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Form in Listening, Composition, and
Performance
Fall 2015 Student Teaching Lamp Presentation
10 Day Unit
Curriculum Project Taught to 6th Grade General Music
at Fall Creek Intermediate
Kelsey Georgesen
Table of Contents
Title Page
Table of Contents
Purpose of Project
Standards
Specific Objectives
Vocabulary
Unit Timeline
Individual Lesson Plans
Supplemental/Communication Items
Plans for Display of Work
Student Assessment Tools
Technology
Differentiation, Modification, and Accommodations
Pre-Test Student Copy and Teacher Copy
Post-Test Student Copy and Teacher Copy
Comparison Graphs
Unit Narrative
Instructional/Assessment Narrative
Results/ Data Interpretation
Final Statement
Project Rubric and Self Evaluation
Purpose of Project
Form will be used as a tool for listening and understanding music, and then
connecting composed music to personal composition ideas. Students will directly
apply this knowledge and corresponding skills to composition and performance
projects as a means for learning other musical knowledge and skills about notation,
genre, styles of music, composing, and performing. Practicing patterns and
following a map helps early adolescents develop skills that are necessary to
understand, create, and perform music, and these skills are also necessary in other
subjects and life skills, including writing and reading, and in navigation skills.
Standards
Indiana State Music Standards:
2. Performing on instruments, alone and with others, a varied repertoire of music.
6.2.1 Play melodic, rhythmic, and chordal patterns by rote and by reading.
6.2.3 Play I, IV, and V chord patterns independently or as part of an
ensemble.
3. Improvising melodies, variations, and accompaniments.
6.3.1 Improvise rhythmic, melodic, and harmonic accompaniments to songs
using pitched and non- pitched classroom instruments and electronic sound
sources.
4. Composing and arranging music within specified guidelines.
6.4.1 Compose short melodic and rhythmic patterns for voice or instruments
within established guidelines.
5. Reading, notating, and interpreting music
6.5.2 Identify and notate rhythms and melodies from aural examples.
6.5.5 Identify examples of non-standard notation.
6. Listening to, analyzing, and describing music.
6.6.1 Describe musical elements of form through discussion, writing, or
illustration.
6.6.2 Identify musical forms in aural examples such as AB, ABA, theme and
variations, and rondo.
National Association of Music Education Standards:
MU:Cr2.1.6a: Select, organize, construct, and document personal musical ideas for
arrangements and compositions within AB or ABA form that demonstrate an
effective beginning, middle, and ending, and convey expressive intent.
MU:Cr2.1.6b: Use standard and/or iconic notation and/or audio/ video recording to
document personal simple rhythmic phrases, melodic phrases, and two- chord
harmonic musical ideas.
MU:Cr3.2.6a: Present the final version of their documented personal composition or
arrangement, using craftsmanship and originality to demonstrate an effective
beginning, middle, and ending, and convey expressive intent.
MU:Pr4.2.6a: Explain how understanding the structure and the elements of music
are used in music selected for performance.
MU:Re7.2.6a: Describe how the elements of music and expressive qualities relate to
the structure of the pieces.
Indiana Literacy Standards:
6-8.RT.4 Determine the meaning of symbols, key terms, and other domain-specific
words and phrases as they are used in a specific technical music context relevant to
grades 6-8 texts and topics.
6-8.RT.5 Analyze the structure an author or composer uses to organize a text,
including how the major sections contribute to the whole and to an understanding of
the topic.
Specific Objectives
Students will be able to compose and record in ABA form using their dubstep
apps.
Students will be able to identify ABA form when presented in a musical
example.
Students will be able to identify and perform in call and response form.
Students will understand how to count and create an 8 measure phrase when
composing.
Students will create a personal notation system for their composition and will
be able to explain it.
Students will be able to identify and label rondo form.
Students will be able to write blues lyrics using the appropriate lyric
structure.
Students will be able to identify verse and refrain by reading or listening to a
music example.
Students will be able to define, create, and perform an ostinato.
Students will be able to understand and perform with D.C. al Fine and Fine
in music.
Students will be able to write about the use of form by composers and
performers in music.
Vocabulary Terms and Definitions
ABA: A three-part form
Blues Form: 12-bar blues harmonic form using I, IV, and V chords or lyric form
using the structure of AAB and rhyming the last word
Call & Response: a question & answer pattern in which a group responds to a
leader
D.C. al Fine: the head to the end
Fine: the end
Form: the structure and design of a composition, incorporating repetition, contrast,
unity, and variety
Ostinato: a repeated musical figure may be rhythmic, harmonic, or melodic
Phrase: a musical thought- a series of pitches or rhythms that makes sense
Refrain: the repeating lyrics of a song, or choruses
Repeat sign: a symbol that indicates performing that section again
Rondo Form: a composition consisting of a recurring theme alternating with
contrasting sections
Theme and Variation: a musical form in which a melodic idea is stated and then
varied in a succession of statements
Verse: differing sections of lyrics in a song, or stanzas
Unit Timeline
Day 0
Pre-Test
September 25th
Day 1
Listening for Same and
Different: Strophic
September 25th
Day 2
Listening for Same and
Different: Call &
Response and Rondo
September 28th
Day 3
Ostinato: Introduction to
Live-action Incredibox
October 13th
Day 4
Introduction Dubstep
Composition
October 19th
Day 7
Blues Harmonic Form
November 9th
Day 8
Blues Harmonic Form
December 1st
Day 9
Blues Lyric Form, 2 days
December 2nd
Day 10
Blues Band Assembly
December 3rd
Day 11
Post-Test
December 4th
Jamaica 1, Strophic Form
Two 30 minute lessons
Unit 2, Day 2
(5th) & 6th Grade
NafMe
National
Standards
1.
Singing,
alone
and
with
others,
a
varied
repertoire
of
music.
2.
Performing
on
instruments,
alone
and
with
others,
a
varied
repertoire
of
music.
6.
Listening
to,
analyzing,
and
describing
music.
9.
Understanding
music
in
relation
to
history
and
culture.
MU:Pr4.2.6a:
Explain
how
understanding
the
structure
and
the
elements
of
music
are
used
in
music
selected
for
performance.
MU:Pr5.1.6a:
Identify
and
apply
teacher-provided
criteria
(such
as
correct
interpretation
of
notation,
technical
accuracy,
originality,
and
interest)
to
rehearse,
refine,
and
determine
when
a
piece
is
ready
to
perform.
MU:
Pr4.2.6c:
Identify
how
cultural
and
historical
context
inform
performances.
MU:Pr4.3.6a:
Perform
a
selected
piece
of
music
demonstrating
how
their
interpretations
of
the
elements
of
music
and
the
expressive
qualities
(such
as
dynamics,
tempo,
timbre,
articulation/style,
and
phrasing)
convey
intent.
MU:Pr5.1.6a:
Identify
and
apply
teacher-provided
criteria
(such
as
correct
interpretation
of
notation,
technical
accuracy,
originality,
and
interest)
to
rehearse,
refine,
and
determine
when
a
piece
is
ready
to
perform
MU:Re7.2.6b:
Identify
the
context
of
music
from
a
variety
of
genres,
cultures,
and
historical
periods.
Objectives
(concept-based,
skill
and
knowledge)
Students
will
be
able
to
label
the
form
of
a
piece
of
music
according
to
the
return
of
a
previous
melody
or
introduction
of
a
new
melody.
Students
will
be
able
to
identify
a
strophic
piece
of
music.
Students
will
be
able
to
sing
songs
with
appropriate
dialect
and
pitch
accuracy
alone
and
while
hearing
accompanying
drum
patterns.
Students
will
be
able
to
perform
drum
patterns
with
accurate
rhythms
and
alternating
hands
alone
and
while
accompanying
singing.
Students
will
be
able
to
maintain
a
steady
pulse
while
repeating
and
performing
rhythms.
Students
will
learn
the
drumming
patterns
for
Nyabinghi
and
Dinki
Mini.
Materials
-accompanying
tracks
-Mango
Time
-Drums
-Rivers
of
Babylon
Procedures
1.
Students
will
follow
classroom
procedure
and
listen
to
Rivers
of
Babylon
as
they
enter
the
classroom.
Students
will
respond
to
predictions
about
the
song
and
style
of
music
that
they
are
hearing,
then
learn
where
Jamaica
is
located
on
a
map
of
North
America
and
the
Caribbean.
2.
Students
listen
for
the
same
or
different
melody
in
the
verses
of
Mango
Time
while
teacher
models
the
song
Mango
Time.
Students
will
identify
the
identical
stanzas
as
AA,
and
will
learn
the
term
strophic.
3.
Students
will
learn
the
-mango
time
phrases
with
sulfege
and
hand
signs.
Students
will
sing
-mango
time
phrases
and
indicate
pitch
direction
on
their
hands
while
teacher
models
Mango
Time
again.
4.
Students
learn
about
the
Jamaican
language,
Patois.
Students
read
and
speak
Patois
lyrics
for
Mango
Time.
Students
learn
Mango
Time
by
rote
with
music
and
lyrics
on
screen
for
independent
connection
opportunities,
noticing
as
the
teacher
points
out
the
sulfege
that
they
sang.
5.
Students
perform
Mango
Time
with
teacher
performing
accompanying
rhythm,
which
serves
as
a
model
and
transition
for
the
drumming
segment
of
the
lesson.
6.
Students
will
learn
the
dinki
mini
pattern
on
their
lap,
practicing
alternating
hands.
Students
listen
to
drum
procedure
about
turning
their
seat
and
sharing
a
tubano
and
sitting
quietly
at
their
drum
until
told
otherwise.
Students
will
then
follow
the
procedure
and
establish
pairs;
one
student
arranges
chairs
while
the
other
retrieves
their
drum.
7.
Students
echo
dinki
mini
repeatedly
using
their
alternating
hands
and
using
the
center
and
edge
of
the
drum
to
achieve
pitch
differences,
then
practice
looping
the
pattern
repeatedly,
8
times
for
example.
8.
One
partner
will
perform
the
dinki
mini
rhythm
while
the
other
performs
the
song
Mango
Time.
(Rhythm
starts,
singers
come
in
together)
9.
Students
will
learn
Nyabinghi
with
their
hand
on
their
heart,
using
the
ta-a
gesture
on
their
hands,
and
then
on
the
drums,
practicing
the
heartbeat
rhythm
together
and
then
performing
it
with
the
recording
of
Rivers
of
Babylon.
Assessment
Assessment
is
formative
as
students
respond
to
questions
throughout
the
lesson
and
teacher
listens
for
pitch
matching
and
monitors
hands
in
rhythmic
patterns
in
order
to
provide
instant
feedback.
Continuation
In
the
next
lesson,
students
will
find
the
rhythms
that
they
have
learned
in
the
song
that
is
playing
and
will
learn
Rivers
of
Babylon
(which
they
have
heard
and
played
drums
with)
as
well
as
the
Bruckins
rhythm
pattern.
They
will
learn
to
identify
same
or
different
melodies
in
Rivers
of
Babylon,
where
the
A-section
returns
between
other
sections.
Jamaica 2, Call & Response and Rondo Form
Second 30 minute lessons
Unit 2, Days 3
(5th) & 6th Grade
NafMe
National
Standards
1.
Singing,
alone
and
with
others,
a
varied
repertoire
of
music.
2.
Performing
on
instruments,
alone
and
with
others,
a
varied
repertoire
of
music.
6.
Listening
to,
analyzing,
and
describing
music.
9.
Understanding
music
in
relation
to
history
and
culture.
MU:Pr4.2.6a:
Explain
how
understanding
the
structure
and
the
elements
of
music
are
used
in
music
selected
for
performance.
MU:Pr5.1.6a:
Identify
and
apply
teacher-provided
criteria
(such
as
correct
interpretation
of
notation,
technical
accuracy,
originality,
and
interest)
to
rehearse,
refine,
and
determine
when
a
piece
is
ready
to
perform.
MU:
Pr4.2.6c:
Identify
how
cultural
and
historical
context
inform
performances.
MU:Pr4.3.6a:
Perform
a
selected
piece
of
music
demonstrating
how
their
interpretations
of
the
elements
of
music
and
the
expressive
qualities
(such
as
dynamics,
tempo,
timbre,
articulation/style,
and
phrasing)
convey
intent.
MU:Pr5.1.6a:
Identify
and
apply
teacher-provided
criteria
(such
as
correct
interpretation
of
notation,
technical
accuracy,
originality,
and
interest)
to
rehearse,
refine,
and
determine
when
a
piece
is
ready
to
perform
MU:Re7.2.6b:
Identify
the
context
of
music
from
a
variety
of
genres,
cultures,
and
historical
periods.
Objectives
(concept-based,
skill
and
knowledge)
Students
will
be
able
to
identify
a
call
and
response
or
question
and
answer
pattern.
Students
will
be
able
to
label
and
identify
music
in
a
rondo
form.
Students
will
be
able
to
label
the
form
of
a
piece
of
music
according
to
the
return
of
a
previous
melody
or
introduction
of
a
new
melody.
Students
will
be
able
to
identify
a
strophic
piece
of
music.
Students
will
be
able
to
sing
songs
with
appropriate
dialect
and
pitch
accuracy
alone
and
while
hearing
accompanying
drum
patterns.
Students
will
be
able
to
perform
drum
patterns
with
accurate
rhythms
and
alternating
hands
alone
and
while
accompanying
singing.
Students
will
be
able
to
maintain
a
steady
pulse
while
repeating
and
performing
rhythms.
Students
will
learn
the
drumming
patterns
for
Bruckins
and
will
be
able
to
recall
the
patterns
for
Nyabinghi
and
Dinki
Mini
when
asked,
and
will
be
able
to
play
back
the
rhythm
when
asked.
Materials
-listening
track
Land
of
My
Birth
-Mango
Time,
Rivers
of
Babylon,
Bruckins
-Drums
Procedures
1.
Students
will
listen
to
Land
of
My
Birth
and
drum
on
their
laps,
trying
to
find
how
the
Nyabinghi
and
Dinki
Mini
patterns
fit.
Students
will
practice
rhythms
in
time
with
the
teacher,
reviewing
the
patterns.
Students
listen
as
the
teacher
models
Bruckins
pattern
with
the
track
Land
of
My
Birth.
2.
Students
sing
Mango
Time
together,
reviewing
the
pitch
direction
and
connecting
it
to
the
written
music
on
the
screen.
Students
will
review
the
label
of
the
form
(AA)
as
they
review
and
identify
the
same
melody
in
the
two
stanzas,
and
will
review
the
term
strophic
used
to
identify
this
form.
Students
take
turns
playing
Dinki
Mini
and
singing
Mango
Time.
3.
Students
listen
as
the
teacher
models
Bruckins,
and
will
learn
about
the
Jamaican
food
bun
and
cheese.Students
will
speak
I
like
bun
and
cheese
and
pat
it
on
their
lap
using
appropriate
hands.
The
same
technique
will
be
used
to
learn
the
phrase
I
like
peanut
butter.
4.
Students
will
practice
call
and
response
of
bun
and
cheese
and
peanut
butter,
and
learn
the
term
call
and
response.
5.
Students
will
form
pairs
with
drums
around
the
room.
The
class
will
practice
the
two
parts
of
Bruckins
as
a
group,
and
then
practice
call
and
response
before
looping
or
playing
the
patterns
in
cannon.
6.
Students
will
learn
the
A-section
melody
of
Rivers
of
Babylon
on
oos.
They
will
listen
for
that
melody
and
indicate
its
presence
with
a
thumbs
up.
They
will
then
label
the
piece
as
a
class
with
ABACA
and
learn
that
it
is
a
rondo
form.
They
will
sing
the
A
section
while
the
teacher
sings
the
rest
of
the
song,
while
students
are
keeping
the
Nyabinghi
pattern
with
their
hand
over
their
hearts.
7.
Students
will
review
the
types
of
form
that
they
have
learned.
Assessment
Assessment
is
formative
as
students
respond
to
questions
throughout
the
lesson
and
teacher
listens
for
pitch
matching
and
monitors
hands
in
rhythmic
patterns
in
order
to
provide
instant
feedback.
Summative
assessment
happens
at
end
of
class
as
students
respond
to
the
name
or
rhythm
of
a
Jamaican
rhythm
pattern
that
they
have
learned.
Continuation
These
basic
elements
of
form
will
be
practiced
and
expanded
on
in
future
lessons,
as
students
learn
about
other
types
of
form,
and
eventual
create
with
their
own.
Incredibox
3
45
minute
lessons
Unit
3,
Day
1
6th
Grade
NafMe
National
Standards
4. Composing and arranging music within specified guidelines.
6. Listening to, analyzing, and describing music.
MU:Cr2.1.6b Use standard and/or iconic notation and/or audio/ video recording to
document personal simple rhythmic phrases, melodic phrases, and two- chord harmonic
musical ideas.
MU:Cr3.2.6a
Present the final version of their documented personal composition or arrangement, using
craftsmanship and originality to demonstrate an effective beginning, middle, and ending,
and convey expressive intent.
Objectives (concept-based, skill and knowledge)
Students will understand what an ostinato pattern is and how to identify it in music.
Students will be able to create their own ostinato pattern.
Students be able to organize and perform a piece using ostinatos, and creating a beginning,
middle, and end to their performance.
Materials
-iPad
-Incredibox.com
and
device
with
Flash
-Superstition
by
Stevie
Wonder
Procedures
1.
Students
will
listen
for
the
form
in
Superstition
and
identify
the
instrument
playing
the
repeated
pattern
over
and
over
again.
2.
Students
will
listen
as
the
teacher
shows
the
notation
for
students
to
follow
while
she
models
the
repeated
pattern
and
defines
a
repeated
pattern
in
music
as
ostinato.
3.
Students
will
go
over
how
to
access
their
log-in
information
and
blackboard
links
in
the
computer
lab.
4.
Students
use
the
Incredibox
site
to
come
up
with
at
least
2
ostinato
performance
options
and
performance
ideas
for
their
group
projects
the
following
days.
Assessment
Assessment
will
be
summative
when
the
students
present
and
submit
their
recorded
dubstep
project
on
the
third
day
of
this
unit.
Formative
assessment
will
happen
throughout
as
the
teacher
monitors
students
and
their
ostinato
ideas
in
the
computer
lab.
Continuation
Students
will
use
ostinatos
in
application
during
their
projects
the
next
two
days,
performing
with
vocal
sounds
or
body
percussion
within
an
ensemble,
and
creating
a
performance
with
a
beginning,
middle,
and
an
end.
Dubstep
3
45
minute
lessons
to
complete
Unit
3,
Day
3-5
5th
&
6th
Grade
NafMe
National
Standards
4. Composing and arranging music within specified guidelines.
6. Listening to, analyzing, and describing music.
MU:Cr2.1.6a
Select, organize, construct, and document personal musical ideas for arrangements and
compositions within AB or ABA form that demonstrate an effective beginning, middle, and
ending, and convey expressive intent.
MU:Cr2.1.6b Use standard and/or iconic notation and/or audio/ video recording to
document personal simple rhythmic phrases, melodic phrases, and two- chord harmonic
musical ideas.
MU:Cr3.2.6a
Present the final version of their documented personal composition or arrangement, using
craftsmanship and originality to demonstrate an effective beginning, middle, and ending,
and convey expressive intent.
Objectives (concept-based, skill and knowledge)
Students will be able to compose and record in ABA form using their dubstep apps.
Students will understand how to count and create an 8 measure phrase.
Students will create a notation system of some kind for their composition and will be able
to explain it.
Materials
-iPad
-worksheets
-Take
Five
Procedures
1.
Students
will
listen
for
the
form
in
Take
Five.
They
will
indicate
the
sections
using
sign
language
letters.
2.
Students
will
listen
with
their
iPads
under
their
seat
while
the
teacher
explains
the
Dubstep
project
and
that
they
will
be
creating
with
ABA
form.
3.
Students
will
practice
counting
8
measure
phrases
as
the
teacher
models
the
creation
process
for
the
project.
4.
Students
will
follow
along
with
the
instructions
in
the
worksheets
and
then
begin
their
projects.
9.
If
students
complete
their
projects
early,
they
may
complete
a
bonus
level
or
work
on
their
keyboard
levels.
Assessment
Assessment
will
be
summative
with
the
worksheet
on
notation
and
number
of
measures
paired
with
the
submitted
recording
of
their
composition.
Formative
assessment
will
happen
throughout
as
the
teacher
checks
students
work
and
provides
assistance
where
needed.
Continuation
From
this
lesson,
students
will
be
able
to
compose
with
Rondo
form
or
create
and
compose
with
their
own
form.
The
creations
that
the
students
made
today
will
be
used
as
background
tracks
for
their
sight-reading
and
sulfege
practice.
DUBSTEP
Name: __________________________
Which pre-set did you use on your dubstep app?
__________________
Level 1: Create an 8-bar dubstep pattern. This is your
A section.
A bar or measure can be in
time signature, which means
there will be four beats in one measure.
How many bars or measures is your A-section?
______________
Use the next two pages to write down what you did
in the A-section.
Use the screenshot of the dubstep app and this space to notate
your creation.
Explain your notation system:
Level 2: Create a B section.
This is a free section, so you can make it as long or short as
you want it to be!
How many bars or measures is your B-section?
______________
Use the next two pages to write down what you did
in the B-section.
Use the screenshot of the dubstep app and this space to notate
your creation.
Explain your notation system:
Level 3: REPEAT your A section. Put your ABA form
together!
Level 3 is a graded assignment.
Use shapes to represent an ABA form below:
__________
__________
__________
Can we play your creation for the class? ______
WHEN YOU SAVE YOUR RECORDING,
TITLE your piece: HomeroomLastNameForm
Example: PhlipotBakerABA
Title of your Dubstep Composition
Catchy Name: _______________________
Official Recording Name: ___________________
IN ORDER TO PASS THIS ASSIGNMENT, YOU
MUST:
1. Record Level 3 (ABA form) and save correctly
2. Email Level 3 to Kelsey.georgesen@gmail.com
3. Complete and turn in a notation sheet for Level 3
Dubstep Worksheet Rubric
Rational for rubric: the purpose of the dubstep project was to get students familiar with ways
of creating music using technology as a resource. The worksheet provided a means for
accountability and higher-level thinking, using divergent thinking in notation strategies and
incorporating basic literacy skills. Not all students have the special skills or literacy
conceptualization to complete these activities, but those who do were deepening connections
made between music and other academic skills. This assignment and corresponding
assessment system allows for both types of students: the students who attempted to connect
music to literacy and coding benefited from the attempt, whether or not they were successful.
Unsatisfactory
Incomplete
Attempted
Completed
Requirements
Did not submit
Submitted
Submitted
Submitted
met
worksheet.
worksheet
worksheet and worksheet and
without fulfilling attempted to
completed all
requirements.
count
required
measures in
information
and notate the
with some
A and B
degree of
sections.
accuracy.
Points allotted
0
1-2
3-4
5
Dubstep Recording Rubric
Rational for rubric: All students created with the dubstep app. Submitting the recording with
the appropriate identification allowed students to be acknowledged for their work. Successful
creating with ABA form and documenting the creation in one recording was the ultimate goal
for the students.
Unsatisfactory
Attempted
Completed
Requirements met
Did not submit
Submitted
Submitted one
recording.
recording, but was
recording in ABA
not ABA form.
form.
(multiple
recordings,
recording in other
form)
Points allotted
0
1-2
3
Introduction to the Blues
6th grade combined class
Day 3 of Unit 4
Third day of first decades Sequence
Standards
6. Listening to, analyzing, and describing music.
8. Understanding relationships between music, the other arts, and disciplines outside the
arts.
9. Understanding music in relation to history and culture.
MU:Re7.2.6b: Identify the context of music from a variety of genres, cultures, and historical
periods.
MU:Cn10.0.6a: Demonstrate how interests, knowledge, and skills relate to personal choices
and intent when creating, performing, and responding to music.
MU:Cn11.0.6a: Demonstrate understanding of relationships between music and the other
arts, other disciplines, varied contexts, and daily life.
MU:Re7.2.6a: Describe how the elements of music and expressive qualities relate to the
structure of the pieces.
MU:Re8.1.6a: Describe a personal interpretation of how creators and performers
application of the elements of music and expressive qualities, within genres and cultural
and historical context, convey expressive intent.
MU:Pr4.2.6c: Identify how cultural and historical context inform the performances.
Objectives
Students will dance the Charleston Stomp and find connections between this dance and the
dances that they learned previously, as well as connections to modern line dances, such as
the Cupid Shuffle.
Students will learn about early blues artists and style, and will figure out what the lyric
form of a blues is.
Students will sing the roots for a 12-bar blues and then learn a walking bassline for the 12-
bar blues on their real piano apps.
Procedures
1. Students will learn the Charleston Stomp to and connect it to the dances they have
learned from the 1920s and 1930s, as well as connect it to contemporary line dances such
as The Cupid Shuffle.
2. Students will listen for lyric structure in Sweet Home Chicago, performed by Roosevelt
Sykes.
3.
Students
will
learn
about
the
rote
tradition
used
in
early
blues,
and
how
Robert
Johnsons
music
was
preserved
and
passed
down
for
later
artists
to
perform
with
the
same
or
developed
style.
4.
Students
will
connect
lyric
form
to
the
harmonic
form
of
a
12-bar
blues.
Students
will
learn
how
to
use
roman
numerals.
5.
Students
will
sing
the
roots
of
a
12-bar
blues
using
numbers
then
note
names.
6.
Students
will
learn
the
blues
progression
on
their
real
piano
apps,
playing
the
roots
together
as
a
class,
then
practicing
the
walking
bassline
pattern
on
their
own
before
playing
as
a
class.
Assessment
Assessment
is
formative
in
this
lesson,
continuous
and
throughout,
asking
students
to
vocalize
connections
that
they
are
making
between
history
and
music,
and
assessing
their
understanding
visually
as
they
respond
to
the
dance
moves.
Constant
monitoring
happens
while
students
have
their
iPads,
walking
around
during
independent
practice
time
and
leading
while
listening
for
unison
playing
at
other
times.
Continuation
This
lesson
will
continue
into
a
blues
composition
unit
in
the
next
rotation,
where
students
will
compose
their
own
blues
lyrics
and
perform
them
in
their
own
blues
bands
comprised
of
digital,
electric,
or
acoustic
instruments.
Review and Continuation of the Blues
6th grade class
Day 1 of Unit 5
Beginning of blues unit following the 20s and 30s decade unit
Standards
1. Singing, alone and with others, a varied repertoire of music.
2. Performing on instruments, alone and with others, a varied repertoire of music.
6. Listening to, analyzing, and describing music.
8. Understanding relationships between music, the other arts, and disciplines outside the
arts.
9. Understanding music in relation to history and culture.
MU:Re7.2.6b:
Identify
the
context
of
music
from
a
variety
of
genres,
cultures,
and
historical
periods.
MU:Cn10.0.6a:
Demonstrate
how
interests,
knowledge,
and
skills
relate
to
personal
choices
and
intent
when
creating,
performing,
and
responding
to
music.
MU:Cn11.0.6a:
Demonstrate
understanding
of
relationships
between
music
and
the
other
arts,
other
disciplines,
varied
contexts,
and
daily
life.
MU:Re7.2.6a:
Describe
how
the
elements
of
music
and
expressive
qualities
relate
to
the
structure
of
the
pieces.
MU:Re8.1.6a:
Describe
a
personal
interpretation
of
how
creators
and
performers
application
of
the
elements
of
music
and
expressive
qualities,
within
genres
and
cultural
and
historical
context,
convey
expressive
intent.
MU:Pr4.2.6c:
Identify
how
cultural
and
historical
context
inform
the
performances.
Objectives
Students
will
sing
the
roots
for
a
12-bar
blues
and
know
the
corresponding
numbers
and
letters.
Students
will
learn
about
influence
of
the
times
on
the
blues
lyric
contents
and
style
of
the
genre.
Students
will
be
able
to
play
a
walking
bassline
for
the
12-bar
blues
on
their
real
piano
apps
at
a
slow
and
medium
tempo
with
a
backing
track
while
teacher
monitors.
They
will
be
able
to
play
the
roots
or
the
bassline
at
a
fast
tempo.
Procedures
1. Students
will
listen
to
a
recording
of
4,
5,
and
9
and
follow
along
by
holding
up
the
numbers
of
the
roots
during
the
first
verse.
They
will
then
sing
the
letter
name
of
the
roots
in
the
key
of
C.
2.
Students
will
review
what
they
learned
about
the
20s
and
30s
in
the
last
rotation,
and
will
watch
a
short
video
about
the
Great
Depression
and
connect
the
new
knowledge
to
their
understanding
of
the
time
period
and
the
blues.
3.
Students
will
review
and
practice
the
walking
bassline
on
their
real
piano
apps
individually
and
then
as
a
class
at
various
tempos
while
the
teacher
monitors
their
progress
and
udnerstanding.
4.
Students
will
listen
to
Good
Morning
Blues
performed
by
Leadbelly
before
singing
along
with
a
track.
5.
Students
will
sing
along
with
the
recording
of
Hound
Dog,
by
Elvis
and
then
perform
the
bassline
on
their
iPads
along
with
the
track.
6.
If
there
is
time,
students
will
listen
to
a
recording
of
Big
Mama
Thornton
performing
the
same
song,
Hound
Dog
in
a
style
that
is
more
blues
than
rock
and
roll.
Assessment
Assessment
is
formative
in
this
lesson,
continuous
and
throughout,
asking
students
to
vocalize
connections
that
they
are
making
between
history
and
music,
and
assessing
their
understanding
visually
and
aurally
as
they
learn
and
practice
the
bassline.
Constant
monitoring
happens
while
students
have
their
iPads,
walking
around
during
independent
practice
time
and
leading
while
listening
for
unison
playing
at
other
times.
1
Continuation
This
lesson
will
continue
into
a
blues
composition
unit
later
in
this
rotation,
where
students
will
compose
their
own
blues
lyrics
and
perform
them
in
their
own
blues
bands
comprised
of
digital
instruments.
Independent Study of the Great Depression and Blues Lyrics Composition
6th grade class
Day 2 of Unit 5
Continuation of blues unit following the 20s and 30s decade unit
Standards
1. Singing, alone and with others, a varied repertoire of music.
2. Performing on instruments, alone and with others, a varied repertoire of music.
6. Listening to, analyzing, and describing music.
8. Understanding relationships between music, the other arts, and disciplines outside the
arts.
9. Understanding music in relation to history and culture.
MU:Re7.2.6b:
Identify
the
context
of
music
from
a
variety
of
genres,
cultures,
and
historical
periods.
MU:Cn10.0.6a:
Demonstrate
how
interests,
knowledge,
and
skills
relate
to
personal
choices
and
intent
when
creating,
performing,
and
responding
to
music.
MU:Cn11.0.6a:
Demonstrate
understanding
of
relationships
between
music
and
the
other
arts,
other
disciplines,
varied
contexts,
and
daily
life.
MU:Re7.2.6a:
Describe
how
the
elements
of
music
and
expressive
qualities
relate
to
the
structure
of
the
pieces.
MU:Re8.1.6a:
Describe
a
personal
interpretation
of
how
creators
and
performers
application
of
the
elements
of
music
and
expressive
qualities,
within
genres
and
cultural
and
historical
context,
convey
expressive
intent.
MU:Pr4.2.6c:
Identify
how
cultural
and
historical
context
inform
the
performances.
Objectives
Students
will
learn
about
influence
of
the
times
on
the
blues
lyric
contents
and
style
of
the
genre.
Students
will
be
able
to
sing
the
melody
for
Good
Morning
Blues
and
will
be
able
to
use
that
melody
as
a
template
in
order
to
compose
original
blues
lyrics.
Procedures
1.
Students
will
listen
for
lyric
form
in
Long
Road
to
Travel
by
Lonnie
Johnson
and
answer
the
prompts.
2.
Students
will
sing
Good
Morning
Blues
to
review
and
internalize
the
melody
for
writing
lyrics.
3.
Students
will
use
blackboard
on
their
iPads
to
independently
watch
videos
and
respond
to
questions
about
the
Great
Depression
and
the
Black
Blizzard.
4.
Once
students
completed
the
video
questions,
they
will
write
their
own
blues
lyrics
Assessment
Assessment
is
formative
in
this
lesson,
continuous
and
throughout,
asking
students
to
write
connections
that
they
are
making
between
history
and
music,
and
assessing
their
understanding
visually
by
walking
around
the
room
and
observing
student
work.
Constant
monitoring
happens
while
students
have
their
iPads,
walking
around
during
independent
work
time
and
answering
questions
about
blues
lyrics.
Continuation
This
lesson
will
continue
into
a
blues
composition
unit
later
in
this
rotation,
where
students
will
perform
their
own
blues
blues
bands
comprised
of
digital
instruments.
Blues Lyric composition and Band Formation
6th grade class
Day 3 of Unit 5
Midway through blues unit following the 20s and 30s decade unit
Standards
1. Singing, alone and with others, a varied repertoire of music.
2. Performing on instruments, alone and with others, a varied repertoire of music.
4. Composing and arranging music within specified guidelines.
6. Listening to, analyzing, and describing music.
9. Understanding music in relation to history and culture.
MU:Re7.2.6b: Identify the context of music from a variety of genres, cultures, and historical
periods.
MU:Cn10.0.6a: Demonstrate how interests, knowledge, and skills relate to personal choices
and intent when creating, performing, and responding to music.
MU:Cn11.0.6a: Demonstrate understanding of relationships between music and the other
arts, other disciplines, varied contexts, and daily life.
MU:Re7.2.6a: Describe how the elements of music and expressive qualities relate to the
structure of the pieces.
MU:Pr4.2.6c: Identify how cultural and historical context inform the performances.
Objectives
Students will learn about influence of the times on the blues lyric contents and style of the
genre.
Students will negotiate as a group to determine parts for their band and whose lyrics they
will use.
Students will listen to differentiate between different instruments.
Students will be able to perform all components required to form a blues band, including
melody, rhythm, and harmony, using their iPads and voices.
Procedures
1. Students will listen for typical blues band instruments in the recording On My Way to
See Moe Asch, by Chamption Jack Dupree and found instruments in the recording of
Minglewood Blues by John Sebastion.
2. Students will discuss found instruments in history and in the 21st century, and know that
they can use their iPads to create music.
3. Students will sing Good Morning Blues to review melody for use in their blues lyrics.
4. Students will review their blues bassline and practice other instrument options on their
iPads as a class.
5. Students will finish their worksheets and lyric compositions before assembling groups
and determining their parts and verses.
Assessment
Assessment
is
formative
in
this
lesson,
continuous
and
throughout,
assessing
their
understanding
visually
and
aurally
by
walking
around
the
room
and
observing
student
work.
Constant
monitoring
happens
while
students
have
their
iPads,
walking
around
during
independent
work
time
and
answering
questions
about
blues
lyrics.
Continuation
This
lesson
will
continue
into
a
blues
composition
unit
later
in
this
rotation,
where
students
will
perform
their
own
blues
blues
bands
comprised
of
digital
instruments.
Blues Band Rehearsal
6th grade class
Day 4 of Unit 5
Final workday in the blues unit following the 20s and 30s decade unit
Standards
1. Singing, alone and with others, a varied repertoire of music.
2. Performing on instruments, alone and with others, a varied repertoire of music.
6. Listening to, analyzing, and describing music.
9. Understanding music in relation to history and culture.
MU:Re7.2.6b:
Identify
the
context
of
music
from
a
variety
of
genres,
cultures,
and
historical
periods.
MU:Cn10.0.6a:
Demonstrate
how
interests,
knowledge,
and
skills
relate
to
personal
choices
and
intent
when
creating,
performing,
and
responding
to
music.
MU:Cn11.0.6a:
Demonstrate
understanding
of
relationships
between
music
and
the
other
arts,
other
disciplines,
varied
contexts,
and
daily
life.
MU:Re7.2.6a:
Describe
how
the
elements
of
music
and
expressive
qualities
relate
to
the
structure
of
the
pieces.
MU:Pr4.2.6c:
Identify
how
cultural
and
historical
context
inform
the
performances.
Objectives
Students
will
negotiate
as
a
group
to
determine
parts
for
their
band
and
whose
lyrics
they
will
use.
Students
will
listen
to
differentiate
between
different
instruments.
Students
will
be
able
to
perform
all
components
required
to
form
a
blues
band,
including
melody,
rhythm,
and
harmony,
using
their
iPads
and
voices.
Students
will
decide
how
to
structure
their
blues
band
performance.
Students
will
successfully
rehearse
their
performance
along
with
the
backing
track.
Procedures
1.
Students
will
listen
for
instruments
and
number
of
musicians
performing
in
the
recording
of
Train
Piece
by
Charlie
Sayles.
2.
Students
will
sing
Good
Morning
Blues
to
review
melody
for
use
in
their
blues
lyrics.
3.
Students
will
rehearse
their
parts
for
their
band
as
a
class
along
with
a
backing
track
while
the
teacher
monitors
and
checks
accuracy
and
understanding
in
parts.
4.
Students
will
rehearse
their
blues
bands
in
their
groups
and
have
a
complete
rehearsal
of
their
blues
along
with
the
backing
track.
Assessment
Assessment is formative in this lesson, continuous and throughout, assessing their
understanding visually and aurally by walking around the room and observing student
work. Constant monitoring happens while students have their iPads, walking around
during independent work time and answering questions about their blues bands.
Continuation
This lesson will continue into a blues composition unit on the final day in this rotation,
where students will perform their own blues blues bands comprised of digital instruments.
Blues Band Performance
6th grade class
Day 5 of Unit 5
Performance closing the blues unit following the 20s and 30s decade unit
Standards
1. Singing, alone and with others, a varied repertoire of music.
2. Performing on instruments, alone and with others, a varied repertoire of music.
6. Listening to, analyzing, and describing music.
9. Understanding music in relation to history and culture.
MU:Re7.2.6b:
Identify
the
context
of
music
from
a
variety
of
genres,
cultures,
and
historical
periods.
MU:Cn10.0.6a:
Demonstrate
how
interests,
knowledge,
and
skills
relate
to
personal
choices
and
intent
when
creating,
performing,
and
responding
to
music.
MU:Cn11.0.6a:
Demonstrate
understanding
of
relationships
between
music
and
the
other
arts,
other
disciplines,
varied
contexts,
and
daily
life.
MU:Re7.2.6a:
Describe
how
the
elements
of
music
and
expressive
qualities
relate
to
the
structure
of
the
pieces.
MU:Pr4.2.6c:
Identify
how
cultural
and
historical
context
inform
the
performances.
Objectives
Students
will
listen
to
make
connections
with
familiar
music
that
incorporates
the
blues.
Students
will
successfully
rehearse
their
performance
along
with
the
backing
track.
Students
will
negotiate
as
a
group
to
determine
how
to
do
their
final
performance.
Students
will
be
able
to
perform
all
components
required
to
form
a
blues
band,
including
melody,
rhythm,
and
harmony,
using
their
iPads
and
voices.
Students
will
perform
as
a
group
in
their
blues
bands.
Procedures
1.
Students
will
listen
to
I
Feel
Good
and
recognize
that
this
familiar
music
uses
the
12
bar
blues
progression.
2.
Students
will
rehearse
their
parts
for
their
band
as
a
class
along
with
a
backing
track
while
the
teacher
monitors
and
checks
accuracy
and
understanding
in
parts.
4.
Students
will
rehearse
their
blues
bands
in
their
groups
briefly
and
have
a
complete
rehearsal
of
their
blues
along
with
the
backing
track.
5.
Students
will
perform
their
blues
bands
and
listen
respectfully
to
their
peers
performing.
Assessment
Summative
assessment
is
used
during
the
performances
as
the
teacher
grades
groups
effectiveness
according
the
corresponding
rubric.
Formative
assessment
is
continuous
and
throughout,
assessing
their
understanding
visually
and
aurally
by
walking
around
the
room
and
observing
student
work.
Constant
monitoring
happens
while
students
have
their
iPads,
walking
around
during
independent
work
time
and
answering
questions
about
their
blues
bands.
Points
Musical Unity
Musical Accuracy
Communication
2
3
Group plays
Group
Group attempts to
together most of
successfully plays
Group does not play
play together
the time,
together in time
together or attempt
without success,
attempting to
alone or along
to follow the form attempting to follow
follow the form
with the backing
or play in time with the form and play
and play in time
track following
accuracy.
in time with little
with some degree
the form of the
accuracy.
of accuracy.
12 bar blues.
Students play their Students play their
Students do not play
Students play their
individual parts individual parts
their individual
individual
with little accuracy
with some degree
parts with accuracy
parts accurately,
and do not use all of accuracy and use
and do not use the
and use the
of the
most of the
appropriate parts
appropriate
appropriate
appropriate
to complete a blues
parts to complete
parts to complete parts to complete
band.
a blues band.
a blues band.
a blues band.
Students do not
Students do not
Students attempt to Students engage in
successfully engage
engage in active and
engage in active
active and
in active and
respectful
and respectful
respectful
respectful
discussion to
discussion to
discussion to
discussion to
assemble and
assemble and
assemble and
assemble and
rehearse their blues
rehearse their
rehearse their
rehearse their blues
band.
blues band.
blues band.
band.
Continuation
The
group
negotiation
skills
required
for
this
performance,
along
with
the
musical
skills
required
to
perform
as
a
group
will
continue
to
develop
as
students
create
and
perform
individually
and
in
groups
throughout
the
year.
Supplemental/Communication Items
I did not have a need to communicate with parents or administrators beyond the
typical communication required to run a classroom. I did communicate with
students about their dubstep projects when I was planning to share them with the
class, giving them a place on their worksheet to demonstrate whether I could share
their composition recordings.
Plans for Display of Work
When time allowed, students had the option of sharing their dubstep projects with
the class. Students did perform for the class in groups during this unit on form, one
performance opportunity utilizing student-created ostinato patterns organized for a
group performance and another with iPad blues bands and student-composed lyrics.
Additionally, sharing a recording of their live-action Incredibox projects with the
class was one requirement of the project.
Student Assessment Tools
Students were assessed throughout each lesson with the use of questioning and
prompting for physical or aural feedback during listening activities. An example of
this is students keeping the steady beat on their air-cellos (like air guitar, but
vertical and with a bow) and standing up when the cello switches from steady beat
to melody. This curriculum project includes a formal assessment given as a pre- and
post-test. The test itself and the corresponding results from the class that I selected
are graphed and analyzed later on in this document. The worksheets and
performance rubrics for specific lessons throughout this project have been included
with the corresponding lesson plans. Performances assessed during this unit
include audio recordings of Dubstep compositions submitted to the teacher, filmed
recordings of the Incredibox project played for the class, and live performances of
blues bands for the class.
Technology
Students utilized their iPads for several components of this project. The incredibox,
dubstep, and blues band projects all required use of the iPad and various music or
recording apps. Additionally, students regularly participated in listening lessons
which used an interactive pairing of powerpoint and recordings of songs or pieces.
Students used the information and prompts given on slides to respond to questions
or with answers or actions about the music that they were listening to.
Differentiation, Modification, and Accommodations
There is much flexibility of time and space in the music classroom at the school
where this curriculum project was administered, and students were offered that
space or resources to help them best succeed. Some students needed a quiet space
and an additional day to complete their work, and we made those resources
available. Other students completed their tasks successfully very quickly. Those
students had other musical tasks to complete following the submission of their
other projects. There were also options for pursuing or creating more challenging
elements within each project, with many creation opportunities being open for
interpretation. During our live performances, one student with chronic and
undiagnosed anxiety spent several days attempting to be let out of the project. A
solution was arranged between the music teachers and his counselor so that his
counselor would come in to his class during the performances and support him. This
additional and safe support system gave the student the confidence to perform in a
group with his peers. Students who had low English literacy skills or IEPs with
literacy exceptionalities completed the same tasks and projects but were allowed to
move on to the next activity at the time that the rest of their peers completed
(during 2 or 3 day projects) without consequence. All students were expected to try
the projects and assignments, and all students included in this assessment were
able to complete the assigned tasks. Some students who were not in this assessed
class but whom received some of the same lessons surprised us with a heightened
understanding demonstrated on their assessment that was not made clear in the
classroom.
Pre-Test, Student Copy
If you do not know the answer, skip ahead to the next question!
Listening: Read the directions and listen to the excerpts being played. Select the most
appropriate answer.
1. Listen to an excerpt from Minnie the Moocher by Cab Callaway.
Circle the form of this excerpt.
a) Period Structure
b) Call and Response
c) Phrase
d) Sentence Structure
2.
Listen
to
the
teacher
playing
the
piano.
Label
the
form
of
her
piece
using
some
or
all
of
the
following
letters
in
the
appropriate
order:
3.
Listen
to
the
song
in
blues
form,
Sweet
Home
Chicago.
Which
line
has
a
different
melody?
Line
1
Line
2
Line 3
4.
Another
word
for
refrain
is
__________________________.
Circle
all
of
the
refrains
in
the
lyrics
below.
5.
Another
word
for
verse
is
__________________________.
Draw
a
box
around
the
verses
in
the
lyrics
below.
Listening
to
Rockin
Robin
by
Bobby
Day
He
rocks
in
the
tree
tops
all
day
long
Hoppin'
and
a-boppin'
and
singing
his
song
All
the
little
birdies
on
Jaybird
Street
Love
to
hear
the
robin
go
tweet
tweet
tweet
Rockin'
robin,
rock
rock
Rockin'
robin
Blow
rockin'
robin
'Cause
we're
really
gonna
rock
tonight
Every
little
swallow,
every
chick-a-dee
Every
little
bird
in
the
tall
oak
tree
The
wise
old
owl,
the
big
black
crow
Flappin'
their
wings
singing
go
bird
go
Rockin'
robin,
rock
rock
Rockin'
robin
Blow
rockin'
robin
'Cause
we're
really
gonna
rock
tonight
Pretty
little
raven
at
the
bird's
bandstand
Told
them
how
to
do
the
bop
and
it
was
grand
They
started
going
steady
and
bless
my
soul
He
out-bopped
the
buzzard
and
the
oriole
Vocabulary:
Match
the
correct
term
to
the
definition
ostinato
Call
and
Response
Rondo
Form
Fine
Theme
and
Variation
Form
D.C
al
Fine
Phrase
1. _________________________ : a musical form in which a melodic idea is stated
and then varied in a succession of statements
2. _________________________ : a composition consisting of a recurring theme
alternating with contrasting sections
3. _________________________ : the head to the end
4. _________________________
sense
: a musical thought- a series of pitches that makes
5. _________________________ : a question & answer pattern in which a group
responds to a leader
6. _________________________ : the structure and design of a composition,
incorporating repetition, contrast, unity, and variety
7. _________________________ : a repeated musical figure may be rhythmic,
harmonic, or melodic
8. _________________________ : the end
Identify:
Label the musical form of the example below
1.
___________
___________
___________
___________
___________
2. This form is called _______________________ form.
3. What is this symbol called?
________________________
4. What is the form of Joshua Fought the Battle of Jericho?
You may answer with the name of the form or the letters that show the form.
Name: ___________________________
Letters: _______ _______ _______
5. Follow the form of Joshua Fought the Battle of Jericho. Copy the lyrics of the
last phrase to be sung in this song.
________________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________
Joshua Fought the Battle of Jericho
Create: Use shapes or symbols to create your own form. Label your form with
letters below the shapes or symbols. Write the name of that form above.
OR
Write lyrics for one verse in a blues form.
Reflect:
Why
is
form
important
in
music?
How
does
it
help
composers
create
music?
How
does
it
help
performers?
_______________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________
Pre-Test, Teacher copy
If you do not know the answer, skip ahead to the next question!
Listening: Read the directions and listen to the excerpts being played. Select the most
appropriate answer.
1. Listen to an excerpt from Minnie the Moocher by Cab Callaway.
Circle the form of this excerpt.
a) Period Structure
b) Call and Response
c) Phrase
d) Sentence Structure
2.
Listen
to
the
teacher
playing
the
piano.
Label
the
form
of
her
piece
using
some
or
all
of
the
following
letters
in
the
appropriate
order:
3.
Listen
to
the
song
in
blues
form,
Sweet
Home
Chicago.
Which
line
has
a
different
melody?
Line
1
Line
2
Line 3
4.
Another
word
for
refrain
is
_________chorus_________________.
Circle
all
of
the
refrains
in
the
lyrics
below.
5.
Another
word
for
verse
is
___________stanza_______________.
Draw
a
box
around
the
verses
in
the
lyrics
below.
Listening
to
Rockin
Robin
by
Bobby
Day
He
rocks
in
the
tree
tops
all
day
long
Hoppin'
and
a-boppin'
and
singing
his
song
All
the
little
birdies
on
Jaybird
Street
Love
to
hear
the
robin
go
tweet
tweet
tweet
Rockin'
robin,
rock
rock
Rockin'
robin
Blow
rockin'
robin
'Cause
we're
really
gonna
rock
tonight
Every
little
swallow,
every
chick-a-dee
Every
little
bird
in
the
tall
oak
tree
The
wise
old
owl,
the
big
black
crow
Flappin'
their
wings
singing
go
bird
go
Rockin'
robin,
rock
rock
Rockin'
robin
Blow
rockin'
robin
'Cause
we're
really
gonna
rock
tonight
Pretty
little
raven
at
the
bird's
bandstand
Told
them
how
to
do
the
bop
and
it
was
grand
They
started
going
steady
and
bless
my
soul
He
out-bopped
the
buzzard
and
the
oriole
Vocabulary:
Match
the
correct
term
to
the
definition
ostinato
Call
and
Response
Rondo
Form
Fine
Theme
and
Variation
Form
D.C
al
Fine
Phrase
1. __
Theme and Variation___ : a musical form in which a melodic idea is stated
and then varied in a succession of statements
2. ______
Rondo
Form _______ : a composition consisting of a recurring theme
alternating with contrasting sections
3. _______
D.C
al
Fine _______ : the head to the end
4. _____
Phrase _______
: a musical thought- a series of pitches that makes sense
5. ______
Call
and
Response __________ : a question & answer pattern in which a
group responds to a leader
6. ______
Form ________ : the structure and design of a composition, incorporating
repetition, contrast, unity, and variety
7. _____
ostinato _______ : a repeated musical figure may be rhythmic, harmonic,
or melodic
8. ________
Fine ___________ : the end
Identify:
Label the musical form of the example below
1.
B A C
2. This form is called _________Rondo______________ form.
3. What is this symbol called?
___________Repeat_____________
4. What is the form of Joshua Fought the Battle of Jericho?
You may answer with the name of the form or the letters that show the form.
Name: ____________________
Letters: ___A____ __
B___
___
A ____
5. Follow the form of Joshua Fought the Battle of Jericho. Copy the lyrics of the
last phrase to be sung in this song.
And the walls came tumbling down
_______________________________________________________________________
Joshua Fought the Battle of Jericho
Create: Use shapes or symbols to create your own form. Label your form with
letters below the shapes or symbols. Write the name of that form above.
OR
Write lyrics for one verse in a blues form.
Shapes
or
symbols
must
correspond
with
the
letters
labeling
them.
Must
start
with
letter
A.
Lyrics
for
blues
form
must
have
3
lines,
the
first
two
are
the
same
and
the
third
is
different,
with
a
rhyming
last
word.
Reflect:
Why
is
form
important
in
music?
How
does
it
help
composers
create
music?
How
does
it
help
performers?
Answer is in complete sentences. Form is used for composers to develop their piece
and add interest. Knowing the form helps performers to follow along and keep their
place in the music.
_______________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________
Post-Test, Student Copy
Listening: Read the directions and listen to the excerpts being played. Select the most
appropriate answer.
1. Listen to an excerpt from Minnie the Moocher by Cab Callaway.
Circle the form of this excerpt.
a) Period Structure
b) Call and Response
c) Phrase
d) Sentence Structure
2.
Listen
to
the
teacher
playing
the
piano.
Label
the
form
with
letters.
3.
Listen
to
the
song
in
blues
form,
Sweet
Home
Chicago.
Circle
the
line
of
words
that
has
a
different
melody?
a)
Line
1:
Baby
dont
you
wanna
go?
b)
Line
2:
Baby
dont
you
wanna
go?
c)
Line
3:
To
that
bright
light
city,
sweet
home
Chicago.
4. Another word for refrain is __________________________.
Circle all of the refrains in the lyrics below.
5. Another word for verse is __________________________.
Draw a box around the verses in the lyrics below.
Listening to Rockin Robin by Bobby Day
He rocks in the tree tops all day long
Hoppin' and a-boppin' and singing his song
All the little birdies on Jaybird Street
Love to hear the robin go tweet tweet tweet
Rockin' robin, rock rock
Rockin' robin
Blow rockin' robin
'Cause we're really gonna rock tonight
Every little swallow, every chick-a-dee
Every little bird in the tall oak tree
The wise old owl, the big black crow
Flappin' their wings singing go bird go
Rockin' robin, rock rock
Rockin' robin
Blow rockin' robin
'Cause we're really gonna rock tonight
Pretty little raven at the bird's bandstand
Told them how to do the bop and it was grand
They started going steady and bless my soul
He out-bopped the buzzard and the oriole
Vocabulary:
Match
the
correct
term
to
the
definition
ostinato
Call
and
Response
Rondo
Form
Fine
Theme
and
Variation
Form
D.C
al
Fine
Phrase
1. _________________________ : a musical form in which a melodic idea is stated
and then varied in a succession of statements
2. _________________________ : a composition consisting of a recurring theme
alternating with contrasting sections
3. _________________________ : the head to the end
4. _________________________
sense
: a musical thought- a series of pitches that makes
5. _________________________ : a question & answer pattern in which a group
responds to a leader
6. _________________________ : the structure and design of a composition,
incorporating repetition, contrast, unity, and variety
7. _________________________ : a repeated musical figure may be rhythmic,
harmonic, or melodic
8. _________________________ : the end
Identify:
Label the musical form of the example below
1.
___________
___________
___________
___________
___________
2. This form is called _______________________ form.
3. What is this symbol called?
________________________
4. What is the form of Joshua Fought the Battle of Jericho?
_____________________________________________________
5. Follow the musical symbols showing form of Joshua Fought the Battle of
Jericho. Copy the lyrics of the last phrase to be sung in this song.
________________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________
Joshua Fought the Battle of Jericho
Reflect:
Why
is
form
important
in
music?
How
does
it
help
composers
create
music?
How
does
it
help
performers?
_______________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________
Create: Choose one of the questions to answer.
-Use shapes or symbols to create your own form. Label your form with letters below
the shapes or symbols. Write the name of that form above.
OR
-Write lyrics for one verse in a blues form.
Post-Test, Teacher copy
Listening: Read the directions and listen to the excerpts being played. Select the most
appropriate answer.
1. Listen to an excerpt from Minnie the Moocher by Cab Callaway.
Circle the form of this excerpt.
a) Period Structure
b) Call and Response
c) Phrase
d) Sentence Structure
2.
Listen
to
the
teacher
playing
the
piano.
Label
the
form
with
letters.
3.
Listen
to
the
song
in
blues
form,
Sweet
Home
Chicago.
Circle
the
line
of
words
that
has
a
different
melody?
a)
Line
1:
Baby
dont
you
wanna
go?
b)
Line
2:
Baby
dont
you
wanna
go?
c)
Line
3:
To
that
bright
light
city,
sweet
home
Chicago.
4. Another word for refrain is ________chorus__________________.
Circle all of the refrains in the lyrics below.
5. Another word for verse is _________stanza_________________.
Draw a box around the verses in the lyrics below.
Listening to Rockin Robin by Bobby Day
He rocks in the tree tops all day long
Hoppin' and a-boppin' and singing his song
All the little birdies on Jaybird Street
Love to hear the robin go tweet tweet tweet
Rockin' robin, rock rock
Rockin' robin
Blow rockin' robin
'Cause we're really gonna rock tonight
Every little swallow, every chick-a-dee
Every little bird in the tall oak tree
The wise old owl, the big black crow
Flappin' their wings singing go bird go
Rockin' robin, rock rock
Rockin' robin
Blow rockin' robin
'Cause we're really gonna rock tonight
Pretty little raven at the bird's bandstand
Told them how to do the bop and it was grand
They started going steady and bless my soul
He out-bopped the buzzard and the oriole
Vocabulary:
Match
the
correct
term
to
the
definition
ostinato
Call
and
Response
Rondo
Form
Fine
Theme
and
Variation
Form
D.C
al
Fine
Phrase
1. __ Theme and Variation _ : a musical form in which a melodic idea is stated
and then varied in a succession of statements
2. _____ Rondo Form______ : a composition consisting of a recurring theme
alternating with contrasting sections
3. _____D.C. al Fine______ : the head to the end
4. _____phrase_____
: a musical thought- a series of pitches that makes sense
5. ____Call and Response_________ : a question & answer pattern in which a
group responds to a leader
6. ___Form__________ : the structure and design of a composition, incorporating
repetition, contrast, unity, and variety
7. _____ostinato___________ : a repeated musical figure may be rhythmic,
harmonic, or melodic
8. _______Fine_________ : the end
Identify:
Label the musical form of the example below
1.
2. This form is called ______Rondo____ form.
3. What is this symbol called?
__repeat sign___
4. What is the form of Joshua Fought the Battle of Jericho?
_________ABA___________
5. Follow the musical symbols showing form of Joshua Fought the Battle of
Jericho. Copy the lyrics of the last phrase to be sung in this song.
And the walls came tumbling down.
_______________________________________________________________________
Joshua Fought the Battle of Jericho
Reflect:
Why
is
form
important
in
music?
How
does
it
help
composers
create
music?
How
does
it
help
performers?
Answer is in complete sentences. Form is used for composers to develop their piece
and add interest. Knowing the form helps performers to follow along and keep their
place in the music.
_______________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________
Create: Choose one of the questions to answer.
-Use shapes or symbols to create your own form. Label your form with letters below
the shapes or symbols. Write the name of that form above.
OR
-Write lyrics for one verse in a blues form.
Shapes or symbols must correspond with the letters labeling them. Must start with letter A.
Lyrics for blues form must have 3 lines, the first two are the same and the third is different,
with a rhyming last word.
Blues Band Practice and Performance Rubric
Points
Musical Unity
Group does not play
together or attempt
to follow the form
or play in time
with accuracy.
Group attempts to
play together
without success,
attempting to
follow the form
and play in time
with little accuracy.
Musical Accuracy
Students do not play
their individual
parts with accuracy
and do not use the
appropriate parts
to complete a blues
band.
Communication
Students do not
engage in active
and respectful
discussion to
assemble and
rehearse their blues
band.
Students play their
individual parts
with little accuracy
and do not use all
of the
appropriate
parts to complete
a blues band.
Students do not
successfully engage
in active and
respectful
discussion to
assemble and
rehearse their blues
band.
2
Group plays
together most of
the time,
attempting to
follow the form
and play in time
with some degree
of accuracy.
Students play their
individual parts
with some degree
of accuracy and
use most of the
appropriate
parts to complete
a blues band.
Students attempt
to engage in
active and
respectful
discussion to
assemble and
rehearse their
blues band.
3
Group
successfully plays
together in time
alone or along
with the backing
track following
the form of the
12 bar blues.
Students play
their individual
parts accurately,
and use the
appropriate
parts to
complete a blues
band.
Students engage
in active and
respectful
discussion to
assemble and
rehearse their
blues band.
Comparison Graphs
The charts below display the data on bar graphs showing each student, assigned a
number, and their score out of 35 possible points on the pre or post test. That data set has
been labeled with a color to indicate which percentile category their assessment falls into.
These labels are based off of the teacher assessment score categories used by Fall Creek
Intermediate School.
Legend:
0-40% is the low category, and his indicated in red.
40.1-70% is the medium category, and his indicated in yellow.
70.1-100% is the high category, and his indicated in green.
Data set used:
Pre-Test
1
6
2
2
3
5
4
5
5
8
6
15
7
6
8
5
9
6
10
9
11
8
12
15
13
15
14
3
15
3
16
8
17
4
18
7
19
12
20
7
21
8
22
3
23
6
24
5
25
Absent
26
Absent
Post-Test
Performance
Scores
12.5
17.5
25
21
25
28
24
15
23
21.5
19
17
27
18
14
25
18
24
23
25
22
19
25
23
30
27
7
4
8
7
7
7
8
8
7
6
7
7
6
6
4
8
6
8
8
7
7
7
8
8
8
6
Pre-Test Post-Test Pre-Test Post-Test Pre-Test Post-Test
NAFME 6 NAFME 6 NAFME 5 NAFME 5 NAFME 4 NAFME 4
5
1
4
5
7
7
6
4
5
9
5
5
9
2
1
8
4
6
2
3
7
2
5
2
Absent
Absent
6
10
11
9
15
14
10
8
11
10
7
7
10
8
6
11
6
10
11
12
10
9
12
12
16
12
1
1
1
0
1
5
1
1
1
0
1
6
6
1
1
0
0
1
6
1
1
1
1
3
Absent
Absent
6
6
7
6
7
9
7
2
7
7
6
6
10
5
6
6
6
7
7
7
6
7
6
6
7
10
0
0
0
0
0
3
0
0
0
0
1
4
0
0
1
0
0
0
4
4
0
0
0
0
Absent
Absent
1.5
1.5
6
6
3
5
6
5
5
4.5
6
4
7
5
2
7
6
7
5
7
6
3
7
5
7
5
35
Pre-Test
Data
30
25
20
Assessment
Scores
15
10
5
0
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
Students
35
Post-Test
Data
30
25
20
Assessment
Scores
15
10
5
0
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
Students
35
Comparison
Data
of
Pre
and
Post
Tests
30
25
20
Assessment
Scores
15
10
0
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
Students
Student Performance Scores
8
7
6
Assessment 5
Scores
4
3
2
1
0
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26
Students
NafMe Standard 6: Listening to, analyzing, and describing music.
17
NafMe
Standard
15
6
Pre-Test
13
11
Assessment
9
Scores
7
5
3
1
-1
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
Students
NafMe
17
Standard
15
6
Post-Test
13
1
2
3
11
Assessment
9
Scores
7
5
6
-1
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
10
Students
NafMe Standard 6
16
Pre and Post-Test
14
12
10
Assessment
Scores
0
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
Students
NafMe Standard 5: Reading, notating, and interpreting music.
NafMe Standard 516
Pre-Test
14
12
10
Assessment
Scores
8
6
4
2
0
1
9
11
13
15
17
19
21
23
25
Students
16
5
NafMe
Standard
Post-Test
14
12
10
Assessment
8
Scores
6
4
2
0
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
Students
NafMe
Standard
5
16
Pre
and
Post-Test
14
12
10
Assessment
Scores
8
6
4
2
0
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
Students
NafMe Standard 4: Composing and arranging music within specified guidelines.
NafMe
Standard
4
6
Pre-Test
5
Assessment
Scores
4
3
2
1
0
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
Students
NafMe
Standard
4
6
Post-Test
5
Assessment
Scores
4
3
2
1
0
1
9
11
13
15
17
19
21
23
25
Students
NafMe
Standard
4
Pre
and
Post-Test
6
4
Assessment
Scores
3
0
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
Students
Unit Narrative
Content Standards Covered in this Unit:
Indiana State Music Standards:
2. Performing on instruments, alone and with others, a varied repertoire of music.
6.2.1 Play melodic, rhythmic, and chordal patterns by rote and by reading.
6.2.3 Play I, IV, and V chord patterns independently or as part of an
ensemble.
3. Improvising melodies, variations, and accompaniments.
6.3.1 Improvise rhythmic, melodic, and harmonic accompaniments to songs
using pitched and non- pitched classroom instruments and electronic sound
sources.
4. Composing and arranging music within specified guidelines.
6.4.1 Compose short melodic and rhythmic patterns for voice or instruments
within established guidelines.
5. Reading, notating, and interpreting music
6.5.2 Identify and notate rhythms and melodies from aural examples.
6.5.5 Identify examples of non-standard notation.
6. Listening to, analyzing, and describing music.
6.6.1 Describe musical elements of form through discussion, writing, or
illustration.
6.6.2 Identify musical forms in aural examples such as AB, ABA, theme and
variations, and rondo.
National Association of Music Education Standards:
MU:Cr2.1.6a: Select, organize, construct, and document personal musical ideas for
arrangements and compositions within AB or ABA form that demonstrate an
effective beginning, middle, and ending, and convey expressive intent.
MU:Cr2.1.6b: Use standard and/or iconic notation and/or audio/ video recording to
document personal simple rhythmic phrases, melodic phrases, and two- chord
harmonic musical ideas.
MU:Cr3.2.6a: Present the final version of their documented personal composition or
arrangement, using craftsmanship and originality to demonstrate an effective
beginning, middle, and ending, and convey expressive intent.
MU:Pr4.2.6a: Explain how understanding the structure and the elements of music
are used in music selected for performance.
MU:Re7.2.6a: Describe how the elements of music and expressive qualities relate to
the structure of the pieces.
Indiana Literacy Standards:
6-8.RT.4 Determine the meaning of symbols, key terms, and other domain-specific
words and phrases as they are used in a specific technical music context relevant to
grades 6-8 texts and topics.
6-8.RT.5 Analyze the structure an author or composer uses to organize a text,
including how the major sections contribute to the whole and to an understanding of
the topic.
Specific Objectives
Students will be able to compose and record in ABA form using their dubstep
apps.
Students will be able to identify ABA form when presented in a musical
example.
Students will be able to identify and perform in call and response form.
Students will understand how to count and create an 8 measure phrase when
composing.
Students will create a personal notation system for their composition and will
be able to explain it.
Students will be able to identify and label rondo form.
Students will be able to write blues lyrics using the appropriate lyric
structure.
Students will be able to identify verse and refrain by reading or listening to a
music example.
Students will be able to define, create, and perform an ostinato.
Students will be able to understand and perform with D.C. al Fine and Fine
in music.
Students will be able to write about the use of form by composers and
performers in music.
Accommodating students of different abilities
There is much flexibility of time and space in the music classroom at the
school where this curriculum project was administered, and students were offered
that space or resources to help them best succeed. Some students needed a quiet
space and an additional day to complete their work, and we made those resources
available. Other students completed their tasks successfully very quickly. Those
students had other musical tasks to complete following the submission of their
other projects. There were also options for pursuing or creating more challenging
elements within each project, with many creation opportunities being open for
interpretation. During our live performances, one student with chronic and
undiagnosed anxiety spent several days attempting to be let out of the project. A
solution was arranged between the music teachers and his counselor so that his
counselor would come in to his class during the performances and support him. This
additional and safe support system gave the student the confidence to perform in a
group with his peers. Students who had low English literacy skills or IEPs with
literacy exceptionalities completed the same tasks and projects but were allowed to
move on to the next activity at the time that the rest of their peers completed
(during 2 or 3 day projects) without consequence. All students were expected to try
the projects and assignments, and all students included in this assessment were
able to complete the assigned tasks. Some students who were not in this assessed
class but whom received some of the same lessons surprised us with a heightened
understanding demonstrated on their assessment that was not made clear in the
classroom.
Authentic Critical Thinking and Problem solving Skills Developed in this Unit
Learning about form, students were required to look at music in ways that
they have previously looked at literature. This helped students perceive music as an
art that can be analyzed and better understood. Students had to navigate ways to
represent form through symbol representation, creating their own notation systems,
and through music as they composed their own dubstep pieces. Students learned to
see form through the eyes of a composer in this way, and then learned the history
and culture surrounding composers who used some of the same forms that the
students were learning about, which helped to give perspective to the styles used in
music and the lyric content as it appeared with its own musical form.
Students spent quite a bit of time in this unit learning to be self-directed
while working independently or as a small group. Independent work included
reflecting upon information learned for a worksheet, and composing their own blues
band lyrics. In a small group, students learned to lead themselves and practice
communication as they created individual ostinatos, learned blues patterns, and
assembled a blues band. The discussion required for assembling a blues band
proved very challenging for many students, as they discovered they had to
compromise with their many ideas. In the blues band, students applied musical
skills that they had already learned and practiced, but learning to assemble a group
for a performance was a huge life lesson for these students. Many students will look
at performing groups through new eyes after this experience trying to work with
just a small group on a simple piece, and will better be able to understand the
components of bands performing the music that they listen to.
Instructional strategies used in this unit include the following:
-Modeling
-Guided listening, including responding to prompts and moving to indicate
understanding
-Dancing used to learn form, history, and culture of music
-Composing and performing with technology, using 21st century found instruments
and utilizing local resources
-Composing lyrics and music within specific structural constraints
-Student led reflection and groups
-Performance
Technology
Students utilized their iPads for several components of this project. The
incredibox, dubstep, and blues band projects all required use of the iPad and
various music or recording apps. Additionally, students regularly participated in
listening lessons which used an interactive pairing of powerpoint and recordings of
songs or pieces. Students used the information and prompts given on slides to
respond to questions or with answers or actions about the music that they were
listening to.
Assessment Narrative
Students who had low English literacy skills or IEPs with literacy
exceptionalities completed the same tasks and projects but were allowed to move on
to the next activity at the time that the rest of their peers completed (during 2 or 3
day projects) without consequence. All students were expected to try the projects
and assignments, and all students included in this assessment were able to
complete the assigned tasks. Some students who were not in this assessed class but
whom received some of the same lessons surprised us with a heightened
understanding demonstrated on their assessment that was not made clear in the
classroom.
Students were assessed throughout each lesson with the use of questioning
and prompting for physical or aural feedback during listening activities. An
example of this is students keeping the steady beat on their air-cellos (like air
guitar, but vertical and with a bow) and standing up when the cello switches from
steady beat to melody. This curriculum project includes a formal assessment given
as a pre- and post-test. The test itself and the corresponding results from the class
that I selected are graphed and analyzed later on in this document. The worksheets
and performance rubrics for specific lessons throughout this project have been
included with the corresponding lesson plans. Performances assessed during this
unit include audio recordings of Dubstep compositions submitted to the teacher,
filmed recordings of the Incredibox project played for the class, and live
performances of blues bands for the class.
Instructional Narrative
How Directions were Presented to Students
Students always received directions for assignments from the teacher
verbally during class, along with a visual aid. Expected tasks were modeled, and the
class practiced portions of the expected activity together before students were given
self-directed time and space to complete their expectations.
Project relates to Standards in the Unit
This project was designed with overarching musical goals, and the plans
accomplished specific standards related to these goals. For example, students
listened to, performed with, and created music in ABA form during this unit. This
develops valuable musical skills related to the standards and objectives of listening,
performing, and creating, but is also included as a specific National Standard of
Music Education. The topic of form allows standards outside of music, especially
literacy, to be easily and organically included in this curriculum.
Accounting for Differences in Students
There is much flexibility of time and space in the music classroom at the
school where this curriculum project was administered, and students were offered
that space or resources to help them best succeed. Some students needed a quiet
space and an additional day to complete their work, and we made those resources
available. Other students completed their tasks successfully very quickly. Those
students had other musical tasks to complete following the submission of their
other projects. There were also options for pursuing or creating more challenging
elements within each project, with many creation opportunities being open for
interpretation. During our live performances, one student with chronic and
undiagnosed anxiety spent several days attempting to be let out of the project. A
solution was arranged between the music teachers and his counselor so that his
counselor would come in to his class during the performances and support him. This
additional and safe support system gave the student the confidence to perform in a
group with his peers. Students who had low English literacy skills or IEPs with
literacy exceptionalities completed the same tasks and projects but were allowed to
move on to the next activity at the time that the rest of their peers completed
(during 2 or 3 day projects) without consequence. All students were expected to try
the projects and assignments, and all students included in this assessment were
able to complete the assigned tasks. Some students who were not in this assessed
class but whom received some of the same lessons surprised us with a heightened
understanding demonstrated on their assessment that was not made clear in the
classroom.
Engagement in their world
Practicing patterns and following a map is necessary in using form in music,
and helps early adolescents develop skills that are necessary to understand, create,
and perform music. These skills are also necessary in other subjects and life skills,
including writing and reading, and in navigation skills. Students are required to
engage in specific and flexible communication skills in order to successfully
complete group work, which is invaluable experience for them at this stage in life
and throughout.
Criteria for this Project and Informance
There were several small projects within this one large project. Students
were informed before their pre-test that this project was to measure their
understanding about form in music, and that they had not yet had this unit so the
pre-test was only being given to understand their growth, as seen in the post-test
given at the end of the semester. Lessons and projects were always tied back to
form, and brief informal reviews explicitly connecting the projects to the topic
happened throughout the semester.
Results/ Data Interpretation
Analysis of Pre-Test Scores
As a class, the pre-test score was very low. The mean of the scores was 7 out
of 35, and the median is 8.5 out of 35. These numbers exclude the students who
were not in class to take the pre-test that day. 21 of the 24 students fell in the low
category, scoring less than 40%. Three students fell into the medium category,
scoring between a 40 and 70 percent. Looking at individual standards tested, the
pre-test reflects these overall scores.
Changes Made to the Unit
Before testing the students, I had intended to focus on many broad elements
of form, such as strophic, binary, and turnary. As I analyzed the pre-test data and
learned more about the students and how they best learn, I realized that focusing
more on application of form was more relevant and more valuable to the students.
The lessons ended up utilizing many listening activities and performance or
composition projects.
Performance Analysis
I developed rubrics for grading class performances, which in this unit
included a recorded composition, a recorded and shared ostinato ensemble, and a
live performance of an iPad blues band. The iPad blues band was performed right
around the same time as the post-assessment, so I decided that this performance
evaluation happened at a time to reflect student learning. My rubric and
corresponding grade evaluate more than form, although understanding of form is
important for this project to be successful, form is used as a means to develop
musicianship and communication skills, and these proved much more challenging
for students than learning and performing their musical parts.
Analysis of Post-Test Scores
As a class, the post-test score was medium. The mean of the scores was 23
out of 35, and the median score is 21 out of 35. These numbers reflect the consensus
that majority of the class moved from low to medium categories. 15 of the 26
students are in the medium category, scoring between a 40 and 70 percent. Most
moved from low to medium, and one maintained a medium score from before. 9 of
the 26 students moved to the high category, scoring above a 70%; 2 had not taken
the pre-test, 2 had scored medium before, and the other 5 moved from the low
category to the high category. One student maintained their evaluation in the low
category, scoring less than 40%.,but her score doubled, from 6 to 12.5.
Strengths and Weaknesses of Instructional Approaches Used
Looking at individual standards tested, the most significant growth was
shown in National Standard 4. This is because there were two open-ended
questions, one with a creation opportunity and another looking for a short written
answer. With no prior knowledge, most students did not answer this at all on the
pre-test. With knowledge and understanding, these questions were simple on the
post-test, and most students achieved close to full credit. The numbers that changed
the least were under National Standard 6, and I believe this is due to the shift in
focus during my lessons. While teaching more applications of form, I focused less on
terms and definitions and more on using form while creating and performing. This
is reflected in the slight growth in the terms section of the test, while moderate
growth in the application section, measuring National Standard 5.
Final Statement
Using this curriculum in my future teaching, I will break it down into smaller
pieces. I realize know that I would have liked to focus specifically on blues, which
would have allowed me to teach as much depth about form and include performance
and listening practice while adding more about the history and culture surround the
style and genre. The value of completing this project is concentrated in experience
with assessment data and experience analyzing self-collected data in order to best
present and reflect my effectiveness as a teacher. As an effective teacher, this sort of
analysis of effectiveness and curricular design is momentum into other project
facilitating musical growth and providing me with further practice designing and
initiating effective student-led learning.
Project Rubric and Self Evaluation
Using the rubric below, I am rating myself as satisfactory in my teaching this
semester. This experience and project has been a great time teaching and I have
learned a lot while designing and executing this project. I have been so pleased to
hear students discussing topics from our music class, or making further inquiries
and connections about the information they have learned about form in music. This
project is a starting point for my own future curriculum designs and assessment
plan.
Satisfactory
Project is
designed and
organized
prior to
implementati
on; student
teacher
demonstrates
preparation
and has some
goals or
overall
direction for
students and
projects.
Instructional
Student
Student
Student
Effectiveness
teacher is
teacher is not
teacher is
infrequently
consistently
well prepared
prepared for
prepared for all
for lessons,
lessons, is
lessons, is
engaged in
rarely engaged
frequently
classroom
in the
disengaged in
and with the
classroom or
the classroom
students, and
with students,
and with the
usually
and fails to
students, and
responds to
respond to
fails to respond
students
students
to students
needs
needs.
needs
immediately
consistently.
as they
appear.
Quality of
Assessment
Assessment
Assessment
Assessment
tools are not
tools lack some
tools are
Tools
object, reliable, objectiveness or
objective,
or accurate.
reliability, and
reliable, and
are somewhat
mostly
accurate.
accurate.
Overall
Satisfactory
Effectiveness
(Total)
Planning
and
Preparation
Unsatisfactory
Project is not
designed or
planned in
time for
implementatio
n; student
teacher does
not have goals
or end
direction for
students and
projects.
Basic
Project is not
fully designed
or planned
prior to
implementatio
n; student
teacher does
not have many
clear goals or
end direction
for students
and projects.
Exemplary
Project is well
designed and
organized;
student teacher
demonstrates
thoughtful
preparation
and overall
direction or
goal for
students and
projects.
Student
teacher is
consistently
prepared for all
lessons,
engaged in the
classroom and
with the
students, and
responds to
students needs
constantly and
immediately.
Assessment
tools are
objective,
reliable, and
accurate.
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