MUSIC CURRICULUM MAP GRADE ______10_______ TEACHER __ELDRETH/CASSIDY___

MONTH THEME/BIG IDEA ENDURING CONTENT KNOWLEDGE AND

UNDESTANDINGS & STANDARDS GLEs SKILLS TARGETED
ESSENTIAL AND PLEs
QUESTIONS
SEPTEMBER THEORY OF MUSIC EU: Written music is a 5.1, 5.2, 5.3, 5.4, 5.5, 5.6, Identifying music
(STUDENTS BECOME language that has symbols 5.7 symbols on the page and
PROFICIENT WITH SKILLS) and rules that enable a demonstrate through
musician or performer to With main goals of: singing.
maintain accurate 5.8, 5.9, 5.10
communication over time
and distance.

Written music is open to

individual interpretation.

EQ: Why learn to read and

notate music? Why not?

How essential is written

music to the process of
composition?
OCTOBER ANALYZING MUSIC EU: Music has its own 6.7, 6.8, 6.9 Dissect written music
(STUDENTS BEGIN TO vocabulary. through aural and visual
DEVELOP SKILLS) examples.
Vocabulary enables one to
communicate. Listen to music examples
and analyze through
Knowledge of music discussion.
provides more
opportunities to connect
the meaning.

EQ:
 Is the historical context
important to the
listening/analyzing of
music?

When is sound considered

music?

NOVEMBER TO DESCRIBE AND EU: Audience
ANALYZE MUSICAL participation and reaction
PERFORMANCES are an integral part of the
(STUDENTS BEGIN TO performance.
DEVELOP SKILLS)
Knowledge of music
provides more opportunity
to connect with the
meaning.
6.5, 6.7, 6.8, 6.9 Attend/watch a
performance and critique
the music and the
performers.
Listen to music examples
and analyze the content.

An audience is the central

participant in a musical
performance.

Listening is an active
endeavor.

EQ: Should you hear a

performance to understand
or appreciate it?

How does the concept of

‘quality’ relate to the
musical performance?

Is it necessary to be able
to hear to be able to
 appreciate music?
DECEMBER DIVERSE REPERTOIRE EU: A voice is a tool 1.1, 1.2, 1.3, 1.4, 1.5, 1.6, Singing with piano
(EXTENDING STUDENTS’ which when used 1.7, 1.9 accompaniment and a
KNOWLEDGE) according to rules, and With main goals: cappella, both
apart from the rules can 1.13, 1.14, 1.15, 1.16, individually and in a
move others’ emotions 1.17 group.
and/or communicate
meaning.

In order to engage in an
ensemble, one must be a
performer and a listener
with the ability to react.

To become a skilled
performer requires
persistence.

EQ: When does singing

go from mere repetition or
imitation to creative and
artful performance?

To what extent does

participation in a vocal
ensemble impact the
performance of the
ensemble?

When is music deliberate

and when is it
spontaneous?

JANUARY MUSIC IN RELATION TO EU: People communicate 9.2, 9.3, 9.4, 9.5, 9.6 Students will study
DIVERSE CULTURES, about their culture through different genres of music
 TIMES AND PLACES music. and learn the historical
(STUDENTS BEGIN TO and cultural backgrounds
DEVELOP SKILLS) Cultures utilize their of each.
natural resources to
produce music. Students will perform
music of varied cultures
A culture’s music reflects and time periods.
its values.
Students will analyze the
EQ: To what extent do music of each genre and
musicians influence compare/contrast the
society? music.

To what extent do
societies influence
musicians?

To what extent does music

play a role in the culture?

How can music be used to

reflect the
similarities/difference
among cultures?

FEBRUARY IMPROVISATION EU: Improvisation is
(STUDENTS BECOME achieving a balance
PROFICIENT IN SKILLS) among technique,
listening, understanding
and communicating and
responding.
Improvising as an
individual allows
complete, creative
3.7, 3.8, 3.9, 3.10 Students will improvise a
vocal solo of at least 8
measures with piano
accompaniment.
Students will improvise a
short riff at the end of a
piece of music.
 freedom of expression.

Improvising as part of an
ensemble allows freedom
within guidelines.

EQ: How much of music

is technical skill and how
much is ‘magic’?

How much do you have to

know about song structure
and chord progressions to
improvise well?

When is music deliberate

and when is it most
spontaneous?

To what extent is
improvisation a form of
communication?

MARCH COMPOSITIONAL EU: A musical 6.7, 6.9, 7.4, 7.6 Students will identify
TECHNIQUES performance involves the homophonic and
(STUDENTS DEVELOP inspiration of the Secondary: polyphonic sections in
SKILLS AND BECOME composer, the conductor 1.9, 1.13, 1.14, 1.15, music
PROFICIENT IN OTHERS) and the singers 1.16, 1.17, 5.1, 5.2, 5.3,
5.8 Students will sing
Cohesive performances appropriate dynamic
are created by musicians levels
working together toward a
common musical goal.
Students will sing
his/her vocal part
Composers use different
compositional techniques
to create a
mood/atmosphere.
Choral music conveys the
text of the song.
Students will follow
the conductor
Students will evaluate
a musical performance

Expressive elements
convey the emotion of the
song.

The conductor is the

conduit for the composer’s
musical intentions.

The singers are the vehicle

used to convey the
composer’s and the
conductor’s intent.

They can evaluate their

own musical
performances by applying
specific criteria
appropriate for the style of
the music.

Through evaluation,
students can offer
constructive suggestions
for improvement.

EQ: What types of

compositional devices did
 the composer use and why
do you think he used them
in that way?

How does the composer’s

choice of expressive
elements (such as melody,
dynamics, tempo and
language) affect the
ensemble’s performance
of the music?

How do the composer,

conductor and singers
collaborate to convey the
meaning of the piece to
the audience?

Why is it important to
learn the historical
background of the use of
Latin text in liturgical
music?

APRIL COMPOSITION/ARRANGING The combinations of tone, 4.2, 4.5, 4.6, 4.4 (if Students will compose
MUSIC texture, design, timbre, technology is available) their own music in a style
(STUDENTS BECOMING rhythm and theme are of their own choosing.
PROFICIENT IN SKILLS) limited only by one’s
imagination. Students will perform
their compositions for the
Compositions are written class.
with a purpose that may
be self-selected or Students will analyze
imposed. each others’ compositions
through critiques and
 Compositions are group discussion.
communications of
emotions. Students will arrange a
song selected by the
Arrangements are based teacher in a style selected
on pre-existing by the student.
compositions.

Arranging allows for

freedom in format of
presentation.

How rational is the

creative process?

How can I make a tune or

piece my own?

How essential is written

music to the process of
composition?

Should music be re-

arranged that has been
created?

MAY MAKE CONNECTIONS Music is mathematical. It 8.2, 8.3, 8.4 Students will make
BETWEEN MUSIC, THE is rhythmically based on connections with other
OTHER ARTS AND OTHER the subdivisions of time disciplines as they relate
CURRICULAR AREAS into fractions that must be to music.
(STUDENTS BEGIN TO performed
DEVELOP SKILLS AND instantaneously. Students will be able to
KNOWLEDGE) illustrate ways in which
Music is a world the subject matter of other
language. Most of the curricular areas are inter-
descriptive terms are in related to music.
Italian, German or French.
The students will
Music is art. It allows a compare and contrast
human being to integrate terms common between
many techniques and use the arts and other
them to create emotion. curricular areas. (ex:
texture, color, form)
Music is science. It is
exact and specific and
demands exact acoustics.

Music is a study and

reflection of society.

How important has music

been in history?

To what extend to
musicians break down
social norms?

To what extend is
participation in music
education an important
part of one’s
comprehensive education?

Does art influence life or

does life influence art?