfamiliar English terms using their home language dictionary or an online translator (ELD.K12.ELL.SI.1BAC )
- how to use a home language dictionary or online translation program
- how to differentiate between English terminology and musical terminology (e.g., music terminology usually in Italian and usually italicized)
|
perform rhythmic and melodic patterns accurately by imitating aural patterns demonstrated by the teacher and/or peers (ELD.K12.ELL.SI.1BAC )
- procedure for aurally deciphering rhythms (e.g. count singing, speaking rhythms, subdividing)
- Curwen hand signs and solfegio syllables
- intervallic relationships
|
perform rhythmic and melodic patterns accuartely by visually interpreting musical symbols (ELD.K12.ELL.SI.1BAC )
- pitches on the staff, rhythmic patterns appropriate to the course level
|
| All Year |
|---|
use classroom visual aids to accurately interpret and perform musical symbols and abbreviations (ELD.K12.ELL.SI.1BAC )
| communicate withe a peer tutor/buddy for clarification on concepts presented in class (ELD.K12.ELL.SI.1BAC )
- section leader for students' vocal/instrumental section
|
| All Year |
|---|
imitate sound concepts modeled by the teacher and peers (ELD.K12.ELL.SI.1BAC )
- how to produce a characteristic tone
| | All Year |
|---|
rehearse and perform music in class with their peers to demonstrate comprehension and synthesis of skills (ELD.K12.ELL.SI.1BAC )
- classroom procedures
- proper posture
- how to follow the director
- how to take a proper breath while playing and/or singing
- where to locate the rehearsal plan and/or classroom objectives
| recognize, count and notate simple rhythms and rests (ELD.K12.ELL.SI.1BAC )
- procedure for deciphering rhythms (e.g. count singing, speaking rhythms, subdividing)
|
| All Year |
|---|
unify ideas and decisions though collaboration and communication according to music rehearsal convention within sections across the ensemble, and with the director. (LAFS.1112.SL.1.1BAC )
- rehearsal communication conventions
| | initiate independent refinement of repertoire through collaboration with peers (LAFS.1112.SL.1.1BAC )
|
| demonstrate a musical idea as a model for peers. (LAFS.1112.SL.1.1BAC )
|
recognize the connection between a problem and a properly used tool that may provide a solution (MAFS.K12.MP.5.1BAC )
- e.g., metronome, tuner, notation software, digital recorder, pencil, reference materials and media resources, accumulated knowledge, maintenance accessories, ear protection, keyboard instruments, microphone, amplifier
|
| understand that specific tools, while assisting in the process, do not supersede skills and technique. (MAFS.K12.MP.5.1BAC )
|
demonstrate precision in the execution of unison pulse within the ensemble regarding rhythmic accuracy (attack, duration, release), synchronized rhythmic execution and tempo. (MAFS.K12.MP.6.1BAC )
- note/rest values appropriate to course and literature
- time signatures appropriate to course and literature
|
| use domain specific vocabulary to communicate precise ideas and opinions with others. (MAFS.K12.MP.6.1BAC )
|
| demonstrate precision in execution of pitch accuracy and intonation regarding tonality (MAFS.K12.MP.6.1BAC )
|
demonstrate precision in the execution of expressive elements regarding the execution of dynamics, articulations, phrasing, and style. (MAFS.K12.MP.6.1BAC )
- expressive markings that relate to musical effect regarding dynamics, tempo, phrasing, musical line, dynamics, style, articulations
- standard conducting patterns
- expressive conducting gesture
|
| utilize pattern recognition to memorize music. (MAFS.K12.MP.7.1BAC )
|
reorganize performance practices according to given rhythmic hierarchies (MAFS.K12.MP.7.1BAC )
- beat groupings and metric stress
|
recognize patterns through music theory and utilize the information in rehearsal, individual practice, and performance. (MAFS.K12.MP.7.1BAC )
- patterns such as form, time signatures, phrasing, sequencing, hemiola, key centers, harmonic structure, voicing, modulation, and instrumentation.
|
| perform individually and in groups followed by feedback from peers and teacher.
(MU.912.C.1.2I R)
|
discuss title, text, context, and composer’s notes.
(MU.912.C.1.2I R)
- elements of performance piece
|
perform appropriate and representative versions of a variety of vocal styles and classifications.
(MU.912.C.1.4E R)
- Musical elements that define various vocal styles
- Applied individual and group pedagogy and performance practice.
- Synthesis of musical knowledge and skills.
- Interpretive elements of the composition.
- A variety of appropriate and representaive musical styles.
|
| apply feedback individually, cooperatively, and with teacher guidance.
(MU.912.C.2.1BAC )
|
listen to two or more examples of the same recording.
(MU.912.C.2.2I R)
- critical listening skills
|
listen to selected examples of model choral recordings.
(MU.912.C.3.1E R)
- critical listening skills
|
| explore leadership opportunities and leadership positions outside of the music room.
(MU.912.F.3.1BAC )
|
| explore leadership opportunities and leadership positions outside of the music room.
(MU.912.F.3.1BAC )
|
| transfer skills that are developed in the music room, e.g., mastering a task, problem-solving, self-discipline, dependability, organization, cultural awareness, and mutual respect, etc.
(MU.912.F.3.1BAC )
|
listen to representative examples of music from diverse cultures and eras.
(MU.912.H.1.1BAC )
- exposure to different music genres (early music to present-day music)
|
| First Quarter |
|---|
list skills that are developed in the music room, e.g., mastering a task, problem-solving, self-discipline, dependability, organization, cultural awareness, and mutual respect, etc.
(DA.912.F.3.8BAC )
- organizational skills
- ability to problem solve
- self-discipline
| model effective rehearsal and performance expectations and behaviors.
(DA.912.F.3.8BAC )
- rehearsal etiquette, performance expectations, and behaviors
|
model proper audience etiquette, expectations, and interaction with performers. (DA.912.F.3.8BAC )
- exibit audience etiquette and proper interaction with performers.
|
| Week 1 |
|---|
recognize the function of lines and spaces of the staff (including the addition of ledger lines) as the means of visually representing pitch (MAFS.K12.MP.7.1BAC )
| | Week 2 |
|---|
differentiate between major and minor tonality.
(MU.912.O.1.1I R)
- The tonic solfege syllable sets the music’s mode: 1. Major mode: do is tonic (do = 1) 2. Minor mode: la is tonic (la = 1) 3. Relative major/minor: the relationship of tonalities between do tonic and la tonic.
| | Week 3 |
|---|
understand rhythmic relationships regarding time signature classification. (MAFS.K12.MP.7.1BAC )
- simple, compound and mixed meters
- function of top and bottom numbers in time signatures
| | Week 4 |
|---|
Discuss the difference between range and tessitura (LAFS.1112.RST.2.4BAC )
- range: the span from the lowest to the highest note a singer can produce
- tessitura: musically acceptable & comfortable range for a given singer. Also, the general range of a voice part in a piece of music
| | identify the choral ensemble, e.g., unison, SA, SSAA, SAB, SATB.
(MU.912.C.1.4E R)
|
| aurally identify the size of various vocal groups and characterize their voicing.
(MU.912.C.1.4E R)
|
Identify choral voice parts: (MU.912.C.1.4E R)
- Soprano
- Alto
- Tenor
- Bass
- Divisi of choral parts: I – higher, II – lower (ex. SI or S1, SII or S2)
|
Identify voice types: (MU.912.C.1.4E R)
- Soprano
- Mezzo-soprano
- Contralto
- Tenor
- Baritone
- Bass
|
| identify the choral ensemble, e.g., unison, SA, SSAA, SAB, SATB.
(MU.912.C.1.4E R)
|
| aurally identify the size of various vocal groups and characterize their voicing.
(MU.912.C.1.4E R)
|
Identify voice types: (MU.912.C.1.4E R)
- Soprano
- Mezzo-soprano
- Contralto
- Tenor
- Baritone
- Bass
|
| Set individual vocal goals (range, tone, quality, comfort, independence, etc.) (MU.912.C.2.1BAC )
|
| Week 5 |
|---|
Identify accidentals (LAFS.1112.RST.2.4BAC )
- flats - lower pitch
- sharps - raise pitch
- naturals - cancel previous accidentals
| | Week 6 |
|---|
Identify key signatures: (MU.912.O.1.1I R)
- Key Signatures is a series of sharps or flats placed on the staff, designating notes that are to be consistently played one half-step higher or lower than the equivalent natural notes unless otherwise altered with an accidental. (exception: C major/a minor have zero sharps/flats in their key signatures.)
| Identify flat key signatures: (MU.912.O.1.1I R)
- The letter names that flat key signatures alter in order as they appear on the staff: 1-B 2-E 3-A 4-D 5-G 6-C 7-F
- The last flat of the key signature always corresponds with solfege “fa.”
- One to the left from the last flat in the order of flats corresponds with “do,” indicating the major key name.
|
Identify sharp key signatures: (MU.912.O.1.1I R)
- The letter names that sharp key signatures alter in order as they appear on the staff: 1-F 2-C 3-G 4-D 5-A 6-E 7-B * exact opposite order as flats
- The last sharp of the key signature always corresponds with solfege “ti.”
- Two to the right from the last sharp in the order of sharps corresponds with “do,” indicating the major key name.
|
| Week 7 |
|---|
Identify road signs in music (LAFS.1112.RST.2.4BAC )
- rehearsal letters
- repeat signs
- first ending, second ending
- da capo (D.C.): to the beginning
- dal segno (D.S): to the sign
- segno (the 'sign')
- coda - ending section
- al fine: to the measure marked fine
- al coda: to the ending section
| | Week 8 |
|---|
analyze voicing, accompaniment, and expressive elements indicated in the music.
(MU.912.C.1.2I R)
- dynamic markings
- expressive markings
| | Second Quarter |
|---|
identify quality recordings of vocal performances.
(MU.912.C.1.2I R)
- elements of a quality performance
- aesthetics
| | Week 10 |
|---|
define music terms and symbols in a given piece, e.g., tempo markings, dynamics, key, and meter, etc.
(MU.912.O.1.1I R)
| | identify melody, counter melody, and accompaniment.
(MU.912.O.1.1I R)
|
| differentiate between melody and harmony.
(MU.912.O.1.1I R)
|
Describe texture of music: (MU.912.O.1.1I R)
- Monophonic: single melodic line without any accompaniment
- Homophonic: single melodic line supported with harmonic accompaniment
- Polyphonic: two or more independent melodic voices (usually imitative)
- Heterophonic: two or more voices simultaneously performing variations of the same melody
|
Describe melodic contour: (MU.912.O.1.1I R)
- similar motion: movement of two musical lines in same direction but with different intervals
- parallel motion: movement of two musical lines in same direction with the same quantitative intervals
- contrary motion: movement of two musical lines in opposite directions
- oblique motion: movement of one musical line while another remains on the same pitch
|
| Week 11 |
|---|
Discuss the different musical style periods with key word associations: (MU.912.H.1.1BAC )
- Middle Ages (500-1400): Gregorian chant, standardization of music notation.
- Renaissance (1400-1600): Early instruments, music moves towards major/minor modes.
- Baroque (1600-1750): Polyphony, ornamentation.
- Classical (1750-1830): Clarity of melody through homophony, greater emphasis on dynamics and phrasing, clear cadences, structure of music clearly defined.
- Romantic (1815-1910): Mostly homophonic, increased emotional expression through music, more freedom from strict structures, bolder dynamic contrasts and climaxes.
- 20th Century (1900-2000): Extreme registers and unconventional use of instruments, emphasis on rhythmic elements, experimentation with non-tonal systems, introduction of electronic media, rise of education and accessibility to popular music.
| | discuss how music has impacted elements of society, e.g., religion, literature, wars, revolutions, governments/rulers. (MU.912.H.2.1BAC )
|
| Week 12 |
|---|
follow a listening map. (MU.912.C.1.1BAC )
- agreed method and structure of listening map
| engage in active listening by identifying specific forms, e.g., AB, ABA, strophic, etc.
(MU.912.C.1.1BAC )
- melodic material naming conventions
|
Listen and identify the musical characteristics for Middle Ages and Renaissance style periods: (MU.912.C.1.1BAC )
- Related Vocabulary for Middle Ages: plainchant, organum, cantus firmus.
- Related Vocabulary for Renaissance: madrigal, text painting, motet.
|
| Week 13 |
|---|
Listen and identify the musical characteristics for Baroque style periods: (MU.912.C.1.1BAC )
- Related Vocabulary: harpsichord, forte-piano, oratorio, figured-bass
| | Week 14 |
|---|
Listen and identify the musical characteristics for Classical style periods: (MU.912.C.1.1BAC )
- Related Vocabulary: symphony, suite, sonata form, transition, delvelopment, motive, recapitulation, coda, concerto, cadenza, chamber music, string quartet, requiem.
| | Week 15 |
|---|
Listen and identify the musical characteristics for Romantic style periods: (MU.912.C.1.1BAC )
| analyze elements of quality performances based on established criteria.
(MU.912.C.2.2I R)
- Technical Preparation: MU.910.C.2.1
- Tone Quality: MU.910.C.2.1
- Musical Effect: MU.910.C.2.1
|
| Week 16 |
|---|
Listen and identify the musical characteristics for 20th Century style periods: (MU.912.C.1.1BAC )
| | Listen, compare and evaluate the expressive and dramatic effectiveness of performances. (MU.912.C.1.2I R)
|
identify and characterize the use of text as it pertains to style and genre.
(MU.912.C.1.4E R)
- Musical styles/genres: Chant, Liturgical, Spiritual, Folk, Opera, World, Jazz, Pop
|
analyze elements of outstanding or representative performances.
(MU.912.C.3.1E R)
- Elements of outstanding/representative performances: Melodic line, texture, rhythmic interest, harmonic interest, emotional content, dynamic contrast, form, applied technique.
- Musical characteristics of various genres of music.
|
describe how teamwork in the music ensemble translates to other areas and skills.
(MU.912.F.3.1BAC )
- Stressed importance of individual action and effect on group outcomes relating both to musical benchmarks and group dynamics
|
Discuss performance etiquette: (MU.912.F.3.3BAC )
- On stage: posture, facial expression, acceptable amounts of body movement, focus and eye-contact with director, positioning and spacing on risers, entrance and exit from stage.
- Audience member: allow others to see unobstructed; allow others to hear unobstructed; allow others the freedom to engage active or passive listening without interruption. Appropriate concert recognition: genuine or respectful applause only; for exceptional performance, standing applause only.
|
| Week 17 |
|---|
Compare preferences for particular style-periods. (MU.912.C.1.1BAC )
| | Identify reasons for personal preferences toward certain time periods. (MU.912.C.1.1BAC )
|
| model proper audience etiquette, expectations, and interaction with performers. (MU.912.F.3.1BAC )
|
analyze the elements of a given performance.
(MU.912.F.3.3BAC )
- Effect of different performance areas on acoustics
- Amount of aural feedback from various stage positions
- Muscle memory as a tool to avoid over singing
- Tendency of observers to focus on things that do not match
|
| identify examples of music as a cultural function, e.g., anthems, fanfares, religious and ceremonial music, holidays, athletic events, etc. (MU.912.H.1.1BAC )
|
| Second Semester |
|---|
develop ideas regarding compositional intent of the composer. (MU.912.C.1.2I R)
- critical listening skills
| aurally recognize and describe various vocal styles and eras (MU.912.C.1.4E R)
- aurally differentiate between chants, spritiruals, folk/traditional, world music, and jazz
- aurally differentiate between Medieval, Renaissance, Baroque, Classical, 20th Century, Present-Day
|
| Third Quarter |
|---|
identify examples of quality performance through use of choral literature being studied.
(MU.912.C.2.2I R)
| Model proper student behavior for a successful MPA performance (both onstage and as audience members). (MU.912.F.3.1BAC )
- Specific topics related to authentic performance of selected MPA literature not limited to but including: control, choral balance, phrasing musical line, articulations, interpretation, expression and dramatic effectiveness
- Review of acoustical awareness for performance in unfamiliar venues
- Protocol for group sight reading evaluation
- Specific topics related to authentic performance of selected MPA literature not limited to but including: pitch accuracy, rhythmic precision, intonation, composer intent, period style, dialect, choral tone, identified stress and release, and vocal weight
|
| Week 27 |
|---|
Evaluate Music Performance Assessments: (MU.912.C.2.1BAC )
- Tools used to measure effectiveness of MPA performance
- Feedback on personal contribution toward MPA outcomes
| | Fourth Quarter |
|---|
explore leadership opportunities and leadership positions outside of the music room.
(DA.912.F.3.8BAC )
- organizational skills
- ability to problem-solve
- people oriented
| | Week 28 |
|---|
Identify chords and their structure: (MU.912.O.1.1I R)
- Chords: notes played simultaneously creating harmony
- Triads: chord is made of three notes arranged by two 3rds
- Membership of the chord bottom to top is: root, 3rd and 5th (names are interval quantity from starting note, or root)
- Chords are defined as major or minor. (diminished & augmented are not included in year 1)
| | Week 30 |
|---|
identify major musical themes including sections and patterns that outline structural form. (MU.912.O.1.1I R)
| Identify music structure and the levels of organization: (MU.912.O.1.1I R)
- Passage/Phrase: musical sentences, usually marked with cadences
- Piece: entire structure of self-contained work
- Cycle: several pieces that are grouped together as a larger work (suites, operas, concertos, song cycles, sonatas, etc...)
- Strophic: the same music used with different verses of text (hymns, blues, many folk and popular songs, etc...)
- Through-composed: different music for each stanza of lyrics (operas, modern musicals, movie scores, etc...)
|
| Week 32 |
|---|
Identify compositional techniques: (MU.912.O.1.1I R)
- imitation
- sequence (immediate restatement of melodic material at higher or lower pitch)
- inversion (melody turned upside down)
- rise and fall contour of melody
| | Week 35 |
|---|
Self-evaluate yearly vocal gains (range, tone, comfort, independence, etc) (MU.912.C.2.1BAC )
| | sequence the tasks necessary to organize a performance event.
(MU.912.F.3.3BAC )
|
| design and implement materials related to the performance. (MU.912.F.3.3BAC )
|
