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Shannon Taylor
UnitPlan:Renaissance Era 1400-1600 Music
Band Repertoire: Courtly Airs and Dances, Ron Nelson, Ludwig Music
Learning Goal: Students will be able to grasp simple concepts of the Renaissance Era, perform a
band piece, develop their ear in rhythms and solfege, move forward in theory, and identify the key
components of Renaissance music.
Success Criteria: Students enhance their musical literacy of the Romantic Era, perform a Romantic
song, thrive on music dictation exercises and theory review, and identify the key components of
Romantic music. Students will enhance their understanding of the function of Romantic music
socially as well as analyze the impact of music.
Introduction: This series of lessons is designed to promote creating, performing, reflecting,
responding, analyzing, and exploring in music. As students study history, theory, and repertoire
targeted towards the Renaissance Era, students gain a well-rounded understanding of how the study
of music contributes towards well rounded musicianship. Studentsandareexperiencedwithplaying
theirinstrumentsthroughatwotothreeoctaverange,distinguishingsimpleandcompoundtime,
musicalityinphrasingandcantabilestyle,aswellastheoryinnoteidentification.Theyaretobe
furtherchallengedtoplayexpressivelywithknowledgeofthescorethroughadheringtomusical
definitionsandmarkingsonthescore.Theyaredevelopingtheirearformusicmelodicallyandare
tobechallengedinbalancingthemelodyintheirbandrepertoire,acknowledgingnaturalaccentsin
thescore,aswellasdevelopingagracefulapproachtothestrongbeatinkeysignatures.Atthis
pointintimetheyarejustlearningtheirRenaissancebandrepertoireandarelearningtoactively
questionthemusicaldevelopmentsmadeintheRenaissanceEratofurthertheirunderstanding.
Whattheywillgatherfromthisseriesoflessonsistobeawaremusicians,applyingtheirknowledge
andreadinginsightfullyintothescore,theirtone,andstyleoftheirrepertoire.
Lesson #1:
Critical Challenge: Students will be introduced to the Renaissance Era, the concept of rebirth in
Greek antiquity, patronage, artistic works, sacred and secular music, and the concept of texture.
Students will identify the Renaissance sound as well as question musical ideals. This will promote
well rounded intelligent musicians and enhance student familiarity with musical genres.
Connection to Culminating Activity: Students will explore different Eras in music. This knowledge
will give students a grounding towards identifying musical genres, and grasping key elements of
what was occurring historically to cause a shift in sound.
Overall Expectations: Students will be introduced to the history of Renaissance music as well as
observe and critique musical selections (C2.1) from the Renaissance Era. This will challenge their
knowledge of the Elements of Music (C2.2). They will learn and debate the differences between
sacred and secular music, aiding their knowledge of music and society (C3.1).
Specific Expectations: Students will learn Renaissance ideals and debate composers views on the
purpose of music, the politics of patronage, and the essence of the Renaissance sound.

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Learning Goals:
-Students successfully define descriptive traits in Renaissance Era music.
-Students explore Sacred and Secular works and debate the difference.
-Students understand texture (particularly polyphonic)
-Students gain insight on Renaissance music through listening.
Prior Knowledge: Students will know some details of the Renaissance Era and be familiar with past
repertoire from this Era.
Agenda:
Renaissance- (1400-1600) rebirth of Greek antiquity in Western culture
Renaissance represents a cultural rebirth from the 14th through the middle of the 17th centuries.
Early Renaissance, mostly in Italy, bridges the art period during the fifteenth century, between the
Middle Ages and the High Renaissance in Italy.
1. Mostly singing
- Instruments were simple: drums, recorders, lutes
2. Increased Patronage in music
-Governments and the church paying for music to be written
3. Sacred and Secular Music
Sacred: music written for the church
Sacred art: http://history.hanover.edu/courses/art/leols.html
Secular: music performed in pubs and homes. Italian and English madrigal and the
French chanson.
Chanson- France love & heartbreak, upbeat dance rhythms
http://www.finalproject-profwoods.com/wp-content/uploads/2015/10/Bruegel-APeasant-Dance-0.jpg
Q: what do you see? Environment? Mood? Colour?
4. Polyphonic music

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-very different parts being performed at the same time

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Point of imitation- echoed ideas in music

Listening: https://www.youtube.com/watch?v=tTIRqShjATg
Q: What do you hear? What textures?
5. Composers
-Farmer https://www.youtube.com/watch?v=m_RfMuNIvTY
-Palestrina https://www.youtube.com/watch?v=xj9sA5OvMGU
Listen to Repertoire piece if time: https://www.youtube.com/watch?v=AnPsL1JiJe8
Differentiated Instruction:
Music is a communal subject and when exploring different genres it is crucial to keep ideas flowing
with open brainstorming and debates. Particularly in this class the idea and concept of music and
what it offers to society is in debate, and students should be actively involved in this conversation.

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Discussing what students hear and see is going to bring a knowledge of musical identification that
will be kept fresh in students minds whether they actively talk or reflectively listen.
Required Materials:
-computer/sound system for YouTube links/visuals
-chalk board to explain key concepts of texture and/or write down key names
Student Assessment:
Students will be formatively evaluated on their knowledge/application process and participation in
class.
Teacher Reflection:
To be successful in this lesson, the teacher is best suited for a facilitative role, allowing students to
discover their own meaning and purpose for music. Students should be encouraged and guided to
critically think during class discussions building on prior knowledge and scaffolding. This way
students ask questions and test the limitations on the musical elements, social historical norms, and
Renaissance genre.
Lesson #2:
Critical Challenge: Students will explore band repertoire that challenges their technique on genre
and style. Students will practice rhythmic dictation to aid in the rhythmic challenges of this piece,
and review note value identification in theory.
Connection to Culminating Activity: Students will apply their learning from Lesson #1 to further
emotive performance skills.
Overall Expectations: Students will actively apply their knowledge of theory to review note values
and counting (C1.5) and begin working on rhythmic dictation. Students will incorporate their prior
knowledge of performance to Renaissance technique (C1.2, C1.1).
Specific Expectations: Students will accurately identify the rhythms in theory and correctly clap
rhythm in musical discipline. Students will learn notes to this units repertoire and begin to identify
with the repeating theme.
Learning Goals:
-Students successfully grasp rhythmic dictation and notate the given exercise
-Students successfully sight read and progress in musical repertoire package
-Students successfully identify/apply elements of Romantic genre
Prior Knowledge: Students have learned how to approach Romantic music practically through in
depth study and reflection in the previous lesson. Students are familiar with sight reading and
singing in different languages. Students have approached simple dictation exercises and this lesson
is furthering their knowledge through a three bar assessment. Theory in minor scales is review.
Agenda:
Rhythm clapping:

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Theory Review Worksheet (homework due lesson #5):

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Band Repertoire:
Courtly Airs And Dances, Ron Nelson, Movement I Intrada
-Sight read piece slowly
What do we notice in this piece?
-tempo marking of a quarter note being equal to 68 beats per minute
-4/4 time signature.
-The style indication = with pomp
-F as the tonic
-Intrada opens with a declamatory rhythmic statement in the trumpets
-thematic phrase recurrent throughout the opening movement as more and more instruments join the
melodic line.
-The final chord is an F chord with no third present in any voice.
-Crescendo in the last three measures of the movement that supports the heralding sounds of the
trumpets.
Handout 1:
1. Courtly Airs and Dances is a suite of Renaissance Dances characteristic to European Countries. Who
is the composer of Courtly Airs and Dances?
_____________________ Ron Nelson
2. What is the key signature of Movement One. Intrada? Is this simple or compound time?
______________________4/4, simple
3. What is the general dynamic level of Movement One. Intrada?
______________________ Forte
4. Is the First Movement Legato? Please Circle.
Y/N N
5. Does the First Movement have detached staccatos? Please Circle.
Y/N Y

Differentiated Instruction:
Students may struggle with music dictation, and so repetition and keeping tabs if students need to
clap the rhythm at a slower pace may help those who feel overwhelmed by the task. Students often
require review in theory and so having theory review worksheets is important to keep the discipline
in practice. When sight reading a piece, be aware as the educator how comfortable the piece is and
where the students may struggle. Go over bars where notes and rhythms are challenging for
students. Establish a positive learning environment for student confidence where musical
exploration may occur.
Required Materials:
-Scores
-Hand out 1

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-overhead for projecting rhythms
-Theory worksheets for review
-Staff paper
-Music stands & baton
Student Assessment: Students will be marked on their rhythmic dictation exercise and completion
of theory when it is due. Students will be evaluated on their vocal progress and continual growth.
Teacher Reflection Strategies: Educational cues include engaging and challenging all students in the
discipline of music dictation and theory review

Lesson #3:
Critical Challenge: Students will explore the impact of humanism and the differing views of music
in sacred discipline. Students will debate the influence on a society without music.
Connection to Culminating Activity: Students will learn Renaissance perceptions, and reflect on
their past musical experiences to see the influence music has in their lives. They will adhere to their
past learnings of Renaissance music and display open minded insight towards differing views.
Overall Expectations: Students will observe, reflect, respond, and analyze events in the Renaissance
Era and in particular, Sacred music (C2.1, C3.1). Students will relate their observations to music
and society and conclude their own justifications for music (C3.2).
Specific Expectations: Students will learn more about the ideals of the Renaissance Era and further
debate the Church vs. Music conflict.
Learning Goals:
-Students grasp an understanding of Humanism
-Students understand all views concerning sacred music and music in the church
-Students further their own opinion of musics influence in society
-Students contribute and participate in class discussion
Prior Knowledge: Students understand the difference between sacred and secular music in the
Renaissance Era and are yet to debate/comprehend historical issues arising from
social/political/religious sources.
Agenda:
Humanism- humans being the centre of all things (human value, measurements, rationale) breaks
away from scholasticism

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Desiderius Erasmus- (1466-1536) a priest who went everywhere improving the power of the church
through critical thinking and humanism held to the doctrine of free will
Sacred Music:
Head motif- ideas that are stated in upper voices and further developed throughout the piece
Canonic mass- build voice parts on the technique of a round/canon (often used for cantus firmus)
Word painting- melody imitates scenery/action (descending melody= descending to hell, weeping)
Anthem- English motet sung on religious theme (full anthem=choir only, verse anthem=choir &
soloish alternating)
Q: In our band repertoire do you see any of these? (motif, word painting etc.) what is the piece
about?
Protestant Reformation- Marten Luther(1483-1546) leads protestant reformation by Wittenberg
castle chapel door 1517 due to Catholics selling indulgences (printing press helped!) leads to
counter reformation
Counter-Reformation- Catholics strip down their beliefs to bare minimum and assess Christian
values
Q: How does this influence music? Particularly Sacred music? What is more important; sound or
text?
Martin Luther (1483-1546)- leader of protestant movement, liked music, liked Lutheran chorales
Chorale-hymns sung in vernacular, unison (can be harmonized), formed from pre-existing
melodies
Jean Calvin (1509-1564)- less content about music (only unaccompanied psalm-singing)
Ulrich Zwingli (1484-1531)-wanted no music in church
Split class into 3 groups. Have them debate as Martin Luther, Jean Calvin, and Ulrich Zwingli
Q: What would happen if music was in fact banned from church?
Council of trent (1545-1568) in three sessions- 1545-47, 1551-52, 1562-63, musical culling, no
more sacred works based on secular tunes, music=vehicle for TEXT
Q: Does music aid the church? Does vocal work or instrumental work provide a better connection
with the devine?
Q: Should sacred music be based off of pop culture/pop tunes?
Differentiated Instruction: This lesson allows students to understand how as musicians, music
relates to more than playing notes on a page. Students are able to actively feed off of ideas and
observations, allowing the class to progress in their knowledge of the Renaissance Era and factors
of influence. This lesson will be formed in an informative discussion with main names and points
put on the board for visual learners.
Required Materials:
-Chalk board for main points/names
-3 large sheets of paper for debates
Student Assessment: Students will be evaluated on formative contribution and displays of
knowledge.

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Teacher Reflection: The teacher is to facilitate educational discussions as students are to be
encouraged to contribute in active learning, class participation, and exploration of musical genre.

Lesson #4:
Critical Challenge: Students will master the rhythms and accents of the piece Courtly Airs and
Dances, playing in a way that masters the expression and demeanor of the piece. The students will
be able to increase the tempo of their playing by the end of the lesson.
Connection to Culminating Activity: Students have been becoming more familiar rehearsing this
piece, challenging their rhythmic knowledge and unified timbre as a band.
Overall Expectations: Students will progress in their repertoire in regards to unified rhythms and
accents (C1.1, C1.2). The students will analyze the piece and be able to identify main themes and
repeated melodic phrases. Students will display their knowledge through application in their
performance (C1.5, C2.1) and identify strengths/areas of improvement as performers (C2.3).
Specific Expectations: Students will incorporate their rhythmic training into their musicality of
Courtly Airs and Dances. They will apply elements of music into the piece according to the style of
Renaissance music and composition markings.
Learning Goals:
-Students will successfully identify and perform rhythms as a band/class
-Students will recall the theme of the piece and bring that melody out
-Students will successfully be able to increase the tempo of the piece without compromising
rhythmic accuracy and unification
-Students will display musicality in rehearsal concerning dynamics and style (accents)
Prior Knowledge: Students have sight read, rehearsed, and analyzed piece. This lesson they will
focus on and become more familiar and comfortable playing the movement, and apply their
knowledge of rhythms to the repertoire.
Agenda:
Band Repertoire:
Courtly Airs And Dances, Ron Nelson, Movement I
StudentswilldemonstratenaturalaccentsinMovementOnebyclappingandplayingtherhythms
fromtheirscore,measures813onaBbconcertpitch.

Teacher:
Letslooktotheboard.*Clapsrhythm*

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Students*clapback*
Teacher:Everyonecountoutloudwiththesubdivisions.Count1+2+3+4+toleadclassin*clap
rhythmagainwithclass*
EngageClass:Wheredoweplacetheaccents?
Student:
Weplacetheaccentsonthedownbeatof123and4.
Feedback:Good!Now,letsclapagainwithextraforceonthestrongbeatsandtheaccentednotes.
Rememberthedownbeatisthestrongest,andtheoffbeatsareweak.

Rehearsemeasures8to13playingonBbconcertpitch.Repeatwithaccentsandmakesurethe
rhythmsarecleanbeforeapproachingthemovementfromthetop.
Feedback:thestaccatoscouldbemoredetached.Usemoreenergizedair.
Thisisapassionatemovement.Playfortewithcontrolledstrength.
Section

Measure(s) Fine Tuning

Rehearse snare and bass drums on the and of four in m 1
Movement
Trumpets must be present in thematic material in fifths
1-5
I
-Horns playing sforzando in Renaissance style
-Upper woodwinds join melodic line in m 4
-Trombones and baritone join melodic line,
6-9
-Trombones present slight variation of melodic line in that eight notes are
played instead of sixteenth notes
Differentiated Instruction: Separating rhythm and melody so students can hear each individual
section as well as playing it together is very important so that they can process the information and
correctly notate it. Practicing at a slow pace and increasing tempo gradually is important so that
students do not feel intimidated by the repertoire. Singing the line or using actions to display
accents may also aid students in understanding and applying their knowledge.
Required Materials:
-Chalk Board to write rhythms on board.
-Music Stands/Baton
-Scores

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Student Assessment: Students will be formatively assessed on their progress in both musical
performance and rhythms. As a group the teacher will identify where the piece falls apart and where
further guidance is needed.
Teacher Reflection: The instructor should be mindful of clarity and articulation so that the
repertoire is played in a rhythmically unison approach. Eye contact with the conductor is important,
and engaging that expectation with students is important. Clear conducting is fundamental.

Lesson#5:
Critical Challenge: Students will apply the ideal of Renaissance exploration and further fine tune
their performance band piece.
Connection to Culminating Activity: Students will apply their knowledge of the Renaissance Era to
creative and reflective activities.
Overall Expectations: Students will perform repertoire in a creative knowledgeable way (C1.5),
displaying a knowledge of the elements of music (C1.1, C1.2) in Renaissance Era music. Students
will reflect on the study of music on their personal growth, self-awareness, exploration (C2.3) and
demonstrate and understanding of musical benefits in the community (C3.1).
Specific Expectations: Students will create ideas, poems, observations, songs, and portraits to
Renaissance concepts. They will gain a boarder insight through the Renaissance lense, and display
their knowledge in their performance.
Learning Goals:
-Students will thrive in displaying insightful Renaissance ideas/creations
-Students will grasp and understanding of the Renaissance man
-Students will successfully polish the ending of the repertoire piece
Prior Knowledge: Students are becoming more comfortable listening to, identifying, and looking
into the Renaissance Era. They are advancing in the Romantic Era Repertoire package and will
continue to aim their progress in performance technique and musicality.
Agenda:
Theory Review Sheets Due: Completion mark
In Class Project: The Renaissance was an explosion of ideas, education and literacy. In groups of 35 choose ONE of the following:
a) Write a poem that is at least 10 lines long
b) Create a melody and sing a round (imitation) to the poem: Roses are red, violets are blue,
honey is sweet and so are you.
c) Draw a portrait of one of your group members. (Dont forget to smile like Mona Lisas
ambiguous half smile!)
d) Create a t-chart comparing your Renaissance band repertoire or Come Again Sweet Love
Doth Now Invite from Dowland with a present day song.

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e)

Band Repertoire:
Courtly Airs And Dances, Ron Nelson, Movement I
Section

Measure(s) Fine Tuning

-Middle woodwinds join melodic line
Movement
10-13
-Tuba, baritone, bass clarinet, and bassoon take over peddle C in m 11, all
I
voices playing strong and passionately
-Sustained crescendo on the ending statement (low brass and upper
woodwinds)
14-16
-Trumpets reiterate rhythmic idea during sustain
-Snare and bass drums heighten the release from the winds with a group of
sixteenth notes that lead into the downbeat of m 16

Differentiated Instruction:
Students are given the opportunity to explore numerous different in-class projects, all in which
enables students to work with their strengths. When rehearsing repertoire, singing the line or using
actions to display accents may also aid students in understanding and applying their knowledge.
Required Materials:
-Chalk board for main points/names
-Large sheets of paper for ideas/in class projects
-Baton
-Music Stands
Student Assessment:
Students will be formatively assessed on their progress and fine tuning their performance repertoire
and their applications of Renaissance values.
Teacher Reflection:
Attention should be given to how students are actually performing the rhythms including rests, so
that the piece is crisp and unified. The the horns who play a stopped F pedal throughout the first
half of this movement may struggle with intonation. How they play the F is crucial, so making sure
their posture and breath support is appropriate may help keep them in tune.
Lesson #6:
Critical Challenge: Students will be tested in their Renaissance repertoire by playing a piece/part of
a piece as a solo. Students will complete an activity that displays their learning throughout the unit.
They will sum up the unit by writing an in class reflection.

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Connection to Culminating Activity: Students have rehearsed this piece throughout the unit and
have been working on applying their Renaissance Era knowledge to their performance. They will
reflect on their learning and provide productive feedback in their reflections.
Overall Expectations: Students will perform Renaissance Era repertoire from their unit performance
package in a creative knowledgeable way (C1.1), displaying a knowledge of the elements of music
(C1.2) in Renaissance Era music. Students will extend their technical skills in display musical
growth in their instrument (C2.3). Students will summarize and reflect on the study of music on
their personal growth, self-awareness, social issues (C2.3) and demonstrate and understanding of
musical benefits in the community (C3.1). They will provide constructive feedback for the educator
to further enhance the unit to benefit students.
Specific Expectations: Students will incorporate their instrumental technique into their musicality of
Renaissance music. They will apply the elements of music discussed in earlier lessons concerning
the Renaissance Era in their rehearsal, and display mature musicianship. Students will be tested in
their knowledge of the era through a class activity.
Learning Goals:
-Students will successfully play through repertoire pieces, displaying a knowledge for genre, style,
musicality, and performance technique
-Students will successfully display musicianship discipline in practicing instrumental repertoire
outside of class
-Students will successfully display that they understand unit content and key concepts
-Students display musicality in rehearsal and critical thinking towards improving their technique
-Students participate in providing peer feedback as well as self-observation on their performance
-Students will reflect on their favorite part of the unit, what they enjoyed, want to improve
on/clarify, and explore further.
Prior Knowledge: Students are advancing in performance technique and musicality in a variety of
genres. They will reflect on their learnings this unit and comment in a reflection what they enjoyed,
want to improve on/clarify, and explore further.
Agenda:
Testing knowledge:
Activity: Ask a series of true or false questions. Students will run to either the left or right side of
the classroom, the left side being true and the right side representing false. Ask the questions,
and let the students go to whichever side they deem the correct answer.
1. Renaissance is the rebirth of Canadian antiquity F
2. Music is mostly singing, Instruments were simple: drums, recorders, lutes T
3. Decreased Patronage in music F
4. Patronage is governments and the church paying for music to be written T
5. Martin Luther, leader of protestant movement, wanted music in the Church T
6. Do you think that music can aid the Church and/or personal beliefs through worship? (T/F)
7. Sacred music is performed in pubs and homes F
8. Renaissance music was an explosion of ideas, education & literature T
9. The Renaissance piece Courtly Airs and Dances uses a piano dynamic F

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10. Polyphonic music is a texture where different parts play at the same time. This texture form
is seen in Renaissance music T
11. Music speaks to you personally in your life (T/F)

Band Playing Test

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Write a journal reflection (150 words) about what you most enjoyed learning about the Renaissance
Era. What questions do you have? What was difficult to understand? What would you like to
explore further?
Differentiated Instruction: Students will be given the chance to display their knowledge as a class,
which takes off the pressure of a formal test. Performance wise, students may feel nervous to
perform. Allowing them the opportunity to perform in duets may be helpful. It is important to
establish a welcoming classroom that is okay and accepting of error as the voice is a process of
continual growth. Allowing peer feedback is encouraged so long as it is positive, helpful, and
mindful of the individual. Ending the unit, students will write an in class reflection about their
favorite part of the Romantic Era, what they enjoyed learning most, and why. They will also be
encouraged to comment on what they would like to learn more about and what they feel was left
unclear so that the educator may learn from their comments.
Required Materials:
-Music Stands
-Baton
-Rubrics
Student Assessment: Students will be informally assessed on their learning of the Renaissance Era.
Students will be assessed on their progress and fine tuning of their performance repertoire.
Although this is summative assessment, musical performance is a process and personal growth is
what is looked for predominately in evaluation. Reflections will not be graded but used as a point of
reference for the teacher.
Teacher Reflection: Students should be challenged in their musicality and educators are to engage
the class in well-rounded application of musicianship by connecting musical repertoire to theory,
technique, and history concepts. Students will provide educators with reflections and comments on
the unit, helping educators to benefit and reflect on their teaching and approach.

Summary: This unit plan revolves around establishing well rounded musicians through creating,
performing, reflecting, responding, analyzing, and exploring in music. As students study history,
theory, music dictation, and repertoire targeted towards the Renaissance Era, students gain a wellrounded understanding of how the study of music contributes to the Era. The impact of this unit
format is to flow with other units that are also Era geared so that students may experience the
journey of music historically in Europe predominately, followed by a cultural unit. As a music
educator next steps would be creating complimentary units that fit this Era based format, test
comfort levels of students to see if they would prefer a wider range of repertoire pieces, and adhere
to student feedback about the unit itself.