NEWARK PUBLIC · Web viewNEWARK PUBLIC SCHOOLS SCHOOL ADVISORY BOARD MEMBERS 2013-2014 Ms. Antoinette Baskerville-Richardson, Chairperson Mr. Marques-Aquil Lewis, Vice Chairperson

NEWARK PUBLIC SCHOOLS

Curriculum Guide:STRINGSGrades 4-8

Newark Public Schools 2010-2011 Strings – Grades 4-8

NEWARK PUBLIC SCHOOLS SCHOOL ADVISORY BOARD MEMBERS

2013-2014

Ms. Antoinette Baskerville-Richardson, ChairpersonMr. Marques-Aquil Lewis, Vice Chairperson

Mr. Rashon K. HasanMr. Alturrick Kenney

Ms. Eliana Pintor MarinMs. DeNiqua Matias

Dr. Rashied McCrearyMs. Ariagna Perello

Mr. Khalil Sabu Rashidi

Mr. Jordan Thomas, Student Representative

Office of Academic Services©2010 2-2011


NEWARK PUBLIC SCHOOLS ADMINISTRATION

2013-2014

Cami Anderson, State District Superintendent

Chief of Staff & General Counsel: Charlotte Hitchcock

Assistant Superintendent: Mitchell CenterAssistant Superintendent: Brad Haggerty

Assistant Superintendent: Tiffany HardrickAssistant Superintendent: Roger LeonAssistant Superintendent: Aqua Stovall

Assistant Superintendent: Peter Turnamian

Special Assistant, Office of Curriculum and Instruction: Caleb PerkinsSchool Business Administrator: Valerie Wilson



TABLE OF CONTENTS

Title Page.........................................................................................................................................................................................................................

Board Members..............................................................................................................................................................................................................2

Administration...............................................................................................................................................................................................................3

Table of Contents...........................................................................................................................................................................................................4

District Mission Statement.............................................................................................................................................................................................5

District Goals and Priorities...........................................................................................................................................................................................6

Curriculum Committee..................................................................................................................................................................................................7

Course Philosophy.........................................................................................................................................................................................................8

Course Description.........................................................................................................................................................................................................9

Recommended Textbooks............................................................................................................................................................................................10

Course Proficiencies....................................................................................................................................................................................................11

Curriculum Units.........................................................................................................................................................................................................16

Course Pacing..............................................................................................................................................................................................................20

Standards, Goals, and Objectives.................................................................................................................................................................................24

Appendix......................................................................................................................................................................................................................30



THE NEWARK PUBLIC SCHOOLS DISTRICTMISSION STATEMENT

The Newark Public Schools District’s mission is to develop a productive citizen who is distinguished in all aspects of

academic endeavors and willing to challenge the status quo in our society. We are committed to ensuring that our policies and

practices will prepare our students for a world that is increasingly diverse and knowledge driven. We expect our schools and

classroom environments to be emotionally safe and intellectually challenging. We pledge to partner with parents, groups, and

organizations that add support to the mission by changing hearts and minds to value education.


Newark Public Schools 2010-2011 Strings – Grades 4-8GOALS AND PRIORITIES

Great Expectations: 2009-13 Strategic Plan

OUR SHARED GOAL: PREPARING ALL STUDENTS FOR COLLEGE, WORK, AND CITIZENSHIP

Our youth need to be able to compete in an increasingly complex, competitive, and diverse world. Many of the best new jobs require not just a high school diploma but at least two years of college. We need to raise the bar, and we are. Our goals for 2013 are very challenging. Students need to be:

Ready to learn by kindergarten. 80 percent of our students will be ready to learn by kindergarten, up from 64 percent in 2008–09.

Reading and writing at grade level by the end of 3rd grade. 80 percent will be reading and writing by the end of 3rd grade, up from 40 percent in 2008–09.

Ready for the middle grades. 80 percent of 5th graders will be proficient or above in language arts literacy and 85 proficient or above in math, up from 40 percent and 59 percent, respectively, in 2008–09.

Ready for high school. 80 percent will be “on track for graduation,” up from 38 percent of freshmen who are on track to begin the 2009–10 school year.

Ready for college or work. 80 percent will graduate, and 80 percent of graduates will enroll in college, up from 54 percent and 38 percent, respectively, in 2008–09.



NEWARK PUBLIC SCHOOLS

SCHOOL ADVISORY BOARD

Program and Instruction Committee

Ms. DeNiqua Matias

Dr. Rashied McCreary

Ms. Ariagna Perello

Mr. Khalil Rashidi

Dr. Caleb Perkins, NPS Special Assistant of Curriculum

Valerie Merritt, NPS Director of Board Relations


Newark Public Schools 2010-2011 Strings – Grades 4-8Newark Public Schools

Strings* – Grades 4-8(“strings” refers to violin, viola, cello and bass throughout this document)

Course Philosophy

Music Education is an essential part of each student’s development and growth. Each child enters the world in which sound and its more organized form, music surrounds their daily existence. Whether through hearing or feeling, sound makes is presence known to each of us. It is from sound that our languages were first born. The ideas of man were first expressed by sound then signs and symbols associated with those sounds.

Music is a language that is expressed through symbols and signs. Through a planned stratagem each child will develop literacy in music according to their ability. Upon completion of this curriculum, students will be able to convert the symbols of music into musical expression, so each student will develop sufficient literacy in music to be able to intelligently follow and understand a selection of music.

Further, it is hoped that each student will come to see music as a major means utilized by all people to express their emotions and feelings. Music has been used by all cultures to exalt man’s highest ideals and aspirations. Through its communicative nature music has the ability to transcend the restrictions of language and convey thoughts and feelings to all people.

Music is an expression of culture and it is through the sequential study of the music of various cultures that students will not only experience and understand a part of these cultures, but also be able to see the music of their own culture with greater appreciation.

Music education can provide positive and successful experiences for all students. The success-oriented experiences can be realized by students who may otherwise encounter learning difficulties in the realms of purely academics subjects. Music not only enhances the learning of all students, but through the opportunities it provides for individual and group performance, it can be utilized to identify and develop those students with special abilities and talents. It is hoped that some students who may possess exceptional ability and talent will be able to develop their talents and knowledge in order to make a contribution to world culture in the area of musical arts.



Strings Grade 4-8

Course Description

All Students must meet District Wide Attendance Standards

This course for all string students continues developing the skills students start to build in the 4th grade. Students in the Newark Early Strings Program (NESP) Within the string curriculum, students will advance their technical and artistic skills through applied lessons. The development of individual practice strategies will be emphasized since practice and preparation time are required outside of the class. Rhythm, scales, dynamics, articulation and notation will continue to be developed. Ear training and musical interpretation skills will be sharpened. The study of music history and music theory will be included in this performance class. All students will participate in ensemble performance and solo performance. Performance and Participation in extracurricular instrumental music ensembles is highly recommended.

Prerequisite: Introductory string instruction with the approval of instructor.Mastery Criteria:

Class Participation 75% Performance 10% Homework 10% Tests/Quizzes/Projects 5%



Recommended Textbooks/Resources

Method Books

Suzuki Book 1 et.al. (2007) Suzuki ( * ) School (*Violin, Viola, Cello, Bass), Miami, FL, Warner Bros., ISBN# 29156-11897

Allen et.al, (1995) Essential Elements for Strings, Milwaukee, WI, Hal Leoanard, ISBN# 7935-4297-9

Applebaum (1960) String Builder, Miami, FL, Belwin, ISBN# 6824-3186-8

Dabczynski, Phillips (1996) Fiddlers Philharmonic, Van Nuys CA, Alfred. ISBN# 88284-802

Dabczynski, Meyers, Phillips (2002) String Explorer, Van Nuys CA Alfred ISBN# 38081029223

Erwin et.al. (2006) New Directions for Strings, Ft. Lauderdale FL, FJH ISBN#74398-21864

Snyder (1997) The Rhythm Reader Milwaukee WI, Hal Leonard ISBN #73999-31998

Sueta (1986) Rhythm Vocabulary Charts, Bloomfiled, NJ Macie ISBN # 934151-55-5



Teacher Resources

Suzuki (1983) Nurtured by Love Miami FL Summy-Birchard ISBN#780874-875843

Starr (2000) The Suzuki Violinist Miami FL, Summy-Birchard ISBN#2458-06052

Elizabeth Wilson, (2007) Rostropovich: The Musical Life of the Great Cellist, Teacher, and Legend,

Chicago, Ivan Dee ISBN#13-978-1-56663-776-3

Various Authors, Spotlight on Teaching Orchestra: Selected Articles from State MEA Journals (2005)

Rowman & Littlefield Education, Lanham MD, ISBN# 1-56545-169-4 /978-1-56545-169-8

Kaschub and Smithe,(2009) Minds on Music: Composition for Creative and Critical Thinking,

Rowman & Littlefield Education, Lanham MD, ISBN#160709194-978-1607091943

Henry Barrett (1978) The Viola: Complete Guide for Teachers and Students, University of Alabama Press,

Tuscaloosa, AL, ISBN# 0-8173-0885-7

Benfield and Dean, (1973) The Art of Double Bass Playing, Summy-Birchard, Miami FL,

ISBN# 0-87487-081



Course Proficiencies

Introductory Knowledge

1. Identify and list the members of the string family.2. Describe and discuss the various parts of the instruments.3. Demonstrate proper instrument maintenance.4. Formulate proper performance techniques for their particular instrument.5. Evaluate proper playing position (sitting and standing), bow and pizzicato technique, and good sound production.

Rhythm

1. Define whole note, half note, quarter note, eighth note, sixteenth notes, dotted half, quarter and eighth notes.2. Identify whole note, half note, quarter note, eighth note and sixteenth notes, dotted half, quarter and eighth notes.3. Demonstrate understanding of note values for whole, half, quarter, sixteenth, dotted half, quarter and eighth notes.4. Analyze rhythms using whole, half, quarter, sixteenth, dotted half, quarter and eighth notes5. Speak and clap rhythms.6. Perform rhythms on their instrument7. Compose rhythms using whole, half, quarter, sixteenth, dotted half, quarter and eighth notes.

Scales

1. Identify all major scales and the natural, harmonic and melodic forms of the minor scales.2. Demonstrate, through writing and performance, an understanding of the construction of major and minor scales.3. Analyze and differentiate between major and minor scales with key signatures.4. Evaluate their performance of all scales in appropriate keys.


Newark Public Schools 2010-2011 Strings – Grades 4-8Dynamics

1. Define the term dynamics.

2. Identify the range of dynamics.

3. Demonstrate an understanding of dynamics through performance of repertoire.4. Analyze the range and details of the dynamics indicated in the music.5. Evaluate the music for dynamics component

Time/Meter

1. Perform in simple and compound duple and triple meters 2. Perform etudes and solos with the appropriate tempo and metronome markings.

Ear Training

1. Demonstrate knowledge of solfege syllables.2. Identify all steps of the scale with the appropriate solfege syllables and scale numbers. 3. Demonstrate an understanding of intervallic relationship relative to the scale through the use of the solfege syllables 4. Analyze solfege melodies for intervallic relationships.5. Compose a melodic dictation exercise using solfege.6. Use solfege syllables to take melodic dictation.

Aesthetics

1. Define aesthetics.2. Discuss how aesthetics relates to the field of music.3. Use a set of predetermined list of aesthetic criteria.4. Analyze the aesthetics in a piece of music.5. Evaluate the aesthetics of a musical performance.



Individual Practice Strategies

1. Demonstrate an understanding of a desired practice schedule through the use of a practice log.2. Demonstrate, through an application of a reasonable practice schedule, musical nuances of selected repertoire.3. Define practice as it relates to the field of music.4. Discuss individual practices strategies.5. Demonstrate the practice strategies through individual performance practices.6. Analyze their progress with repertoire through individual and ensemble performance.

Articulation/Bowing

1. Define articulation/bowing as it relates string performance.2. Identify various types of articulation/bowing3. Demonstrate proper articulation/bowing through performance.4. Differentiate between various types of articulations/bowing through performance.5. Select the proper articulation/bowing of a passage through performance.

Ensemble Performance

1. Define ensemble performance as it relates to string performance.2. Identify various ensembles as related to string performance.3. Demonstrate their performance skills as a member of a string ensemble.4. Critique their individual performance relative to the ensemble.5. Perform in various instrumental groups.



Musical Interpretation

1. Define musical interpretation through string performance.2. Identify musical interpretation through string performance.3. Demonstrate musical interpretation through string performance.4. Analyze musical interpretation through string performance.5. Demonstrate the proper performance practices of a musical work/selection.

History

1. Define music history.2. Identify the various periods of music history and associated compositional styles, performer styles and instrumentation.3. Understand, analyze and create a timeline illustrating music history.4. Compare the various periods of music and its many genres.

Career Education

1. Define career education as it pertains to areas in music.2. Discuss career education as it pertains to areas of music.3. Demonstrate knowledge of basic technical career opportunities, as related to music.4. Examine various career opportunities in the field of music.5. Create a career plan outlining their educational and career goals.6. Evaluate career goals through research of major performing artists.


Newark Public Schools 2010-2011 Strings – Grades 4-8Curriculum Units

The Strings Curriculum Grades 4-8 curriculum comprises four strands:

Instrument Care, Handling and Maintenance

Tone Production

Musicianship

Performance

Instrument Care, Handling and MaintenanceStudents will demonstrate a working knowledge of the various parts of their instrument by naming the parts of the instrument a describing their function. Students will be able to do basic repairs including changing strings, fine tuners, chin rests etc. Students will be able to tune their instrument. Students will demonstrate the ability to identify the need for an instrument in need of professional repair.

Tone ProductionStudents will demonstrate a working knowledge of the techniques and methods of proper tone production on their instrument. This will

include, but not be limited to: knowledge of the fundamentals of good posture; how to hold the instrument, hand

and finger positions with both hands; bowing and pizzicato techniques; understanding of the qualities of musical

tone and intonation; evaluate and assess their individual tone production.

Musicianship Students will demonstrate musicianship skills in solo and ensemble settings by: reading and performing exercises, scales and repertoire; by

creating music; by listening to and analyzing musical samples; and through performance critique.

PerformanceStudents will demonstrate maturity and expressiveness in performance practices by reading and performing solo and ensemble repertoire of

various genres, styles and graded levels, with accurate pitch, rhythm, articulation, balance/blend, technical proficiency and musicianship.


Newark Public Schools 2010-2011 Strings – Grades 4-8Suggested Course Pacing

TOPICS THEME BLOCK FULL CLASS

Introduction of Technique

Posture. Holding instrument in

Rest and Playing Position

1 Day 1 Day

Introduction the bow and bow hold. 1 Day 1 Day

Fingering

1 Day 1 Day

Imitation of “Twinkle Variation”

Number 1. Suzuki Book 1

1 Day 1 Day

Refinement of Technique

Posture. Holding instrument in

Rest and Playing Position

Continuous Continuous

The bow and bow hold. Continuous ContinuousOffice of Academic Services©2010 17-2011



Imitation of “Twinkle Variation”

Number 1. Suzuki Book 1


Review care and maintenance of instrument.


Rhythm Imitation of “Twinkle Variations”

Numbers 2, 3, 4

1 Day 1 Day

Refinement of Rhythm Refinement of Basic Rhythm


Melody

Introduction of “Twinkle Variations” with Theme 1 Day 1 Day

Introduce other melodies. Continuous Continuous

Dynamics

Introduction of Dynamics 1 Day 1 Day

Refinement of Dynamics Continuous Continuous




Notation Introduction To Notation 1 Day 1 Day

Refinement of Notation Continuous Continuous

Ear Training/Aural Skills

Introduction to Ear Training

1 Day 1 Day

Refinement of Ear Training


Aesthetics

Aesthetics

Introduction of Aesthetics 1 Day 1 Day

Refinement of Aesthetics Continuous Continuous

Individual Practice Strategies

Introduction of Primary Practice Strategies 1 Day 1 Day

Refinement of Practice Strategies

Continuous

Continuous

Articulation Introduction of Articulation 1 Day 1 Day




Refinement of Articulations Continuous Continuous

Ensemble Performance Introduction of Performance 1 Day 1 Day

Refinement of Solo/Ensemble Performance Continuous Continuous


Newark Public Schools 2010-2011 Strings – Grades 4-8Suggested Course Pacing

Strings– Grades 4-5

Cycle 1Identify the parts of the instrumentPostureBowing/Pizzicato TechniquesHand PositionsIntroduction to Music ReadingBeatLong TonesFirst Five NotesQuarter Notes and RestsRepeat Signs and Double Bar Lines

Cycle 2NaturalFlatSharpTreble ClefKey SignatureTime Signature – 4/4Half Notes and RestsWhole Notes and RestsBowing MarksMajor Scales A, D, G



Cycle 3DynamicsTime Signature – 2/4TempoEighth Notes and RestsDotted Notes and RestsIntroduce 4th FingerIntroduce 2nd PositionScales F, Eb, Bb

Cycle 4AccentTime Signature – 3/41st and 2nd EndingsDa Capo and Del SegnoFine and CodaPhraseMultiple Measure RestsContinue 2nd PositionReview All Scales



Strings – Grades 6-8

Cycle 1Review Concepts of Band Grades 4-5StaccatoLegatoCrescendoDecrescendoRitardandoAccelerandoSight Reading

Cycle 2Introduce 3rd PositionScales C, D minor, G minorStaccatoLegatoTenutoCut Time – Alla BreveSyncopation

Cycle 3Sixteenth Notes and RestsReview all scales and positionsIntroduce more scales once mastery of Positions and scales is demonstratedBalanceBlendKey ChangesTime Changes



Cycle 4Continue Scale Studies including Minor scalesIntroduce ArpeggiosRallantandoCompound Meter – 6/8EnharmonicsChromatic ScaleFollowing the Conductor




Strand B: Music

Standard 1.1All students will demonstrate an understanding of the elements and principles that govern the creation of works of art in dance, music, theatre, and visual art.

Essential Questions Instructional Objectives / Skills and Benchmarks (CPIs)

Types of Research Based Activities and Assessments that could illustrate Objectives

Suggested Resources

Why should I care about music?

What is the purpose and value of music in our society?

What’s the difference between a thoughtful and a thoughtless artistic judgment?

What are the specific qualities that cause you to be drawn to or disinterested in a certain piece of music?

What role does the audience play in a performance?

1.1.5.B.1 Identify the elements of music in response to aural prompts and printed music notational systems.

1.1.5.B.2 Demonstrate the basic concepts of meter, rhythm, tonality, intervals, chords, and melodic and harmonic progressions, and differentiate basic structures.

1.1.8.B.2 Compare and contrast the use of structural forms and the manipulation of the elements of music in diverse styles and genres of musical compositions.

NAT 2. Performing on instruments, alone and with others, a varied repertoire of music

NPS 6a. Perform diverse solo selections from classical to contemporary repertory with reasonable accuracy of pitch, rhythm, harmony and balance.

Discuss the various definitions of music and the functions of music in society.

Define and discuss the elements of music.

Use audio/visual resources to discuss and write about musical performances.

Attend live performances.

Perform for classmates, peers and other audience groups.

Intro to School String Instruments

Rhythm Bingo

Repeat Signs

http://www.researchbuzz.org/aestheticsmusic/

http://www.carnegiehall.org/SiteCode/Intro.aspx

http://www.apassion4jazz.net/

www.jamesfrankel.com/tempomarch2006.htm

www.kidsource.com/kidsource/content/diff_instruction.html

www.menc.org/v/general_music/differentiating-instruction

www.jstor.org/pss/3399721

http://www.njcccs.org/ContentAreaTabularView.aspx?code=1&Desc=Visual+and+Performing+Arts









Strand B: Music

Standard 1.3All students will synthesize skills, media, methods, and technologies that are appropriate to creating, performing, and/or presenting works of art in dance, music, theatre, and visual art.



Suggested Resources

How do underlying structures unconsciously guide the creation of arts works?

Does art have boundaries?

How does the knowledge and understanding of the elements of music relate to all aspects of an instrumental performance?

What are the traditional fundamental principles of a musical composition?

What is involved in the process of composition?

1.3.2.B.2 Use their instruments to create music, alone and/or with others, using different beats, tempos, dynamics, and interpretations.

1.3.2.B.7 Blend unison and harmonic parts while matching dynamic levels in response to a conductor’s cues.

NAT 4. Composing and arranging music within specified guidelines.

NPS 5a. Demonstrate appropriate performance practices

Have students create a fingering chart for their instrument.

Have students perform proper performance technique.

Develop a list of proper practice habits.

Develop an action plan of relaxation strategies for use before and during a performance.

Creating a Sound Map

Instrument Making

Composing - Rhythm Charts

http://www.menc.org

http://www.emusictheory.com

http://www.wfg.woodwind.org

http://www.musictechnology.com

http://www.lessontutor.com

http://www.classicalarchives.com

http://www.apassion4jazz.net







http://www.musictechnology.com/

http://www.classicalarchives.com/


l


Strand A: Aesthetic Responses

Standard 1.4All students will demonstrate and apply an understanding of arts philosophies, judgment, and analysis to works of art in dance, music, theatre, and visual art.

Essential Questions

Instructional Objectives / Skills and Benchmarks (CPIs)

Types of Research Based Activities and

Assessments that could illustrate Objectives

Suggested Resources

When is art criticism vital and when is it beside the point?

How will knowledge of the elements of music assist in discussing and critiquing a performance?

Why is critique, both self and peer, effective and necessary in the development of a musician as a performer?

How does tradition and past experience influence our expectations of a musical performance?

How do we describe a musical performance?

1.4.5.A.1 Employ basic, discipline-specific arts terminology to categorize works of dance, music, theatre, and visual art according to established classifications.

1.4.8.A.1 Generate observational and emotional responses to diverse culturally and historically specific works of dance, music, theatre, and visual art.

NAT 6. Listening to, analyzing, and describing music.

NPS 7a Listens to and/or views recordings of professional performances, using relevant listening guides and scores for enrichment and critique

List the criteria used to critique a musical performance.

Have small group discussions to formulate a performance rubric.

Attend performances of various ensembles and soloists, applying the evolved criteria for critique.

Students will read and analyze music reviews in print and online publications regarding the elements of performance.

Students perform pieces in class and evaluate each other’s performances using the rubric and share comments.

The Function of Music

http://www.chrisproctor.com/critiques.html

http://rubistar.4teachers.org/index.php

http://musicquotes.anarchyblogs.com/category/critique/

http://www.fromthetop.org/

http://www.newspapers.com/

http://music.toptenreviews.com/


















Strand B: Critique Methodologies

Standard 1.4All students will demonstrate and apply an understanding of arts philosophies, judgment, and analysis to works of art in dance, music, theatre, and visual art.



Suggested Resources

When is art criticism vital and when is it beside the point?

How will knowledge of the elements of music assist in discussing and critiquing a performance?

Why is critique, both self and peer, effective and necessary in the development of a musician as a performer?

How does tradition and past experience influence our expectations of a musical performance?

How do we describe a musical performance?

1.4.5.B.2 Use evaluative tools, such as rubrics, for self-assessment and to appraise the objectivity of critiques by peers.

1.4.8.B.1 Evaluate the effectiveness of a work of art by differentiating between the artist’s technical proficiency and the work’s content or form.

NAT 7. Evaluating music and music performances.

NPS 7b. Listens to and/or views recordings of own and/or peer performances, using relevant listening guides and scores for enrichment and critique

List the criteria used to critique a musical performance.

Have small group discussions to formulate a performance rubric.

Attend performances of various ensembles and soloists, applying the evolved criteria for critique.

Students will read and analyze music reviews in print and online publications regarding the elements of performance.

Students perform pieces in class and evaluate each other’s performances using the rubric and share comments.

Found Music Unit Dress, Success!

Found Music Unit, The Concert






















Intro to String Instruments

Applies to Standards: Standard 1.1 - All students will demonstrate an understanding of the elements and principles that govern the creation of works of art in dance, music, theatre, and visual art.

Brief Description: Students will learn about various instruments in a school orchestra.

How to Teach It: Materials: Violin, Viola, Cello, Bass

Do Now: Make a list of all the instruments in a school orchestra.

Procedure: 1. Teacher will first give a brief overview on the many roles of a school orchestra. 2. Teacher will then describe the four different instrument families in an orchestra (Strings, Woodwind, Brass,

Percussion) 3. The teacher will introduce each string instrument explaining its purpose, sound and

construction. A sound demonstration will be given.

Evaluation: The students will be able to answer different questions about the instruments they have witnessed.



Students Act As TV Reporters

Applies to Standards: Standard 1.2 - All students will understand the role, development, and influence of the arts throughout history and across cultures.

Brief Description: Students act as TV reporters and interview their favorite composer.

How to Teach It: Materials Needed: Biographies and music of several composers, video camera (optional) art supplies to help children create microphones and costumes of the composer.

Lesson: Have groups of students choose a composer to study. Provide biographies for the children to study and pieces of music for the children to listen to. Have them gather pertinent information about important pieces their composer composed, when they were born, where they lived, etc. Write your own script and demonstrate so the students can model. Give them time to create scripts and rehearse. Make sure the children incorporate a section of the music from their composer. They can include the music just like a Hollywood star and talk show host watch a piece of their upcoming films and then discuss it afterwards. Students become very creative and you could have a production crew and camera crew to make it really interesting. Videotape the students and watch it later. Ask them to write a little paragraph explaining the whole process and what they learned from it.



Creating a Sound Map

Applies to Standards: Standard 1.3 - All students will synthesize skills, media, methods, and technologies that are appropriate to creating, performing, and/or presenting works of art in dance, music, theatre, and visual art.

Brief Description: This lesson will reinforce the reading of notated rhythms and the correct use their instruments.

How to Teach It: Materials: Recording of chosen song String instruments Classroom chalkboard or dry erases board

Procedure: 1. Choose a piece of music you are very familiar with. At the time of this writing, I was using “Animal” by Kat DeLuna and “Oye Como Va” by Santana.

Any piece of music, from any genre will be fine. Have the students list all instruments that they hear playing throughout the piece. List all correct instruments on the board.2. Have the students identify the passages where strings are playing, or could be playing during the piece.

3. Lead the class in composing a sound map on the board by playing along with the song recording. As a class, decide whether that instrument sounds good with the recording. Write the rhythm patterns on the board as you go. For beginning level students, focus on rhythm while playing just one or two notes on their instrument.

4. Map out the form of the piece and indicate when the students play in the form. With more advanced students, you can break the group into sections, each playing it’s own part.

5. Once the students are able to play the rhythms with the recording of the piece, add more complex melodic and harmonic embellishments appropriate to their development. Encourage the students to explore and embellish the string parts on their own.

6. Experiment with various methods of recording the students, encouraging them to come up with ideas. As many available audio and video recording devices should be tried. Also, experimented with various devices for playback should be explored.



The Function of Music

Applies to Standards: Standard 1.4 A - All students will demonstrate and apply an understanding of arts philosophies, judgment, and analysis to works of art in dance, music, theatre, and visual art.

Brief Description: This lesson examines how music reflects and influences societies and is a metaphor for ideas and experiences. Students begin by brainstorming the functions or purposes of music and by discussing music's power as a mirror and a symbol. A special focus will be made on the use of music to sell - how advertisers use the power of music to create bonds between consumers and products. As a group activity, students will add a string part to a radio or TV commercial.

How to Teach It: Preparation and Materials: Samples of music that reflect some of the categories of music listed below Record ads that use jingles or accompanying music

Note: If you have access to a computer, many songs and musical compositions can be listened to online. It's worth conducting an online search prior to class.

Procedure: Class Discussion Ask students to list as many functions or purposes of music that they can think of and record their suggestions on the board. Some functions would be, for example:

as personal expression as communication to uplift human spirit for religious purposes for group identity as a way to pass on traditions to sell a product to enhance film to increase nationalism as propaganda for dance as a form of protest as an agent of social change to tell a story


Newark Public Schools 2010-2011 Strings – Grades 4-8 Play the musical samples that you have brought to class and discuss how each selection might be used for a specific purpose. (For example, using a National

Anthem to instill patriotism, using David Foster's theme for the Olympics to create enthusiasm and identity for the Olympics, or music from current commercials chosen by students, teachers and other members of the school community.

Music as a Mirror Music suggests much about the society in which it is created. Whether it is a traditional song of an Indigenous people, a Strauss waltz, a gospel song or a

rock video, music reflects a culture. It expresses experience and also affects experience, creating feelings and responses in the listener. Like many art forms, music mirrors society, sometimes raises questions about society's norms and values, and sometimes has the power to bring about change.

When this happens, music can serve a purpose that it was not necessarily intended for. For example, popular music has been known to create an identity for groups of people. Songs that were popular during World War II helped unify soldiers and those at home - for example, songs by Vera Lynn, such as "We'll meet again." "De Colores" a traditional Latino song has been sung by several generations of migrant workers, especially in California. Discuss how and why groups of people, including the students themselves, sometimes tend to be identified with certain types of music. (Categories might include heavy metal, punk, hip hop, new wave, rap, alternative music, etc.)

Ask students to evaluate some of the positive and negative results of this type of categorization. Does this kind of identification stereotype students? If so, what are the stereotypes associated with specific music genres?

Music and Symbolism Songs and music may eventually become symbols for a particular group of people, a place or historical event. (A few examples from popular culture might include popular television show and movie scores and signature tunes used by show business personalities.)

Have students think of melodies that have become symbols. Try to determine how this happens. Specifically, can students think of musical symbols that have become associated with modern historical events? Some music is considered a symbol for a whole generation. For the parents of students, artists such as Bob Dylan, The Beatles, The Rolling Stones created much of the

music that embodied what it was like to be a teen in the 1960s. Ask students to imagine themselves looking back twenty years from now on the handful of artists whose music will represent their generation. Who do they think those artists will be? Which songs will become the anthems that symbolize their generation? Students should be made aware of songs from previous generations which are still “current” today. In 2010, examples are “Thriller” by Michael Jackson, The Opening Theme from Symphony #5 by Beethoven,

“Pure Imagination” from Willy Wonka and the Chocolate Factory and others.

Music and AdvertisingOne function of music is to sell products. This is most often done through advertising jingles, although popular music may also be co-opted for this purpose.

According to Ad Age, the top ten advertising jingles of the Twentieth Century were: 1. You deserve a break today (McDonalds) 2. Be all that you can be (U.S. Army). 3. Pepsi Cola Hits the Spot (Pepsi Cola).4. M'm, M'm good (Campbell's). 5. See the USA in your Chevrolet (GM).6. I wish I were an Oscar Meyer Wiener (Oscar Meyer).


Newark Public Schools 2010-2011 Strings – Grades 4-87. Double your pleasure, double your fun (Wrigley's Doublemint gum). 8. Winston tastes good like a cigarette should (Winston). 9. It's the Real Thing (Coca Cola). 10. Brylcreem -- A little dab'll do ya (Ask students if they recognize any of them. Can sing along with any of them!)

Listen to, or view, the musical ads that have been brought to class and discuss the following with students. How does the music in a particular advertisement help to sell the product? (If using a TV commercial, teachers might want to play the ad first without music, and then

with music, to gauge their students' impressions.) Ask students to determine if there are any similarities between the product being sold and the music; for example, toy racing cars and fast tempo music. For ads that use jingles or original music, discuss how the elements of music and principles of composition have been used by the composer to achieve the desired

purpose. If there isn't anything obviously similar between the product being sold and the music, what are the producers trying to accomplish with the music? (Toy commercials

are examples of these sorts of ads.) In ads like toy ads, what kind of image are advertisers trying to create? How does the accompanying music support this image? What are some examples of ads that use hit music? How do you feel when advertisers use popular music to sell products? (Especially music that has symbolic meaning to a particular generation, like when Michael

Jackson - who owns the rights to the song - sold John Lennon singing "Revolution" to Nike, or when Bob Dylan sold the rights to "The Times They Are A-Changin'" to an accounting firm.)

What do advertisers hope to achieve when they use music in this manner?

Activity: In groups, students will select a function of music theme from the board. Each group will create a string part to accompany or embellish this theme, which will be presented to class. Groups may integrate visuals (such as pictures or slides) and other audio effects (such as a poetry reading or accompanying dialogue) into their presentations.



Found Music Unit, Dress, Success!

Applies to Standards: Standard 1.4 B - All students will demonstrate and apply an understanding of arts philosophies, judgment, and analysis to works of art in dance, music, theatre, and visual art.

Brief Description: The purpose of this lesson is to have students think critically about peer performances. When the students are finished this lesson, they will have: 1. Participated in a dress rehearsal situation. 2. Taken part in a class critique, where they will assess both positive and negative attributes of peers' performance.

How to Teach It: Resources: Repertoire and instruments.

Have the students practice their instruments for the first few minutes of class. Arrange an informal concert where each group can play their pieces for one another. Have a suggestion period after each piece. Ask for three positive things first, and then have the students suggest things that the group could have improved upon. Make sure the suggestions get written down. Perhaps establish one person in the group as the recorder.

Assessment: Concert and class discussion (assess piece and suggestions). Note participation and diplomacy. By watching the dress rehearsal, I will be able to assess who has a grasp on the concept of the dress rehearsal. The class will then get a chance to participate in peer evaluation. The students will be evaluated on the relevance and sensitivity of their comments.



Rhythm Bingo


Brief Description: Identify types of notes and rests; and appropriate clefs through the use of the game Bingo.

How to Teach It: Preparation: Make up bingo cards using the word "music" across the top instead of "bingo." Make the center a free square and the rest of the squares (bingo card should be 5x5) should contain different notes and rests and clefs and anything you want to review.

Process: Pass out bingo cards and a small piece of paper (to rip up for game pieces.) Play bingo as usual.



Name That Style


Brief Description: This lessons reinforces the elements of music within a variety of music styles

How to Teach It: Materials: A collection of a wide variety of music recordings.

Procedures: 1. List or post the elements--melody, form, harmony, rhythm, dynamics, timbre--and brief definitions of each. 2. See if students can come up with a good definition of style. Discuss briefly that what makes a style unique is the way the elements of music are utilized in the music.3. Have students brainstorm as many styles as they can, including styles they like and styles they don't like. Have them try to think of at least 10.4. Get a volunteer to make a master list on the board. Give each student the chance to name one from his/her list. After each student has had a turn, get other styles that

have not yet been named. Finally, add any that you have thought of that were left out.5. Have students choose from the list to describe a particular style. Encourage the use of musical terms to describe the styles, not opinions about the styles.6. Explain that you will be playing excerpts of several styles that are listed. Their task is to list the style. Have them number 1-10 (or however many selections you have)

and be ready to guess the style. If they are unsure, the task is to describe the music (using music terms).7. Play excerpts. After the game, and as time permits, offer to let them listen to full pieces of their favorite excerpts. *8. Close by reviewing the elements of music, and the definition of style.

Assessment: Check the papers.



Vibrato


Brief Description: Various methods of introducing vibrato will be explored.

How to Teach It: 1. Introduce the concept and sound of vibrato by demonstration, audio and video recordings.2. Discuss the purpose of vibrato and present examples of different types of vibrato in various situations.

3. Have the students try to play vibrato. Discuss, assess the degrees of success, problems encountered etc.4. With the students, play a familiar song. Then play the song yourself using vibrato.5. Chose a comfortable introductory method to the students as their first step to learning vibrato.

6. Strive for a measure of success and achievement during this first step toward learning vibrato.7. Take a photograph of each student to be dated and presented to the student in commemoration of the day they began to learn vibrato.



Found Music Unit, The Concert

Applies to Standards: Standard 1.4 B - All students will demonstrate and apply an understanding of arts philosophies, judgment, and analysis to works of art in dance, music, theatre, and visual art.

Brief Description: The purpose of the lesson is to give the students a satisfying experience in performing pieces that they composed. When the students are finished this lesson, they will have: 1. Attended a concert displaying proper concert etiquette. 2. Performed original pieces in a formal concert setting. 3. Had their original work recorded for later analysis?

How to Teach It: Resources: Instruments, compositions, reception refreshments (juice & cookies & fruit), concert programs. Tasks: 1. Before the students arrive, arrange the classroom (or auditorium, if you can get in there) into a stage area and audience area. 2. Pass out a program when the students arrive.

3. Have the concert. Record it; offer to make copies for anyone who wants them. 4. Have a mini-reception. 5. Have the students pass in their compositions.

Assessment: Written compositions (rough and good copies), concert performance, and audience attitude. Students will write a reflection to be handed in to me. I will record their concert and they will listen to it when writing their reflections, in order to better appraise their progress. By taking attendance I will know who was present at the concert?

Homework: Have the students write down their thoughts detailing what they thought about this process.



Repeat Signs


Brief Description: Introduce music notation Work on reading skills - Repeat Sign, D.S. al Coda, D.C. al Coda, repeat measure

How to Teach It: Materials: Worksheet for all the students in the class that has a verse that has many repeated words Procedures: 1. Talk about how composers are so busy that they do not have enough time to keep writing the same material over and over.

2. Draw on the board a repeat sign and ask the class if anyone knows what this is? (Any kids that are in the orchestra will probably know but give the other students a chance to guess). 3. "Musicians like to use shortcuts when they write music. If a portion of a song is going to be sung twice the composer will use these repeat signs or repeat signs and multiple endings." Maybe you have seen those boxes with one and two over them, well those are for repeating. 4. Show the kids a copy of music with either repeat signs or repeat signs and multiple endings. (In our book the star spangled banner has two verses) Did these shortcuts help you get lost in the music rather than help you get to the end? 5. Pass out the hand out with the poem on it (and write it on the board so you can refer to it). 6. "Say the verse together with me and find its meter where the strong pulses are. The pulses are grouped together is sets of?7. Since they said two we will put a two next to the first line to remind us of the meter. 8. Now place vertical lines in the verse to separate the words into two beat units - measures. (Then show them what you mean by putting the bar lines in the first line of roses are red). 9. Draw a circle around all the words that repeat. 10. Ask the students if they know how to write a shortcut so we won't have to write all these repeated words twice? Draw on the board what it would look like in a piece of music using repeat sign. 11. Point to each repeat sign and explain why there has to be two (one at the end of the line and one back at the beginning). 12. Now have the students add a third line on their papers Roses are red, Violets are Blue, Skunks really stink, and teachers too (Most students will add a third ending, but some will forget to add a repeat sign at the end of the second). 13. Why is this repeat sign required after the second ending?? 14. Another short cut that people use is the D.C. al Coda which is then followed by a Coda (Draw a coda and tell them what is does). 15. Show them a piece in their music book and then have them read the text using the short cut. 16. Show them a repeat measure sign and tell them what it does. 17. Finally show them the D.S. al Coda sign and show them what it does (Find a piece of music in their books that uses these and have them read the text using this short cut)



History of African-American Music


Brief Description: African-American music history awareness

How to Teach It: Students will be made aware of African-American music history from the slave work song through modern rap and hip-hop. Students will also be made aware of significant musical figures from several styles. Dates range from c.1619 through 2005.

Selections: 1. Work Song - "Pickin' Cotton All Day Long"

2. Spiritual - "Come By Here"3. Blues - "Nobody Loves Me, But My Mother" (B. B. King)4. Jazz - "Don't Worry 'Bout Me"5. Rhythm and Blues - "Let the Good Times Roll (Ray Charles) 6. Funk/Soul - "Papa's Got a Brand New Bag" (James Brown) 7. Hip Hop (early) - "Hip Hop Be Bop"8. Rap/Hip Hop (contemporary) - "God Gave Me Style" (50 Cent)

Assessment: Students will be asked questions with each selection. Questions will be in regard to personal preferences of students and their ability to recognize the common threads in African-American music history.



Composing - Rhythm Charts


Brief Description: In this lesson students will create original rhythm charts.

How to Teach It: Materials - 1) string instrument 2) copies of blank rhythm charts 3) a baton for the students to conduct with

Students are shown a copy of a sample rhythm chart. (an X means you play) Students volunteer to perform this chart for the class.

Beat*Instrument 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 *Rhythm instruments may be used as substitutesViolin x x x x x x x x xViola x x x x x x x x xCello, Bass x x x x x x x x

Hand out blank rhythm charts. Discuss with students strong beats (1/3) vs. weak beats (2/4). Have them select 2 or 3 instruments to write a rhythm chart for. In pencil, students write a rhythm chart, experimenting with the instruments.

Have students perform their rhythm charts for the class. Let each individual "composer" select the musicians. The composer should also act as conductor, keeping a steady beat with the baton. Have the students briefly analyze (verbally) what they heard.

You can expand this lesson plan to 6/8 and/or 3/4 meter. The next step is to have the students compose a rhythm chart to an existing song. Well known folk songs work well (Skip to My Lou, Oh, When the Saints,

Go Tell Aunt Rhody, Yankee Doodle, etc.) In order to perform the rhythm chart for the class, the teacher will need to perform the melody while the "rhythm band" performs the rhythm chart. Students can also devise their own evaluation sheet to "grade" each rhythm chart. This will keep the students who are not currently performing on task and attentive to the students who are performing.

A more complex rhythm chart can include eighth notes. Some students will naturally want to create more complex rhythms. Teacher should encourage this.



Visual and Performing Arts NJ CCCS Alignment with Other Core Content Areas

1.1 All students will acquire knowledge and skills that increase aesthetic awareness in dance, music, theater and visual arts.

CPIs1.1.1 By the end of Grade 4, students will communicate their responses to dance, music, theater and visual arts with supporting statements based on aesthetics.1.1.2 By the end of Grade 8, students will understand that arts elements, such as color, line, rhythm, space and form, may be combined selectively to elicit a specific aesthetic response.1.1.3 By the end of Grade 8, students will communicate about the aesthetic qualities of art works through oral and written analysis, using appropriate technical and evaluative terms.1.1.4 By the end of Grade 12, students will demonstrate an understanding of different aesthetic philosophies through the evaluation and analysis of artistic styles, trends and movements in an art form.

HEALTH ANDPHYSICALEDUCATION

LANGUAGE ARTS LITERACY

MATHEMATICS SCIENCE SOCIAL STUDIES

WORLD LANGUAGES

CROSS CONTENT WORKPLACE READINESS

2.2,2.4 3.1,3.2,3.3,3.4,3.5 4.1,4.2,4.3,4.7,4.8,4.9,4.10,4.11

5.1,5.3,5.9,5.11,5.12

6.1,6.2,6.3,6.4,6.5,6.6,6.7,6.8,6.9

7.1,7.2 Develop career planning and workplace readiness skills. Use technology, information and other tools. Use critical thinking, decision-making and problem solving

skills. Demonstrate self-management skills.

1.2 All students will refine perceptual, physical, and technical skills through creating dance, music theater and/or visual arts.

CPIs1.2.1 By the end of Grade 4, students will demonstrate performance and participation skills by working and creating individually and with others.1.2.2 By the end of Grade 8, students will demonstrate technical skills in dance, music, theater or visual arts, appropriate to students' developmental level.1.2.3 By the end of Grade 8, students will create, produce, or perform works of dance, music, theater, or visual arts, individually and with others.1.2.4 By the end of Grade 12, students will demonstrate originality, technical skills and artistic expression in the creation, production of dance, music, theater or visual arts.


Newark Public Schools 2010-2011 Strings – Grades 4-8Visual and Performing Arts NJ CCCS Alignment with Other Core Content Areas



MATHEMATICS SCIENCE SOCIAL STUDIES WORLD LANGUAGES


2.5,2.6 3.1,3.2,3.3,3.4,3.5 4.1,4.2,4.3,4.4,4.5,4.6,4.7,4.10, 4.14,4.16

5.1,5.2,5.3,5.4,5.8,5.9,5.12

6.1,6.2,6.3,6.4,6.5,6.6,6.7,6.8,6.9

7.1,7.2 Develop career planning and workplace

readiness skills. Use technology, information and other

tools. Use critical thinking, decision-making and problem-solving

skills. Demonstrate self-management skills. Apply safety principles.

1.3 All students will utilize arts elements and arts media to produce artistic products and performances.

CPIs1.3.1 By the end of Grade 4, students will apply elements and media common to the arts to produce a work of art.1.3.2 By the end of Grade 8, students will demonstrate appropriate use of technology, tools, terminology, techniques and media in the creation of dance, music, theater or visual arts.1.3.3 By the end of Grade 12, students will demonstrate an understanding of technology, methods, materials and creative processes commonly used in dance, music, theater or visual arts.



MATHEMATICS SCIENCE SOCIAL STUDIES WORLD LANGUAGES


2.5,2.6 3.1,3.2,3.3,3.4,3.5 4.1,4.2,4.3,4.4,4.5,4.6,4.7,4.9,4.10,4.11,4.16

5.1,5.2,5.3,5.4,5.8,5.9,5.12

6.1,6.2,6.3,6.4,6.5,6.6,6.7,6.8,6.9


readiness skills. Use technology, information and other tools. Use critical thinking, decision -making and

problem- solving skills. Demonstrate self-management skills. Apply safety principles.




1.4 All students will demonstrate knowledge of the process of critique.

CPIs1.4.1 At all grade levels, students will explain the criteria by which they evaluate the quality of their work and the work of others.1.4.2 By the end of Grade 8, students will offer constructive critique in the evaluation of their own and others' work in dance, music, theater or visual arts.1.4.3 By the end of Grade 12, students will evaluate and interpret works of art orally and in writing, using appropriate terminology.



MATHEMATICS SCIENCE SOCIAL STUDIES

WORLD LANGUAGES


2.2 3.1,3.2,3.3,3.4,3.5 4.3 5.1,5.2,5.3 6.2,6.3,6.4,6.5,6.6 7.1,7.2 Develop career planning and workplace

readiness skills. Use technology, information and other tools. Use critical thinking, decision-making and

problem- solving skills. Demonstrate self-management skills.

1.5 All students will identify the various historical, social, and cultural influences and traditions which have generated artistic accomplishments throughout the ages and continue to shape contemporary arts.

CPIs1.5.1 By the end of Grade 4, students will investigate, experience and participate in dance, music, theater and visual arts activities representing various historical periods and world cultures.1.5.2 By the end of Grade 4, students will investigate and experience the works of artists and community cultural resources through exhibitions and performances.1.5.3 By the end of Grade 4, students will apply knowledge of historical, social and cultural influences to understand a work of art.1.5.4 By the end of Grade 4, students will use their senses, imagination and memory to express ideas and feelings in dance, music, theater and visual arts.1.5.5 By the end of Grade 8, students will identify significant artists and artistic works in dance, music, theater and visual arts representing various historical periods, world cultures and social and political influences.




1.5.6 By the end of Grade 8, students will understand and demonstrate knowledge of how various artists and cultural resources preserve our cultural heritage and influence contemporary arts.1.5.7 By the end of Grade 8, students will interpret the meaning(s) expressed in works of dance, music, theater and visual arts.1.5.8 By the end of Grade 12, students will demonstrate knowledge of how artists and artistic works connect with political, social, cultural and historical events.

1.5.9 By the end of Grade 12, students will analyze and evaluate how various artists and cultural resources influence student work.1.5.10 by the end of Grade 12, students will create works of art that communicate personal opinions, thoughts and ideas.



MATHEMATICSSCIENCE SOCIAL

STUDIESWORLD LANGUAGES


2.1,2.2,2.3 3.1,3.2,3.3,3.4,3.5 4.1,4.2,4.3,4.9,4.10 5.1,5.2,5.3,5.4,5.7,5.11,5.12

6.1,6.2,6.3,6.4,6.5,6.6,6.7,6.8,6.9


readiness skills. Use technology, information and other tools. Use critical thinking, decision-making and

problem -solving skills. Demonstrate self-management skills.

1.6 All students will develop design skills for planning the form and function of space, structures, objects, sound and events.

CPIs1.6.1 By the end of Grade 4, students will identify and state needs and opportunities for design in the contexts of home, school, recreation and play.1.6.2 By the end of Grade 4, students will plan and execute solutions to design problems.1.6.3 By the end of Grade 8, students will identify and solve design problems in space, structures, objects, sound and/or events for home and workplace.1.6.4 By the end of Grade 12, students will identify, plan and provide solutions to design problems of space, structures, objects, sound and/or events in a public or private environment





MATHEMATICS SSCIENCE SOCIAL STUDIES

WORLD LANGUAGES


2.1,2.2,2.5,2.6 3.1,3.2,3.3,3.4,3.5 44.1,4.2,4.3,4.5

5.1,5.2,5.3,5.4,5.5,5.8,5.9,5.10,5.11,5.12

6.1,6.2,6.3,6.4,6.5,6.6,6.7,6.8,6.9

Develop career planning and workplace readiness skills.

Use technology, information and other tools. Use critical thinking, decision-making and

problem -solving skills. Apply safety principles.



NPS String Repertoire Library

TITLE COMPOSER/ARRANGER CATEGORY GRADE

A Night at Symphony Hall Feldstein String

Air and Hornpipe Phillippe String Orchestra

Allegro Con Brio Beethoven/Muller Orchestra Grade 3

Andante Mendelssohn/arr. Willis String Orchestra Grade 4

Andante Grazioso McLeod String Orchestra Grade 3

Andantino Marziale Tchaikowsky/arr. Goldsmith String Orchestra Grade 1

Apron Strings Niehaus String Orchestra Grade 1

Aria Bach/arr. Wielosznski String Orchestra Grade 2

Ave Maria Bach/Ground/arr. Proulx String Orchestra Grade 1

Bashara Haba ' /Ah Manor/Hirsh/arr. Conley String Orchestra Grade1

Beautiful Music for Two Violins Applebaum Strings Grade 2

Burlesca Lecuona/Romero String Orchestra Grade 2

Cats and Dogs Stephan String Orchestra Grade 2

Cellist's Solo Album Ambrioso Strings Grade 3

Christmas Pastorale from "Messiah" Handel/Ormandy String Orchestra Grade 3

Classic Bits and Pieces Story String Orchestra Grade 2

Concert & Contest Collection for Viola Whistler/Hummel Strings Grade 3

Concerto in D Minor-Movement #1 Bach/Moore String Orchestra Grade 3

Concerto in G Major "Alla Rustica" Dackow String Orchestra Grade 4

Concerto No. 1 for Oboe Sammartini String Orchestra Grade 2

Contrasts for Strings McLeod String Orchestra Grade 2


Newark Public Schools 2010-2011 Strings – Grades 4-8Coronation Chorus Moussorgsky/arr. Kohut Orchestra Grade 2

Dotzauer-Violoncello Method Vol. 1 Klingenberg Strings Grade 3

Duets for Strings Applebaum Strings Grade 2

Fantasia 2000 Neely String Orchestra Grade 3

Follow the Drinking Gourd Gruselle String Orchestra Grade 2

Gaelic Melody Maello String Orchestra Grade 2

Hallelujah Chorus Meyer Orchestra

Indian Dance Bullock String Orchestra Grade 2

Irwing's Berlin America Berlin/Emerson/Murtha String Orchestra Grade 2

Jumpin' in July Erwin String Orchestra

La Comparsa Gordon Orchestra

La Festividad Scott String Orchestra

Larghetto (from concerto Grosso in B Minor) Handel/Bauernschmidt String Orchestra

Learning Unlimited String Programs Wisniewski/Higgins Strings

Loch Lomond Klauss String Orchestra

Main Street March Frost String Orchestra

Menuet Handel/Applebaum String Orchestra

Moods Applebaum String Orchestra Grade 3

Nimrod Elgar/Bender String Orchestra Grade 2

Odyssey in Strings Vol. 1 Matesky String Orchestra Grade 2

Odyssey in Strings Vol. 2 Matesky String Orchestra Grade 2

Our Famous Favorites Herfurth Orchestra Grade 2

Pavane Op. 50 Faure/Clark String Orchestra Grade 2

Period Pieces for Orchestra Gordon Orchestra Grade 3

Pizzicati from the Ballet Sylvia Delibes/arr. Brown Strings Grade 3

Rainbows Niehaus String Orchestra Grade 2

Renaissance Suite Del Borgo String Orchestra Grade 2

Royal Processional Keuning String Orchestra Grade 1 1/2

Sarabande and Allegro Corelli/arr. Muller Orchestra Grade 2

Selections from the Fireworks Handel/Frost String Orchestra Grade 2Office of Academic Services©2010 49-2011

Newark Public Schools 2010-2011 Strings – Grades 4-8Shear Delights Niehaus String Orchestra Grade 1

Shepherd's Hey Grainger/arr. Dackow Orchestra Grade 4

Slavonic Dance Dvorak/ arr. Meyer String Orchestra Grade 3

Sleigh Ride (German Dance No. 3) Mozart/Dackow String Orchestra Grade 2

Songs of Stephen Foster Coponegro String Orchestra Grade 2

Sonntag Brahms/arr. Sharp String Orchestra Grade 3

Spring (from the Four Seasons) Vivaldi/Meyer String Orchestra Grade 2

Spring Breezes Meyer String Orchestra Grade 3

Star Wars Main Theme Williams/arr. Clark String Orchestra Grade 2

String Beans Niehaus String Orchestra Grade 1

Suite for Strings Prokofiev/Currier String Orchestra Grade 2

Symphony No. 29 (First Movement) Mozart/arr. Lajoie String Orchestra Grade 1

Symphony No. 38 in C Major Haydn/Dackow String Orchestra Grade 1

Symphony No. 94 in G "Surprise" Haydn/Dackow String Orchestra Grade 1

Tanya's Waltz Scott String Orchestra Grade 2

The Bach Family Alshin String Orchestra Grade 2

The Belwin Orchestra Builder Part 1 Muller/Weber Orchestra Grade 1

The Doflein Method Vol. 2 Mainz Strings Grade 1

The Heavens are Telling/Ave Maria Fischer Orchestra Grade 1

The Little Rhapsody in Blue Gershwin String Orchestra Grade 1

The Whistler Frost String Orchestra Grade 2

Theme From Canon in D Pachelbel/Coponegro String Orchestra Grade 2

Tocatina Hofeldt String Orchestra Grade 3

Two 17th Century Dances Frost String Orchestra Grade 3

Vergebliches Standchen Brahms/Sharp String Orchestra Grade 2

Victory At Sea Rodgers Orchestra Grade 4

Viva Vivaldi Goldsmith String Orchestra Grade 3

Waltz Triptych Del Borgo String Orchestra Grade 2

When the Saints Go Marching In Coponegro String Orchestra Grade 2


Newark Public Schools 2010-2011 Strings – Grades 4-8When You Believe (from Prince of Egypt) Schwartz/Synder/Moss String Orchestra Grade 3

Widmung Schumann/Sharp String Orchestra Grade 2

Ye Bonnie Banks "N" Braes Wagner/Holmes String Orchestra Grade 3



Office of Visual and Performing Assessment Model for Music Performance

CRITERIA UNSATISFACTORY(1-5)

SATISFACTORY(6-7)

VERY GOOD(8)

EXCELLENT(9-10)

SCORE

SCALES Unable to perform requested scale(s)

Only able to perform some requested scales with reasonable accuracy of pitch, time and/or rhythm with reasonable technical proficiency

Able to perform all the requested scales with reasonable accuracy of pitch, time and/or rhythm with technical proficiency

Able to perform all the requested scales with accuracy of pitch, time and/or rhythm with technical proficiency

PREPARED SOLO Unable to perform solo Only able to perform part of the solo with reasonable accuracy of pitch, time and/or rhythm with reasonable technical proficiency

Able to perform the entire solo with reasonable accuracy of pitch, time and/or rhythm with technical proficiency

Able to perform entire solo with accuracy of pitch, time, and/or rhythm with technical proficiency

PREPARED ENSEMBLE PART

Unable to perform ensemble part(s)

Only able to perform a portion of the ensemble part(s) with reasonable accuracy of pitch, time and/or rhythm with reasonable technical proficiency

Able to perform all ensemble parts with reasonable accuracy of pitch, time and/or rhythm with technical proficiency

Able to perform all ensemble parts with accuracy of pitch, time and/or rhythm with technical proficiency

SIGHT-READING Unable to perform requested sight-reading musical selection

Only able to sight-read a musical selection with reasonable accuracy of pitch, time and/or rhythm with reasonable technical proficiency

Able to sight-read a musical selection with reasonable accuracy of pitch, time and/or rhythm with technical proficiency

Able to sight-read a musical selection with accuracy of pitch, time and/or rhythm with technical proficiency

PREPAREDNESS Reported to 50% or less of scheduled classes and/or performances with music, instrument and appropriate attire

Reported to 60-70% of scheduled classes and/or performances with music, instrument and appropriate attire

Reported to 80% of scheduled classes and/or performances with music, instrument and appropriate attire

Reported to 90-100% of scheduled classes and/or performances with music, instrument and appropriate attire

LESSON ATTENDANCE

Attended and participated in less than 50% of the scheduled lessons

Attended and participated in 60-70% of the scheduled lessons

Attended and participated in 80% of scheduled lessons

Attended and participated in 90-100% of scheduled lessons

PERFORMANCE ATTENDANCE

Attended and participated in less than 50% of scheduled performances

Attended and participated in 60-70% of scheduled performances

Attended and participated in at least 80% of scheduled performances

Attended and participated in 90-100% of scheduled performances

TOTAL POINTS

COMMENTS: _____________________________________________________________________________________________________________________________



Music Standards for Newark Public Schools

1. Perform major and minor scales with reasonable accuracy of pitch using:

a. Notes of varying length and valueb. A variety of rhythmic patternsc. Ascending and descending with various rhythmic patternsd. More than one octave when appropriate e. Indigenous vocabulary

2. Perform diverse solo selections from classical to contemporary repertory:

a. Individuallyb. In unisonc. In a variety of styles, cultures and languagesd. With written music parts, no copies of lyrics onlye. From memoryf. With reasonable accuracy of pitch and rhythmg. With appropriate performance practicesh. Using indigenous vocabulary

3. Students perform appropriate standard warm-up exercises at the beginning of the class/lesson in preparation for lesson by:

a. Using vocalizesb. Using etudes/technical exercisesc. Using long tonesd. Playing arpeggiose. Using finger exercisesf. Indigenous vocabularyg. Using correct breathing patterns

4. Perform written music without total or major reliance on:

a. Written-in letter names of notesb. Written-in fingerings for notesc. Copies of lyrics only

5. Demonstrate:

a. Appropriate performance practicesOffice of Academic Services©2010 53-2011

Newark Public Schools 2010-2011 Strings – Grades 4-8b. Use of indigenous vocabulary

6. Perform diverse ensemble selections from classical to contemporary repertory:

a. With reasonable accuracy of pitch, rhythm, harmony and balanceb. Using variety of styles, cultures and languagesc. With written music parts; no copies of lyrics onlyd. With appropriate performance practicese. Using indigenous vocabulary

7. Listening and ear training:

a. Listens to and/or views recordings of professional performances, using relevant listening guides and scores for enrichment and critiqueb. Listens to and/or views recordings of own and/or peer performances, using relevant listening guides and scores for enrichment and critiquec. Provides appropriate and balanced keyboard and/or electronic accompaniment for student solo and/or ensemble practice or performanced. Uses indigenous vocabularye. Participates in music careers discussion


Newark Public Schools 2010-2011 Strings – Grades 4-8National Standards for Music Education

1. Singing, alone and with others, a varied repertoire of music.

2. Performing on instruments, alone and with others, a varied repertoire of music.

3. Improvising melodies, variations, and accompaniments.

4. Composing and arranging music within specified guidelines.

5. Reading and notating music.

6. Listening to, analyzing, and describing music.

7. Evaluating music and music performances.

8. Understanding relationships between music, the other arts, and disciplines outside the arts.

9. Understanding music in relation to history and culture.



NATIONAL MUSIC STANDARDSGRADES 9-12

The study of music contributes in important ways to the quality of every student’s life. Every musical work is a product of its time and place, although some works transcend their original settings and continue to appeal to humans through their timeless and universal attraction. Through singing, playing instruments and composing, students can express themselves creatively, while knowledge of notation and performance traditions enables them to learn new music independently throughout their lives. Skills in analysis, evaluation and synthesis are important because they enable students to recognize and pursue excellence in their musical experiences and to understand and enrich their environments. Because music is an integral part of human history, the ability to listen with understanding is essential if students are to gain a broad cultural and historical perspective. The adult life of every student is enriched by the skills, knowledge, and habits acquired in the study of music.

Two levels of achievement, “proficient” and “advanced,” have been established for grades 9-12. The proficient level is intended for students who have completed courses involving relevant skills and knowledge for one to two years beyond grade 8. The advanced level is intended for students who have completed courses involving relevant skills and knowledge for one to two years beyond grade 8. The advanced level is intended for students who have completed courses involving relevant skills and knowledge for three to four years beyond grade 8. Students at the advanced level are expected to achieve the standards established for the proficient as well as the advanced levels. Every student is expected to achieve the proficient level in at least one arts discipline (that is, music, dance, theatre, visual arts) by the time he or she graduates from high school.

The standards in this section describe the cumulative skills and knowledge expected of students exiting grade 12 who have enrolled in relevant music courses. They presume that the students have achieved the standards specified for grades 5-8; they assume that the students will demonstrate higher levels of the expected skills and knowledge will deal with increasingly complex music and will provide more sophisticated responses to works of music. Every course in music, including performance courses, should provide instruction in creating, performing, listening to and analyzing music, in addition to focusing on its specific subject matter. Determining the curriculum and the specific instructional activities necessary to achieve the standards is the responsibility of states, local school districts and individual teachers.


Newark Public Schools 2010-2011 Strings – Grades 4-8CONTENT STANDARD ACHIEVEMENT STANDARD1. Singing, alone

and with others, a varied repertoire of music.

a. sing with expression and technical accuracy a large and varied repertoire of vocal literature with a level of difficulty of 4, on a scale of 1 to 6, including some songs performed from memory

b. sing music written in four parts, with and without accompaniment c. demonstrate well-developed ensemble skillsd. sing with expression and technical accuracy a large and varied repertoire of vocal literature with a level of difficulty of 5, on a

scale of 1 to 6. e. Sing music written in more than four parts

Sing in small ensembles with one student on a part

2. Performing on instruments, alone and with others, a varied repertoire of music.

a. perform with expression and technical accuracy a large and varied repertoire of instrumental literature with a level of difficulty of 4, on a scale of 1 to 6.

b. perform an appropriate part in an ensemble, demonstrating well-developed ensemble skillsc. perform in small ensembles with one student on a part d. perform with expression and technical accuracy a large and varied repertoire of instrumental literature with a level of difficulty

of 5, on a scale of 1 to 6

3. Improvising melodies, variations and accompaniments.

a. improvise stylistically appropriate harmonizing partsb. improvise rhythmic and melodic variations on given pentatonic melodies and melodies in major and minor keysc. improvise original melodies over given chord progressions, each in a consistent style, meter and tonalityd. improvise stylistically appropriate harmonizing parts in a variety of stylese. improvise original melodies in a variety of styles, over given chord progressions, each in a consistent style, meter and tonality

4. Composing and arranging music within specified guidelines.

a. compose music in several distinct styles, demonstrating creativity in using the elements of music for expressive effectb. arrange pieces for voices or instruments other than those for which the pieces were written in ways that preserve or enhance the expressive effect of the musicc. compose and arrange music for voices and various acoustic and electronic instruments, demonstrating knowledge of ranges and traditional usages of the sound sourcesd. compose music, demonstrating imagination and technical skill in applying the principles of composition

5. Reading and notating music.

a. demonstrate the ability to read and instrumental or vocal score of up to four staves by describing how the elements of music are used (students who participate in a choral or instrumental ensemble or class)b. sight-read, accurately and expressively, music with a level of difficulty of 3, on a scale of 1 to 6

6. Listening to, analyzing and describing music.

a. analyze aural examples of a varied repertoire of music, representing diverse genres and cultures, by describing the uses of elements of music and expressive devices1

b. demonstrate extensive knowledge of the technical vocabulary of musicc. identify and explain compositional devices and techniques used to provide unity and variety and tension and release in a

musical work, and give examples of other works that make similar uses of these devices and techniquesd. demonstrate the ability to perceive and remember music events by describing in detail significant events2 occurring in a given

aural example


Newark Public Schools 2010-2011 Strings – Grades 4-8CONTENT STANDARD ACHIEVEMENT STANDARD

e. compare ways in which musical materials are used in a given example relative to ways in which they are used in other works of the same genre or style

f. analyze and describe uses of the elements of music in a given work that make it unique, interesting and expressive

7. Evaluating music and music performances.

a. evolve specific criteria for making informed, critical evaluations of the quality and effectiveness of performances, compositions, arrangements, and improvisations and apply the criteria in their personal participation in music

b. evaluate a performance, composition, arrangement or improvisation by comparing it to similar or exemplary modelsc. evaluate a given musical work in terms of its aesthetic qualities and explain the musical means it uses to evoke feelings and

emotions

8. Understanding relationships between music, the other arts, and disciplines outside the arts.

a. explain how elements, artistic processes3 and organizational principles4 are used in similar and distinctive ways in the various arts and cite examplesb. compare characteristics of two or more arts within a particular historical period or style and cite examples from various cultures5

c. explain ways in which the principles and subject matter of various disciplines outside the arts are interrelated with those of music6

d. compare the uses of characteristic elements, artistic processes and organizational principles among the arts in different historical periods and different culturese. explain how the roles of creators, performers, and others involved in the production and presentation of the arts are similar to and different from one another in the various arts7

9. Understanding music in relations to history and culture.

a. classify by genre or style and by historical period or culture unfamiliar but representative aural examples of music and explain the reasoning behind their classificationsb. identify sources of American music genres8, trace the evolution of those genres and cite well known musicians associated with themc. identify various roles9 that musicians perform, cite representative individuals who have functioned in each role and describe their activities and achievementsd. identify and explain the stylistic features of a given musical work that serve to define its aesthetic tradition and its historical or cultural contexte. identify and describe music genres or styles that show the influence of two or more cultural traditions; identify the cultural source of each influence; and trace the historical conditions that produced the synthesis of influences



NOTES

1. E.g., rubato, dynamics2. E.g., fugal entrances, chromatic modulations, developmental devices3. E.g. imagination, craftsmanship4. E.g., unity and variety, repetition and contrast5. E.g., Baroque, sub-Saharan African, Korean6. E.g., language arts: compare the ability of music and literature to convey images, feelings, and meanings; physics: describe the physical basis of tone production in string, wind,

percussion and electronic instruments and the human voice and of the transmission and perception of sound7. E.g., creators: painters, composers, choreographers, playwrights; performers: instrumentalists, singers, dancers, actors; others: conductors, costumers, directors , lighting designers8. E.g., swing, Broadway musical blues9. E.g., entertainment, teacher, transmitter of cultural traditions

END NOTES

Classroom instruments: Instruments typically used in the general music classroom, including, for example, recorder-type instruments, chorded zithers, mallet instruments, simple percussion instruments, fretted instruments, keyboard instruments, and electronic instruments.

Level of difficulty: For purposes of these standards, music is classified into six levels of difficulty:

Level 1 – Very easy. Easy keys, meters and rhythms; limited ranges. Level 2 – Easy. May include changes of tempo, key and meter; modest ranges. Level 3 – Moderately easy. Contains moderate technical demands, expanded ranges, and varied interpretive requirements. Level 4 – Moderately difficult. Requires well-developed technical skills, attention to phrasing and interpretation and ability to perform various meters and rhythms in a variety of keys. Level 5 – Difficult. Requires advanced technical and interpretative skills; contains key signatures with numerous sharps or flats, unusual meters, complex rhythms, subtle dynamic

requirements. Level 6- Very difficult. Suitable for musically mature students of exceptional competence. (Adapted with permission from NYSSMA Manual, Edition XXIII, published by the New

York State School Music Association, 1991.)



STANDARDS PUBLICATIONS

The ArtsNational Standards for Arts Education: What Every Young American Should Know and Be Able to Do in the Arts. Content and achievement standards for dance, music,

theatre and visual arts; grades K-12. Reston, VA: Music Educators National Conference, 1994.

Perspectives on Implementation: Arts Education Standards for America’s Students. A discussion of the issues related to implementation of the standards and of strategies for key constituencies that need to be involved in the process. Reston, VA: Music Educators National Conference, 1994.

The Vision for Arts Education in the 21 st Century. The ideas and ideals behind the development of the National Standards for Arts Education. Reston, VA. Music Educators National Conference, 1994.

MusicMusic for a Sound Education: A Tool Kit for Implementing the Standards. Resources for everyone interested in providing all children with a rigorous, standards-influenced

curriculum in music. Reston, VA: Music Educators National Conference, 1994.

The School Music Program: A New Vision. The K-12 National Standards, Pre-K Standards and What They Mean to Music Educators. Opportunity –to-Learn Standards for Music Instruction: Grades PreK-12. Information on what schools should provide in terms of curriculum and scheduling, staffing, materials and equipment, and facilities. Reston, VA: Music Educators National Conference, 1994.

Teaching Examples: Ideas for Music Educators. Instructional strategies to help teachers design and implement a curriculum leading to achievement of the standards. Reston, VA: Music Educators National Conference, 1994.



CONCERT ETIQUETTETurn off cell phones, pagers and beepers!

Report to the performance and to your seat at least five minutes prior to the start of the performance.

Arrive early enough to read and familiarize yourself with the program prior to the performance.

Wait outside the concert hall if you arrive late for a performance until given a cue to enter. Normally, the cue will occur between movements or at the end of a musical selection. This same formality is observed for musicals and plays.

Discard gum, drinks and food before entering the concert hall. Unwrap cough drops and mints prior to the start of the performance.

Refrain from talking, rustling papers or unwrapping candy or mints during the performance.

If possible, familiarize yourself with the format of the musical performance. Normally there is no applause between movements/sections. Listed below are some of the most common formats. Always check the program.

A. Symphony (3-4 movements)B. Sonata (3-4 movements)C. Concerto (3-4 movements)D. Song cycle (Usually a set of vocal pieces by a single composer.)E. Oratorios (Multiple selections)F. Ballet

At most non-classical concerts, audience members are expected to participate audibly (singing along) and physically (handclapping, foot tapping and/or dancing) without any prompting from the performers. With certain genres, e.g. jazz, rock, gospel etc. audience members are expected to show appreciation for individual solos during the performance.

Applaud and show your appreciation for the performance by applauding, and possibly giving a standing ovation to the performers.

If possible, remain in your seat until the end of the selection or between movements. At non-classical concerts, audience members are encouraged to stand, or otherwise get out of their seats.

Refrain from wearing large hats and/or broad hairstyles that block the view of others.

Be mindful of other concert attendees by refraining from humming and /or whistling along with the music unless asked to do so by the conductor or performer(s). At non-classical concerts audience members are expected, and often encouraged to sing or otherwise participate.

Respect other concert attendees, as well as the performers on stage, by refraining from calling out or giving a “shout-out” to performers on stage who may be friends and/or family members. At non-classical performances, audience participation is expected and encouraged.

Follow the rules of the concert hall relative to no flash photography, video, or audio recording of an event.

When it is permissible to take photographs, video or audio record a performance, keep the aisles clear and avoid blocking the view of other performance


Newark Public Schools 2010-2011 Strings – Grades 4-8attendees.

CAREERS IN MUSIC

MUSIC TEACHER

MUSIC THERAPIST

PERFORMER CHURCH/TEMPLE MUSICIAN

MUSIC INDUSTRY

TV/RADIO MUSIC LIBRARIAN

OTHER CAREERS

1. Elementary school (public, private and parochial)

2. Middle school (public, private and parochial)

3. Secondary school (public, private & parochial)

4. Post-secondary (College/University)

5. Private/studio6. Consultant7. Administrator

1. Hospitals: general and psychiatric

2. Schools3. Outpatient

clinics4. Mental health

centers5. Nursing homes6. Correctional

facilities7. Private practice

1. Armed forces: bands and orchestras

2. Symphony orchestra

3. Dance band, nightclub

4. National TV5. Small ensemble6. Concert soloist7. Rock or jazz

group8. Clinician9. Church choir

soloist10. Community

choral group11. Radio, TV

shows12. Concert choral

group13. Opera chorus14. Opera soloist15. Conductor16. Freelance

musician

1. Choir director2. Minister of

music3. Liturgist4. Choir soloist5. Organist,

pianist

1. Publisher or editor

2. Manufacturer, importer, wholesaler

3. Music software programmer

4. Manager, booking agent

5. Music dealer, management, sales

6. Newspaper critic or reporter

7. Conductor8. Arranger,

Orchestrator9. Composer10. Publicist

1. Copyright, clearance administrator

2. Music license administrator

3. Music editor, producer, composer

4. Sound mixer5. Post production,

scoring6. Disc jockey,

video jockey7. Program director8. Music advisor,

music researcher9. Publicist

1. College, university, conservatory

2. Public library3. Orchestra,

band, chorus4. Radio, TV

station music coordinator

1. Musicologist2. Architectural

acoustic consultant

3. Music historian4. Biographer5. Lyricist6. Composer



Special Education

The New Jersey Administrative Code for special education (N.J.A.C. 6A:14) and the federal Individuals with Disabilities Act of 2004 (IDEA 2004) are laws that ensure children with disabilities a free, appropriate public education in the least restrictive environment. An important part of these laws is the development and implementation of an Individual Educational Program, also known as an IEP.

Special education students may be placed in the Health and Physical Education, with little or no knowledge to the H/PE classroom teacher. In light of this dilemma, it would be in the best interest of the student and teacher, to seek the advices of the CST (Child Study Team) as to what students are classified. Additionally, the classroom teacher has the right to view the student’s IEP. The information, however, detailed in the IEP has been written for the interpretation and implementation of the special education teacher, not the general education teacher.

To support the H/PE teacher who does not hold a Teacher of the Handicapped certificate and in an effort to empower them, in servicing the special education students in their charge, this document has been created.

Special Education Placement Description General Terms found in IEPs

Auditory or visual Impairments Autism Behavioral Disabilities Cognitive Impairment – Mild Cognitive Impairment – Moderate Cognitive Impairment – Severe Learning/Language Disabilities – Mild/Moderate Learning/Language Disabilities – Severe Multiple Disabilities


Newark Public Schools 2010-2011 Strings – Grades 4-8Glossary

Special Education Terms and Definitions

Asperger’s Syndrome: Asperger's syndrome is a developmental disorder that affects a child's ability to socialize and communicate effectively with others. Children with Asperger's syndrome typically exhibit social awkwardness and an all-absorbing interest in specific topics. Doctors group Asperger's syndrome with other conditions that are called autistic spectrum disorders or pervasive developmental disorders. These disorders all involve problems with social skills and communication. Asperger's syndrome is generally thought to be at the milder end of this spectrum.

Attention Deficit and Hyperactivity Disorders (ADHD)/ (ADD): Attention-deficit/hyperactivity disorder (ADHD) is a chronic condition that affects millions of children and often persists into adulthood. Problems associated with ADHD include inattention and hyperactive, impulsive behavior. Children with ADHD may struggle with low self-esteem, troubled relationships and poor performance in school.

Autism: (a/k/a Fragile X Syndrome): is one of a group of serious developmental problems called autism spectrum disorders (ASD) that appear in early childhood — usually before age 3. Though symptoms and severity vary, all autism disorders affect a child's ability to communicate and interact with others.

Behavioral Disorders: Conduct Disorder - Conduct disorder is a disorder of childhood and adolescence that involves chronic behavior problems, such as:

defiant, impulsive, or antisocial behavior, drug use, criminal activity. Oppositional defiant disorder - This disorder is more common in boys than in girls. Some studies have shown that it affects 20% of

school-age children. However, most experts believe this figure is high due to changing definitions of normal childhood behavior, and possible racial, cultural, and gender biases. This behavior typically starts by age 8, but it may start as early as the preschool years. This disorder is thought to be caused by a combination of biological, psychological, and social factors. Actively does not follow adults' requests Angry and resentful of others Argues with adults Blames others for own mistakes Has few or no friends or has lost friends Is in constant trouble in school Loses temper Spiteful or seeks revenge Touchy or easily annoyed To fit this diagnosis, the pattern must last for at least 6 months and must be more than normal childhood misbehavior. The pattern of behaviors must be different from those of other children around the same age and developmental level. The behavior must lead to significant problems in school or social activities.

Trichotillomania - is hair loss from compulsive pulling or twisting of the hair until it breaks.


Newark Public Schools 2010-2011 Strings – Grades 4-8Cerebral Palsy: is a general term for a group of disorders that appear during the first few years of life and affect a child's ability to coordinate body movements. Cerebral palsy can cause muscles to be weak and floppy, or rigid and stiff. In Europe and the United States, cerebral palsy occurs in about two to four out of every 1,000 births. Babies born prematurely or at low birth weights are at higher risk. The disorder is usually caused by brain injuries that occur early in the course of development.

Downs Syndrome: is a genetic disorder that causes lifelong mental retardation, developmental delays and other problems. Down syndrome varies in severity, so developmental problems range from moderate to serious. Down syndrome is the most common genetic cause of severe learning disabilities in children, occurring in one in every 700 to 800 infants.

Dyslexia: is impairment in the brain's ability to translate written images received from your eyes into meaningful language. Also called specific reading disability, dyslexia is the most common learning disability in children. Dyslexia usually occurs in children with normal vision and normal intelligence. Children with dyslexia usually have normal speech, but may have difficulty interpreting spoken language and writing. Children with dyslexia need individualized tutoring, and treatment for dyslexia often involves a multisensory education program. Emotional support of your child on your part also plays an important role.

Epilepsy: is a disorder that result from the generation of electrical signals inside the brain, causing recurring seizures. Seizure symptoms vary. Some people with epilepsy simply stare blankly for a few seconds during a seizure, while others have full-fledged convulsions. About one in 100 people in the United States will experience an unprovoked seizure in their lifetime. However, a solitary seizure doesn't mean you have epilepsy. At least two unprovoked seizures are required for an epilepsy diagnosis. Even mild seizures may require treatment, because they can be dangerous during activities like driving or swimming. Treatment — which generally includes medications and sometimes surgery — usually eliminates or reduces the frequency and intensity of seizures. Many children with epilepsy even outgrow the condition with age.

Hyperlexia: has characteristics similar to autism, pervasive developmental disorder, and Asperger’s. Perhaps, Hyperlexia may be a separate subgroup of children with Pervasive Developmental Disorder or could it be a separate developmental disorder, of its own? These questions remain to be a mystery, as is the autism spectrum in whole. Hyperlexia is a precocious ability to read words, far beyond what would be expected at an early age and /or a fascination with letters or numbers. These children have barriers in language acquisition and communication. Children with this feature have a simultaneous connection in their social interactions and behavior, they have difficulty socializing and interacting appropriately with people. Hyperlexia is a feature skill, of premature reading abilities, which emerges in preschool years. Most children with Hyperlexia are diagnosed as pdd or Asperger’s; it is commonly found in children who are considered high functioning. The feature may also be found in low functioning autistic children but due to the lack of language and communication skills are unable to express their abilities. Most children with this syndrome read or have pre- reading skills before the age of 5. Some children are reciting the alphabet at a very early age. Others begin as sight readers and later beginning understanding the phonics of a word. Some begin reading only single words, and go on to read sentences, and paragraphs.

Learning Disabilities (LD): are problems that affect the brain's ability to receive process, analyze, or store information. These problems can make it difficult for a student to learn as quickly as someone who isn't affected by learning disabilities. There are many kinds of learning disabilities. Most students affected by learning disabilities have more than one kind. Certain kinds of learning disabilities can interfere with a person's ability to concentrate or focus and can cause someone's mind to wander too much. Other learning disabilities can make it difficult for a student to read, write, spell, or solve math problems.

Mental Retardation: is a condition diagnosed before age 18 that includes below-average general intellectual function, and a lack of the skills necessary for daily living.



Phenylketonuria: (fen-ul-ke-toe-NU-re-uh) is a birth defect in which a mutation occurs in a gene containing instructions for making the enzyme needed to break down the amino acid phenylalanine. Amino acids are the building blocks for protein, but too much phenylalanine can cause a variety of health problems. People with Phenylketonuria (PKU) — babies, children and adults — need to follow a diet that limits phenylalanine, which is found mostly in high-protein foods. Babies in the United States and many other countries are screened for Phenylketonuria soon after birth. Although Phenylketonuria is rare, recognizing Phenylketonuria right away can help prevent serious health problems.

Spina Bifida: is part of a group of birth defects called neural tube defects. The neural tube is the embryonic structure that eventually develops into the baby's brain and spinal cord and the tissues that enclose them. With Spina bifida, a portion of the neural tube fails to develop or close properly, causing defects in the spinal cord and in the bones of the backbone. Spina bifida occurs in various forms of severity.

Tourette’s Syndrome: (too-RET) syndrome is a neurological disorder in which you display unusual movements or make sounds over which you may have little or no control (tics). For instance, you may repeatedly blink your eyes, shrug your shoulders or jerk your head. In some cases, you might blurt obscenities. Signs and symptoms of Tourette’s syndrome usually begin in childhood, typically showing up between ages 7 and 10. Males are about three to four times more likely than females to develop Tourette’s syndrome. Although there's no cure, you can live a normal life span with Tourette’s syndrome, and many people with Tourette’s don't need treatment when symptoms aren't troublesome. Children often outgrow Tourette’s syndrome after adolescence.

Turner’s Syndrome: a condition that affects only girls and women, results from a missing or incomplete sex chromosome. Turner syndrome can cause a variety of medical and developmental problems, including short stature, failure to begin puberty, infertility, heart defects and certain learning disabilities. Although Turner syndrome is usually diagnosed during infancy or early childhood, a diagnosis may be delayed for adolescent girls or young women with mild signs and symptoms. Nearly all girls and women with Turner syndrome need ongoing medical care from a variety of specialists. Regular checkups and appropriate care can help most girls and women lead relatively healthy, independent lives.

Visual Impairments/Blindness: Trachoma (truh-KO-muh): is a bacterial infection that affects the eyes. The bacterium that causes trachoma spreads through direct contact with the eyes, eyelids, and nose or throat secretions of infected people. Trachoma is very contagious and almost always affects both eyes. Signs and symptoms of trachoma begin with mild itching and irritation of the eyes and eyelids and lead to blurred vision and eye pain. Untreated trachoma can lead to blindness. Trachoma is the leading preventable cause of blindness worldwide. The World Health Organization (WHO) estimates that 8 million people worldwide have been visually impaired by trachoma. In Western countries, few people know about the disease, but in the poorest countries in Africa, prevalence among children can reach 40 percent. Diabetic retinopathy: is a complication of diabetes that results from damage to the blood vessels of the light-sensitive tissue at the back of the eye (retina). At first, diabetic retinopathy may cause no symptoms or only mild vision problems. Eventually, however, diabetic retinopathy can result in blindness. Diabetic retinopathy can develop in anyone who has type 1 diabetes or type 2 diabetes. The longer you have diabetes, and the less controlled your blood sugar is, the more likely you are to develop diabetic retinopathy.


Newark Public Schools 2010-2011 Strings – Grades 4-8 Poor color vision: is an inability to distinguish among certain shades of color. Although many people call it colorblindness, true colorblindness describes a total lack of color vision. The ability to see only shades of gray is rare. Most people with poor color vision can't distinguish between certain shades of red and green. Less commonly, people with poor color vision can't distinguish between shades of blue and yellow. Poor color vision is an inherited condition in most cases. Men are more likely to be born with poor color vision. Certain eye diseases and some medications also can cause color deficiency. Giant cell arteritis (GCA): is an inflammation of the lining of your arteries — the blood vessels that carry oxygen-rich blood from your heart to the rest of your body. Most often, it affects the arteries in your head, especially those in your temples. For this reason, giant cell arteritis is sometimes called temporal arteritis or cranial arteritis. Giant cell arteritis frequently causes headaches, jaw pain, and blurred or double vision. Blindness and, less often, stroke are the most serious complications of giant cell arteritis. Glaucoma: is not just one eye disease, but a group of eye conditions resulting in optic nerve damage, which causes loss of vision. Abnormally high pressure inside your eye (intraocular pressure) usually, but not always, causes this damage. Glaucoma is the second leading cause of blindness. Sometimes called the silent thief of sight, glaucoma can damage your vision so gradually you may not notice any loss of vision until the disease is at an advanced stage. The most common type of glaucoma, primary open-angle glaucoma, has no noticeable signs or symptoms except gradual vision loss.

Type 1 Diabetes: in children is a condition in which your child's pancreas no longer produces the insulin your child needs to survive, and you'll need to replace the missing insulin using shots or an insulin pump. This type of diabetes used to be known as juvenile diabetes or insulin-dependent diabetes. Although type 1 diabetes requires consistent care, advances in blood sugar monitoring and insulin delivery have improved the daily management of type 1 diabetes in children. With proper treatment, children with type 1 diabetes can expect to live long, healthy lives.


Newark Public Schools 2010-2011 Strings – Grades 4-8 Modifications for Inclusion

Modifications, Accommodations or Interventions

Here's a checklist of strategies to help with the inclusion classroom which will assist in meeting the needs of all students. Remember, you are not ‘watering down’ instruction for the special needs student, but are implementing “differentiated instruction” at its best, which can benefit the regular ed student as well.

___ Be sure special needs students are within close proximity to the teacher or the teacher's assistant.

___ Have procedures that are well understood by students to keep noise levels at an acceptable level. The Yacker Tracker is a worthwhile investment.

___ Have a special carrel or private location for test-taking and or seatwork for those requiring 'free of distractions' to enable success.

___ Eliminate as much clutter as you can and keep distractions to a minimum.

___ Never present instructions/directions orally alone. Always provide graphic organizers, written or graphical instructions also.

___ Clarifications and reminders should be given regularly as needed.

___ Special need students have or should have agendas, which they should use and your should refer to regularly. The agenda can be used as a home/school communication tool.

___ Have student’s work organized into workable 'chunks'.

___ Classroom expectations should be clearly understood as are the consequences for inappropriate behaviors.

___ Extra assistance should be provided when needed through a peer or the teacher or teacher’s assistant.

___ Praise the students for 'catching them doing it right' regularly.

___ Make use of behavior contracts to target specific behaviors are in place.

___ Make students aware of teacher’s cueing and prompting system, this will help the student stay on task.

___ Never begin instructions/directions until you have the entire class’s undivided attention.

___ Allow additional 'wait' time for the special needs students.

___ Provide the special needs students with regular, ongoing feedback and always promote their self-esteem.


http://specialed.about.com/cs/behaviordisorders/a/behaviorcontrac.htm

http://specialed.about.com/cs/teacherstrategies/a/graphic.htm

http://www.inspiringteachers.com/catalog/supplies/page3.html


Questions to always consider:

___ Do you provide activities that are multi-sensory and take into consideration differentiated learning styles?

___ Do you let your special needs students repeat instructions/directions?

___ Do you modify and or shorten assignments to ensure success?

___ Do you have methods to enable the student to have text written to him/her and can they dictate their answers?

___ Do you provide opportunities for cooperative learning? Working together in groups often helps to clarify misconceptions for learning delayed students.

Web Resources Understanding Special Education www.understandingspecialeducation.com National Association of Special Education Teachers (NASET) www.naset.org Special Education Resources on the Internet (SERI) www.seriweb.com Special Education Resources www.specialednet.com New Horizons for Learning www.education.jhu.edu/newhorizons Special Education Terms & Definitions www.dynamagraphics.com Mayo Clinic www.mayoclinic.com


http://www.mayoclinic.com/

http://www.education.jhu.edu/newhorizons

http://www.specialednet.com/

http://www.seriweb.com/

http://www.naset.org/


MUSIC GLOSSARY

TERM DEFINITION

a cappella Without instrumental accompanimenta tempo Return to the original tempo.absolute

musicMusic without associations outside itself.

accelerando Becoming fasteraccent To emphasize or stress a note.accidentals Sharps, flats or natural signs used to raise, lower or return a note to its normal pitch.accompanime

ntA vocal or instrumental part that supports or is background for a solo part.

acoustic Any instrument that produces sound by means of physical vibrations.acoustics The science of sound; the physical properties of an instrument or a room as they relate to sound.adagio A low tempo falling between largo (slower) and andante (faster)air A song or melody.al fine To the end.alla breve A duple time signature, usually 2/2.allargando Growing broader and, therefore, slower.allegretto A light, cheerful, fast tempo.allegro A lively fast tempo.allemande A stately 16th-century German dance, initially in moderate duple meteralto The lowest female singing voice and highest male singing voiceamplifier,

ampAn electronic device that controls the intensity (power) or strength of a signal.

analysis The study of the form and structure of music.andante A moderate, graceful tempo, between allegretto and adagio.andantino A tempo a little slower than andante.animato,

animosoAnimated, energetic or spirited.

answer In the fugue, the second entry of the subject.apoyando Resting the finger on the adjacent lower string when plucking a string.arco For string instruments, indicates to use the bow.aria An air or song for solo voice within an opera or oratorio.arpeggio The notes of a chord played in succession; a broken chord.arrangement An adaptation of a composition.art song A serious vocal composition, generally for voice and piano.articulation The degree to which notes are separated or connected, such as staccato or legato.atonal Music lacking a tonal or key center.attacca Go on, proceed immediately to next section.


Newark Public Schools 2010-2011 Strings – Grades 4-8TERM DEFINITION

attack The beginning of a note or phrase.audition A trial performance in order to obtain a performing position or an award.axe Bebop slang for a musical instrument.baby grand A small grand piano.back beat In drumming, emphasizing the second and fourth beats.backup group A vocal group that sings background behind a singer.balance The harmonious adjustment of volume and timbre between instruments or voices.ballad 1. A song that tells a story. 2. In popular music, usually a love song in a slow tempo.ballet A theatrical dance form with a story, sets and music.band An instrumental ensemble usually made up of wind and percussion instruments and no string instruments. bar A measure; the space between two bar lines. bar line A vertical line that divides the musical staff into measures or bars.baritone A low male singing voice (between tenor and bass).bass The lowest male singing voice.bass clef The F clef falling on the fourth line of the staff.baton Conductor’s stick.beats A pulsation caused by two sound waves of slightly different frequency.bebop A form of jazz originating in the 1940’s, characterized by solo improvisations, complex rhythms and extended

harmonies.berceuse A lullaby.big band Jazz band specializing in music for dancing. binary form A compositional form in which an initial section is followed by a contrasting section (AB)blue notes Notes sung or played below their intended pitch creating the “blues” sound.blues Afro-American music form for solo voice, derived from spirituals and work songs.boogaloo A dance popular in the 1960’s and early 1970’sbop A dance popular in the 1940s and 1950s.bout The inner curve of the guitar body. The lower bout is the curve used to hold the guitar on the leg when sitting

in proper classical posture.

bow The device used in the string instrument family composed of a wooden stick with a pointed end, strung with horsehair.

brass family Wind instruments made out of metal with either a cup-or funnel-shaped mouthpiece. Family includes: trumpet;

trombone; trombone; tuba; and sousaphone.bravo Good. An expression of approval at a theatre performance.breath mark A marking indicating when to take a breath bridge On string instruments, a piece of wood that supports the strings, holding them away from the body of the

instrument.cacophony Discordant sound; dissonance.cadence The melodic or harmonic ending of a piece or the sections or phrases therein.cadenza A solo passage, often virtuosic, usually near the end of a piece, either written by the composer or improvised



by the performer.

call and response

A vocal form in which a singer asks a melodic question or makes a statement and an ensemble responds.

cancan A late-19th-century French dance in quick 2/4 time; an offshoot of the quadrille,canon In counterpoint, a melody that is repeated exactly by a different voice, entering a short interval of time after

the original voice.

cantata A multi-movement vocal work for concert or church performance by chorus and/or soloists and an accompanying

instrumental ensemble.castrato An adult male singer with an alto or soprano voice; a eunuch.CD Compact disc.chamber

musicMusic for small ensemble.

changes Chord changes. The chords in a progression. chant Unaccompanied sacred vocal music.chantey,

chantyA work song sung by English and American sailors.

chart(s) 1. Scores or parts written for an instrumental ensemble; in pop music often just the melody line and chords. 2. In

music trade magazines, the sequential lists of the most popular songs or albums.chest voice The lower register of the voice.chops A musician’s playing technique or ability.chord Three or more notes sounded simultaneously.chorus 1. A group of singers of secular music. 2. The refrain of a song. chromatic Moving by half steps; notes foreign to a scale.chromaticmodulation

A key change that utilizes a series of half steps.

chromatic scale

A scale composed of twelve half steps.

classical The time period ranging from the late 18th to the early 19th centuries.classroominstruments

Instruments typically used in the general music classroom. (E.g. recorders, mallet instruments, autoharp, simple

percussion instruments, guitar, keyboard and electronic instruments.clef The symbol at the beginning of a staff that indicates which lines and spaces represent which notes.coda In musical form, a section at the end of a piece, this brings the piece to a close.common time 4/4 meter.

composer A person who creates (composes) music.compound meter A time signature in which the basic pulse is divisible by three.concert b-flat Tuning pitch for band instruments.



concertmaster First-chair violinist in an orchestra.concerto A piece for a soloist and orchestra.

conductor The person who directs a group of musicians.consonance Sounds that are pleasing to the ear.

contralto The lowest female voice.contrapuntal See polyphony and polyphonic.

corrente Courante, an early French dance in triple meter. counterpoint The combination of two or more melodic lines played simultaneously.

crescendo Getting loudercue 1. Indication by the conductor or a spoken word or gesture for a performer to make an entry. 2. Small notes

that indicate another performer’s part.

cut time 2/2 meterD. C. al fine

(DaCapo al fine)

Back to the beginning and play to the end.

D.C. (Da Capo)

Back to the beginning.

D.S. (Dal Segno)

Back to the sign.

decrescendo Gradually growing softerdevelopment The elaboration of thematic, melodic, harmonic, or rhythmic material.

diatonic The notes indigenous to a key in a major or minor scale.diminuendo Gradually getting softer.

dirge A piece that is performed at a funeral or memorial service.dissonance Sounds that are unpleasant to the ear.

DJ One who plays recordings at a disco or on the radio.dolce Sweet.

doo wop A type of close harmony singing developed in pop music of the late ‘50s that incorporates the use of nonsense syllables as rhythmic background or punctuation.

double bar Two lines on a staff that indicate the end of a section or the entire piece.downbeat The first beat given by the conductor with a downward stroke.

duet A piece for two performers. duo Duet.

duple meter A time signature with two beats to a measure.duration The length of a note or a rest.dynamic

markingsThe symbols indicating the varying degrees of loudness or softness (volume).

dynamics The degrees of loudness or softness; their symbols.elements of

musicPitch, rhythm, harmony, dynamics, timbre, texture, form



embouchure On wind and brass instruments, 1. The shape of the mouth and lips. 2. The mouthpiece.encore To repeat a piece or play an additional piece at the end of a performance.

enharmonic Two notes that are the same pitch but “spelled” differently, e.g., F-sharp and G-flat.ensemble A group of instrumentalists or singers.entrance The place where a musical voice, vocalist and/or instrumentalist, begins after a rest.

ethnomusicology

The study of various types of music in relation to their racial and cultural context.

etude A study or exercise piece written to improve technique.exercise A short study written to improve technique.

exposition 1. In the sonata form, the first section that contains the statement of the themes. 2. In the fugue, the introduction of the

subject in all parts.expression

marksSymbols or explanations for musical interpretation such as dynamics, tempi, mood, articulation

falsetto A high artificial voice used for notes that lie above the normal register.fanfare A prelude or opening, a flourish, usually played by brass instruments.

fantasia A piece of instrumental music in free form or style. Also fantaisie or fantasy.fermata A hold or pause.

finale The last movement of a symphony or sonata or the last section of an opera.fine End.

flamenco A Spanish dance and song form often performed on guitar.flat Indicating to lower a note one half step or below normal pitch.

folk music Originally songs and music passed down through oral tradition. Traditional music that reflects a locale or a national

feeling.form The shape, order and overall structure of a piece of music.

forte (f) “Strong.” Loud (f)fortissimo (ff) Very loud

fret 1. On guitars, banjoes, mandolins and electric basses, a thin strip of wood, ivory, gut or metal that is placed across the

fingerboard to indicate a specific position of a note. 2. To press the strings again the fretboard with the finger or

fingers.fret board On certain stringed instruments, a fingerboard with frets.

fugal In the style of a fugue. See fugue.fugue A contrapuntal piece in which two or more parts are built (layered) on a recurring subject (theme) that is

introduced alone and followed by an answer (which is the subject at a different pitch).

full score An instrumental score in which all the parts for the instruments appear on their own staves in standard instrumental

family order.



funk A rhythm and blues sound, usually lowdown, rhythmic and roughg clef A clef usually centered on the second line of the staff (treble clef), designating that line as the note G above

middle C.galliard A lively 16th century dance in triple meter.

gamelan An Indonesian orchestra consisting of pitched gongs, drums and various xylophone-type instruments.genre A type, style or category of music.

gig A job for a musicianglee club Usually a group of male singers that performs spirited, a cappella songs.glissando A rapid scale produced by sliding the fingers or hand from one note to another.

gospel Christian music in a popular stylegrand opera Opera on a large scale, usually entirely sung, in contrast to comic opera.

grand staff The combination of the treble and bass stavesgrandioso Grand.

grave A slow tempo.groove When music comes together for the players or listeners.

gruppetto Ornamental group of notes such as a turn, shake or trill.half note/rest A note/rest equal to two quarter notes/rests or one half the length of a whole note/rest.

half step The smallest interval in common use.harmonic

progressionMovement from one chord to another chord.

harmonics 1. The individual, pure tones that make up a complex tone. 2. On string instruments, sound produced by touching the

string lightly at certain points. Natural harmonics are on open strings, artificial harmonics are played on a fingered

(stopped) string.harmony 1. The study of the structure, progression and relationships of chords. 2. When pitches are in agreement or

consonance.head voice The upper register of the voice.

hip hop Rap musichomophony Music in which one voice has the melody with a chordal accompaniment.

homorhythmic

Music in which all parts move in the same rhythm.

honky-tonk A style of piano playing related to stride and ragtime. impresario An agent, manager or promoter of performers, orchestras or opera companies.

impressionism

A stylistic period in music that coincides with the period of impressionistic painting, from the 1870s to early 1900s.

improvisation Spontaneous composition.incidental

musicShort pieces that accompany a play.

instrumentation

The art of composing, orchestrating or arranging for an instrumental ensemble.



interpretation An expression of one’s own character and style in a work.interval The distance between two notes.

introduction The preparatory section, movement or phase of a piece.jam A loose gathering of musicians to play, improvise, or rehearse.jazz A style of music of Afro-American roots characterized by a strong rhythmic understructure, blue notes and

improvisation on melody and chord structure.jingle Music composed for a commercial.

key 1. The tonal center based on the tonic note of the scale. 2. On keyboard instruments, a lever that controls the sound

mechanism 3. On woodwind instruments, a metal lever that opens or closes a tone hole.

key signature The sharps or flats written on the staff at the beginning of a piece to indicate the key.keyboard A set of keys on a piano, organ, harpsichord or synthesizer.larghetto A slow tempo, a little faster than largo.

largo Slow and broad.lead sheet The melody line, lyrics and chords for a song.

ledger lines Short lines written above or below the staff for notes pitched outside the staff.legato Smooth and connected.lento Slow.

libretto The text of an opera, oratorio or musical.licks Short melodic musical phrases that sometimes can become musical “signatures” for jazz and pop artists.lute A plucked string instrument with a half-pear-shaped body, fretboard and pegbox are set at an angle.

maestoso Majestically, stately.maestro Master, teacher, conductor.

major scale A diatonic scale in which the half-steps occur between the third and fourth, and seventh and eighth degrees.march Music for marching, such as in a parade or procession, in duple or quadruple time.

marching band

A band that plays while marching in parades or performing in choreographed field shows.

Mariachi A Mexican folk group, usually consisting of two violins, guitar, guitaroon (acoustic bass guitar), trumpet and rhythm

instruments.measure A bar; the space between two bar lines.

medley A group of songs linked together musically.melisma Several notes sung to one syllable.melody An organized sequence of single notes.

meno Less.meter 1. A framework for rhythm determined by the number of beats, the time value of those beats and the accents

thereof. 2. The division of music into measures, bars, or phrases. 3. In verse (lyrics), the pattern of long and short

syllables.mezzo (m) Half, medium.



mezzo forte (mf)

Moderately loud.

mezzo piano (mp)

Moderately soft.

MIDI “Musical Instrument Digital Interface.” The means by which musical performance and other information is transmitted and received by electronic instruments using a common serial interface.

minor scale A diatonic scale in which the half steps occur between the second and third, and fifth and sixth degrees (natural

minor).mix To combine and balance several tracks of a recording.

mode A type of scale with a specific arrangement of intervals.moderato Moderate tempo.modulate,

modulationTo change keys; the transition from one key to another within a piece.

molto Very.monophonic,monophony

Music with a single melody line only.

monotone A single, unvaried pitch. Reciting words on one pitch.mordent Ornamentation of a written note.

mosso Moved, lively.motif, motive A short melodic pattern or musical idea that runs throughout a piece.

Motown sound

Music of the Black musicians of the 1960s and 1970s emanating from the Detroit-based Motown Record Corp.

mouthpiece On brass and wind instruments, the part of the instrument placed to a players lips.movement A self-contained section of a composition, such as a symphony, suite, concerto, sonata, etc.

music The organization of sounds with some degree of rhythm, melody and harmony.music theory The study of how music is put together.

music therapy The use of music as part of a medical or psychological and social treatment.musical drama

Opera, especially that of Richard Wagner.

musicology The study of musical composition and history.mute 1. A device that softens or muffles an instrument’s sound 2. Brass instrument mutes: cup-conical with a donut

on the end

natural The music symbol that indicates that a note is neither sharp nor flat. new jack

swingA type of funk dance, often with rap.

nonet 1. A piece for nine instruments or voices. 2. Nine performers.notation Written music indicating pitch and rhythm.

notes The written symbols of music.obbligato Originally meant an obligatory (essential) part; now means a solo or contrasting melody that is optional.



octave The interval between the first and eighth degrees of the diatonic scale.octavo Individual copy of choral music or band music, roughly 6” x 9”.

octet 1. A piece for eight instruments or voices. 2. Eight performers.odd meters Meters that are groupings of an odd number and an even number of beats, such as 5/4 (3+2) or 7/8 (3+4)

ode A lyrical poem set to music in honor of a person or occasion.opera 1. A dramatic work set to music in which all or most of the text is sung with instrumental accompaniment,

costumes and sets. 2. The plural of opus.

opera bouffe,opera buffa,

operacomique

Comic opera

operetta Light opera.opus With a number, used to show the order in which pieces were written or published.

oratorio A musical setting for voices and orchestra of a text based on the Scriptures or an epic theme. Essentially an opera

without staging, scenery or costumes.orchestra A large group of musicians, made up of string, brass, woodwind, and percussion instruments.

orchestration The art of writing, arranging or scoring for the orchestra.ornamentatio

nTo add ornaments to a melody.

ornaments Melodic embellishments, either written or improvised. ostinato A repeated musical figure, rhythmic pattern or motive, most often occurring in the bass.

overdub,overdubbing

To record a track on top of another track.

overture The introductory music for an opera, oratorio or ballet. A concert overture is an independent work.pantomime A play in which the story is conveyed only by gestures and movement with musical accompaniment.passacaglia A slow stately dance in triple meter, often with a repetitive theme or bass line.

passage A section of a piece.passion An oratorio on the suffering and death of Jesus Christ.

pause 1. A rest of indefinite length. 2. A hold, fermata.pavane A slow dance in duple meter dating back to the 16th century.

Peghead orpegbox

On string instruments the mechanism around which a string is wound, that tightens or loosens the string.

pentatonic scale 1. Any scale made up of five notes 2. The scale corresponding to a major scale without the fourth and seventh degrees, which can be played on the black keys of the piano.

percussion family Instruments made of sonorous material that produce sounds of definite or indefinite pitch when shaken or struck,

including drums, rattles, bells, gongs, xylophones.period A musical statement, made up of two or more phrases and a cadence.



phrase A musical idea; a natural unit of a melodic line.phrasing 1. In classical music, “punctuating” a melodic line. Often used as a synonym for articulation. 2. In popular

music “delivering” a melodic line, including all facets of nuance, as well as departures from the original melody.

pianissimo (pp) Very softpiano (p) 1. Piano (soft) 2. A keyboard musical instrument

piano (pianoforte)

“Soft-loud.” A keyboard instrument, the full name for the piano, on which sound is produced by hammers striking

strings when keys are pressed. piano score A score arranged for playing on piano.

pitch The highness or lowness of a note, as determined by its frequency.pizzicato On string instruments, plucking the string.

poco a poco Little by little.polyphonic See polyphony.polyphony Music that combines two or more melodic lines simultaneously.

portamento A smooth glide from one note to another.prelude An introductory movement or piece.

presto Fast.prima donna The most important female singer in an opera. Also implies a vain or difficult person.processional Music performed for an entrance.

program 1. Instructions given to a computer to perform a certain task. 2. Agenda of musical performance.program

musicA piece that conveys a picture or story. In contrast to absolute music.

progression Movement from one chord to another chord.progressive

jazzJazz from the 1950s, smooth and cool in contrast to bebop.

prologue An introductory piece that presents the background for an opera.pulse A beat.

quadruple meter

A time signature with four beats to a measure.

quarter note/rest

A note/rest one half the length of a half note and one quarter the length of a whole note.

quartet A piece for four instruments or voices.quintet A piece for five instruments or voices.

quintuple meter

A time signature with five beats to a measure; e.g.,5/4

ragtime The earliest form of jazz, from the early 1900s. Features “ragged” syncopated rhythms against a regular rhythmic

background of 2/4 or 4/4.rallentando Becoming gradually slower.



range The notes, from the lowest to the highest, that a voice or instrument may be capable of producing.rap In pop music, a rhyming half-sung, half-spoken style, often enhanced by electronic effects.

recapitulation 1. The final section in sonata form, in which the themes are restated. 2. Return to, or repetition of, a theme or passage.

recessional A hymn or music played at the close of a church service or event.recital A performance by one or more performers.

recitative A vocal number that mimics the inflections of speech, found primarily in operas and oratorios.refrain The chorus of a song usually repeated. reggae A Jamaican pop music style, a combination of West Indian and Afro-American music styles with a hypnotic,

heavy bass sound.

renaissance “Rebirth.” The era from the mid 15th century to the end of the 16th century.repeat The restatement of a passage.

repeat sign A sign meaning to repeat a section of music.reprise Repeat

resolution The progression of chords or notes from the dissonant to the consonant or point of rest.response 1. In the fugue, the answer. 2. An answer by a group to a musical call or question, such as in gospel music.

rest A period of musical silence.retrograde Playing a melodic line backwards.

rhythm The pattern of long and short note values in music.rhythm and

bluesA form of pop music that evolved in the 1940’s, characterized by heavily syncopated dance rhythms and blues

scales.rhythm section

In jazz and pop music, the instruments—piano, guitar, bass and drums--that play rhythm and harmony in accompaniment to a soloist.

riff A repeated melodic pattern.ritardando Becoming gradually slower.

rock, rock ‘n’ roll

A form of pop music that evolved in the mid 1950s from rhythm & blues.

rococo A highly ornamented style of music and decorative arts in the mid 18th century.romantic The era roughly from 1820 to 1900, in which music progressed to a freer, more subjective form with

increasing chromatics, the use of folk themes, the introduction of more virtuosity solo music, and larger orchestras.

rondo A musical form characterized by a recurring theme in alternation with contrasting themes; often the form is ABACADA or ABACABA.

root The fundamental note of a chord or a scale.round A vocal canon for two or more voices, sung in unison or octaves.

rubato Freely slowing down and speeding up the tempo without changing the basic pulse.run A rapid scale passage.SA In choral music—soprano, alto.

SAB In choral music—soprano, alto, baritone.sacred music Music for worship, religious concerts, or devotional use.



salsa A Latin American pop music and dance style combining Latin rhythms with rock.SATB In choral music—soprano, alto, tenor, bass.

scale A progression of notes in a specific order. scat singing A form of improvisational jazz singing using nonsense syllables.

scherzo A piece in a lively tempo. score The written depiction of all the parts of a musical ensemble.

scoring 1. Organizing the various instrumental parts of a piece into a score form. 2. The art of composing music for a film.

secular music Any music that is not sacred music.segue 1. Continue to the next movement or section without a break. 2. Continue in the same fashion.

semitone A half step. sforzando

(sfz)A strong accent on a note.

sharp 1. Symbol indicating to raise a note one half step. 2. Above normal pitch.sheet music 1. An individually printed song, most often for voice, piano, guitar, or a combination of the three. 2. Any

printed music.

sideman A musician who is part of a group or combo, but not the leader or soloing musician.signature Signs, symbols or numbers placed at the beginning of a staff or piece.

simple meter A time signature in which the basic pulse is divisible by two.sixteenth note/rest

A note/rest half the length of an eighth note and a sixteenth the length of a whole note.

slur A curved line connecting two or more notes, indicating that they are to be played legato.solo To perform alone or as the predominant part.

sonata An instrumental piece, often in several movements.sonata allegro

formThe form used in the first movement of sonatas (symphonies, concerti, and quartets). Exposition,

development, recapitulation.

song A piece for voice.soprano The highest female voice.

sotto voce Quietly; in a soft voice.soul In the music business, the name for Afro-American music of rhythm and blues origin.

space The interval between two lines of a staff or between ledger lines.spiritual An Afro-American religious song.

SSA In choral music—soprano, soprano, altoSSAA In choral music --soprano, soprano, alto, alto

staccato Short, separated notes indicated by this symbol.staff, staves The horizontal lines upon which music is written.stage band Jazz ensemble.

standard In the music business, a long-lasting song.stanza A section of a song, two or more lines long, characterized by a common meter, rhyme, and number of lines.



stem The vertical line extending from a notehead.step Melodic movement of one or two semitones.

string instrument

family

Instruments with strings that produce sound when plucked, bowed. Family includes: violin; viola; violoncello; double

bass; guitar and ukulele.string quartet Two violins, viola and cello.

strophic A song in which all the verses are sung to the same melody.studio

musicianIn the music business, a free-lance musician who works primarily in recording studios.

style The distinctive or characteristic manner in which the elements of music are treated. The term may also be used to

describe the works of a composer, a music period, performance media, nations, culture, composition or genre.subject A theme or motif that is the basis for a musical form, as in the fugue or sonata.

suite A group of short instrumental movements, usually in the same key and in dance forms.swing 1. Jazz-flavored big band music of the 1930s. 2. The essence of jazz, denoting its improvisational, rhythmic

feel.swing time In jazz, when eighth notes are given a long-short rhythmic emphasis.symphonic

bandConcert band/

symphonic poem

An orchestral piece based on an extra-musical idea—a tone picture.

symphony 1. A piece for large orchestra, usually in four movements, in which the first movement often is in sonata form. 2. A

large orchestra.syncopation The placement of rhythmic accents on weak beats or weak portions of beats.synthesizer An instrument that can produce and manipulate sound electronically.

system Two or more staves connected together.tacet In instrumental or choral parts, a direction to refrain from playing or singing.

tempo The pace of a piece of music.tempo

markingsThe indications of the pace of the music, such as largo.

tenor 1. A high male voice between alto and baritone. 2. Instruments in the tenor range.ternary form A compositional form in which an initial section is followed by a contrasting section, which is followed by a

return of the initial section.

tessitura The average highness or lowness in pitch of a vocal piece.texture The number of parts (voices) in a piece and their relation to one another. theme The musical subject of a piece (usually a melody), as in sonata form or a fugue.

theme andvariations

A statement of a musical subject followed by restatements in different guises.

theory The study of how music is put together.



three-part-form

Ternary form.

tie A curved line connecting two notes of the same pitch indicating they are to be played as one note.timbre Tone color or quality.

time Meter – the number of beats in a measure. time

signatureThe numbers at the beginning of a piece.

tirando When a string is plucked with a right-hand finger without resting or touching the next lower string.tone A note.

tone color The quality of sound of an instrument or voice.tone poem An orchestral work, usually in one continuous movement.

treble The highest voice, instrument or part.treble clef The G clef falling on the second line of the staff.

tremolo 1. Usually the rapid alternation between two adjacent notes. 2. On string instruments it can be the rapid back and

forth motion of the bow on a single note.triad A chord of three notes: root, third, fifth.trill An ornament consisting of the rapid alternation of two adjacent notes.trio 1. A piece for three instruments or voices. 2. Three performers. 3. The middle section in minuets, scherzos,

and marches, often written in three-part harmony.

triple meter Time signatures with three beats to a measure.triplet Three notes that are played in the time of two notes of equal value.

TTB In choral music –tenor, tenor, bass.TTBB In choral music –tenor, tenor, bass (or baritone), bass.

tune 1. A melody 2. The correct pitch (in tune).tuning Adjusting the intonation of an instrument to its desired pitch(es).

tutti All; or, in instrumental music, the term used for entrance of the full ensemble.twelve-bar

bluesAn African-American music form using three chords—tonic, subdominant, and dominant—and the blues

scale in specific order within twelve bars. The basis for rock music.

two-part form Binary form.unipartite One part form.

unison Two or more notes or parts sounding at the same pitch.vamp A short introduction or accompaniment to a song that is repeated until the singer is ready to continue.

variation The modification of a theme, figure or passage by means of melodic, rhythmic, contrapuntal, or harmonic changes.

verse 1. The solo portion of an anthem. 2. In popular music, the stanza which tells the story of the song, changing with each

repeat.vihuela A general term used in Spain from the 13th to the 18th centuries to signify any stringed instrument with a neck



played with a bow, a plectrum (pick) or with the fingers.

villanesca A generic term for a wide range of light vocal music popular in Italy in the 16th and 17th centuries. Also called villanella.

virtuoso A brilliant, skillful performer.vocal

selectionsIn large vocal works (especially musicals and operettas), a collection of selected vocal numbers, with the

instrumental parts arranged for keyboard.

vocalization Practicing singing with exercisesvocalise A vocal exercise sung to vowels.

voice 1. The sound produced by human and some animal vocal chords. 2. In contrapuntal music, an instrumental or vocal

part. volume Loudness and softness.

walking bass A bass line of steady quarter or eighth notes, usually moving stepwise.whole

note/restA note/rest equal to two half notes or four quarter notes.

whole step orwhole tone

Two half steps; a major second.

whole-tone scale

A scale made up solely of whole tones.

wind instrument family Instruments in which sound is produced by the vibration of air, including brass and woodwind instruments.woodwind

familyInstruments, originally made of wood, in which sound is produced by the vibration of air, including recorders,

flutes, clarinets, saxophones, oboes and bassoons.

work song An Afro-American rhythmic song used to accompany any type of work that required specific rhythms such as picking

cotton or laying railroad ties.world music In the music business, a chart term for recordings featuring foreign music of a folk character.

Zydeco A style of popular music that mixes Cajun and Afro-Caribbean with rhythm and blues.



Suggested Websites

THEME WEBSITEAesthetics http://www.musicmotion.com/searchm.htm

http://www.researchbuzz.org/aestheticsmusic/ http://www.mnstate.edu/gracyk/courses/aesthetics%20of%20music/honors.htm http://www.carnegiehall.org/SiteCode/Intro.aspx http://www.apassion4jazz.net/

Arpeggios http://www.cybermusicacademy.org/lesson5.htm http://www.enchantedlearning.com/music/ http://www.lessontutor.com/musicgenhome.html http://www.cybermusicacademy.org/lessons2.htm http://au.geocities.com/drbobsmithau/notation.htm http://www.finalemusic.com/finale/home.aspx http://www.numbera.com/musictheory/theory/scalesandkeys.aspx http://www.musictechteacher.com/worksheet_arpeggio_activity001.htm http://www.classicalarchives.com/learning/stu_8.html


http://www.classicalarchives.com/learning/stu_8.html

http://www.musictechteacher.com/worksheet_arpeggio_activity001.htm

http://www.numbera.com/musictheory/theory/scalesandkeys.aspx

http://www.finalemusic.com/finale/home.aspx

http://au.geocities.com/drbobsmithau/notation.htm

http://www.cybermusicacademy.org/lessons2.htm

http://www.lessontutor.com/musicgenhome.html

http://www.enchantedlearning.com/music/

http://www.cybermusicacademy.org/lesson5.htm



http://www.mnstate.edu/gracyk/courses/aesthetics%20of%20music/honors.htm


http://www.musicmotion.com/searchm.htm

Newark Public Schools 2010-2011 Strings – Grades 4-8THEME WEBSITE

Audio/Visual Resources http://www.ambrosevideo.com/ http://www.libraryvideo.com/ http://homevideo.about.com/od/educationalvideosdvds/Educational_Videos_DVDs.htm http://www.chalktalkonline.com/ www.arabic musicvideos 1.com/ instrumental s.htm www.sheetmusicinstock.com

Career and Technical Education

www.ed.gov/about/offices/list/ovae/pi/cte/weblinks/index.html www.acteonline.org/resource_center/lpl/index.cfm www.khake.com/ www.lessonplanspage.com/MusicJH.htm

Careers http://www.menc.org/guides/etiquette/quiz.html http://musicappreciation.suite101.com/article.cfm/concertetiquette www.orpheusacademy.com/resources/Performance%20Etiquette.pdf http://www.menc.org/guides/etiquette/quiz.html http://musicappreciation.suite101.com/article.cfm/concertetiquette www.orpheusacademy.com/resources/Performance%20Etiquette.pdf http://www.musiccareers.net/articles/

Computer and Information Literacy

http://www.ala.org/ala/acrlbucket/nashville1997pap/pauschpopp.cfm http://www.edstandards.org/StSu/InfoLit.html www.libraryinstruction.com/infolit.html http://academic.uofs.edu/faculty/beidler/CILit/default.html http://www.musictechnology.com

Critique http://www.und.nodak.edu/instruct/knorman/521/criteria.html http://rubistar.4teachers.org/index.php

Dynamics http://ezinearticles.com/?How-To-Play-The-Piano-With-Expression---Part-1&id=640802 http://ezinearticles.com/?How-To-Play-The-Piano-With-Expression-Part-2&id=645343

Ear Training http://www.musicalintervalstutor.com/ http://library.thinkquest.org/15413/theory/intervals.htm

Harmonic Movement http://www.musictheory.halifax.ns.ca/15tdt.html http://www.musictheory.net/lessons/html/id23_en.html http://trumpet.sdsu.edu/M151/Elements_of_Music4h.html http://www.musictheory.halifax.ns.ca/15tdt.html http://www.musictheory.net/lessons/html/id23_en.html http://www.principlesofnature.net/musical_scale_structures/triads_in_music_and_math.htm http://www.users.globalnet.co.uk/~leonid/finger_patterns.htm


http://www.users.globalnet.co.uk/~leonid/finger_patterns.htm

http://www.principlesofnature.net/musical_scale_structures/triads_in_music_and_math.htm

http://www.musictheory.net/lessons/html/id23_en.html

http://www.musictheory.halifax.ns.ca/15tdt.html

http://trumpet.sdsu.edu/M151/Elements_of_Music4h.html


http://www.musictheory.halifax.ns.ca/15tdt.html

http://library.thinkquest.org/15413/theory/intervals.htm

http://www.musicalintervalstutor.com/

http://ezinearticles.com/?How-To-Play-The-Piano-With-Expression-Part-2&id=645343

http://ezinearticles.com/?How-To-Play-The-Piano-With-Expression---Part-1&id=640802


http://www.und.nodak.edu/instruct/knorman/521/criteria.html

http://www.musictechnology.com/

http://academic.uofs.edu/faculty/beidler/CILit/default.html

http://www.libraryinstruction.com/infolit.html

http://www.edstandards.org/StSu/InfoLit.html

http://www.ala.org/ala/acrlbucket/nashville1997pap/pauschpopp.cfm

http://www.musiccareers.net/articles/

http://www.orpheusacademy.com/resources/Performance%20Etiquette.pdf

http://musicappreciation.suite101.com/article.cfm/concertetiquette

http://www.menc.org/guides/etiquette/quiz.html

http://www.orpheusacademy.com/resources/Performance%20Etiquette.pdf

http://musicappreciation.suite101.com/article.cfm/concertetiquette

http://www.menc.org/guides/etiquette/quiz.html

http://www.lessonplanspage.com/MusicJH.htm

http://www.khake.com/

http://www.acteonline.org/resource_center/lpl/index.cfm

http://www.ed.gov/about/offices/list/ovae/pi/cte/weblinks/index.html

http://www.sheetmusicinstock.com/

http://www.arabicmusicvideos1.com/instrumentals.htm

http://www.chalktalkonline.com/

http://homevideo.about.com/od/educationalvideosdvds/Educational_Videos_DVDs.htm

http://www.libraryvideo.com/

http://www.ambrosevideo.com/


History https://secure.classicalarchives.com/login.html http://www.apassion4jazz.net/ http://bandsinamerica.tripod.com/http: http://www.symphony.org/ http://en.wikipedia.org/wiki/Music_history_of_the_United_States_(1940s_and_50s) http://www.radiorow.com/

Instructional DVDs and Videos

www.violinmastery.com/ www.activemusician.com www.musicridge.com www.wwbw.com/Suzuki- Instructional - Video -i103100.music www.music123.com www.expertvillage.com www.learnbassnow.com www.thedrumworks.com www.descarga.com www.rolandus.com www.musicexpert.com/ band www.jwpepper.com/Marching_ Band _Directors

Listening Examples http://www.outsideshore.com/school/music/almanac/html/Jazz_Styles/Classic_Jazz/Piano_Jazz.htm http://www.kaublepianostudio.com/history/ http://www.enjoythemusic.com/history.htm http://www.geocities.com/Vienna/Studio/6917/history.html

Music Theory http://musictheoryresources.com/members/FA_intervals.htm http://www.musictheory.net/ http://www.musictheory.net/lessons/html/id31_en.html http://www.emusictheory.com/

Notation http://www.cybermusicacademy.org/lesson5.htm http://www.enchantedlearning.com/music/ http://www.lessontutor.com/musicgenhome.html http://www.cybermusicacademy.org/lessons2.htm http://au.geocities.com/drbobsmithau/notation.htm http://www.finalemusic.com/finale/home.aspx http://www.numbera.com/musictheory/theory/scalesandkeys.aspx http://dspace.dial.pipex.com/andymilne/Scales.shtml http://www.ultimate-guitar.com/lessons/scales/major_scales_explained.html

Performance http://www.balancedpianist.com/bpseatingguide.htm


http://www.balancedpianist.com/bpseatingguide.htm

http://www.ultimate-guitar.com/lessons/scales/major_scales_explained.html

http://dspace.dial.pipex.com/andymilne/Scales.shtml








http://www.emusictheory.com/


http://www.musictheory.net/

http://musictheoryresources.com/members/FA_intervals.htm

http://www.geocities.com/Vienna/Studio/6917/history.html

http://www.enjoythemusic.com/history.htm

http://www.kaublepianostudio.com/history/

http://www.outsideshore.com/school/music/almanac/html/Jazz_Styles/Classic_Jazz/Piano_Jazz.htm

http://www.jwpepper.com/Marching_Band_Directors

http://www.musicexpert.com/band

http://www.rolandus.com/

http://www.descarga.com/

http://www.thedrumworks.com/

http://www.learnbassnow.com/

http://www.expertvillage.com/

http://www.music123.com/

http://www.wwbw.com/Suzuki-Instructional-Video-i103100.music

http://www.musicridge.com/

http://www.activemusician.com/

http://www.violinmastery.com/

http://www.radiorow.com/

http://en.wikipedia.org/wiki/Music_history_of_the_United_States_(1940s_and_50s)

http://www.symphony.org/

http://bandsinamerica.tripod.com/http:


https://secure.classicalarchives.com/login.html


http://www.geocities.com/vienna/studio/6917/perform2.html http://www.irenejackson.com/perftips.html http://cnvi.com/applause/ http://www.musicbizacademy.com/knab/front4_performance.htm http://iwritethemusic.com/performance_skills.html http://www.hsc.csu.edu.au/music/performance/preparation/performance_tips/performance_tips_owens.htm

Scales http://www.oake.org/ http://www.dalcrozeusa.org/home.html http://www.menc.org/ http://www.macgamut.com/ http://musictheoryresources.com/members/FA_intervals.htm http://www.musictheory.net/ http://www.musictheory.net/lessons/html/id31_en.html

Technique http://www.cybermusicacademy.org/lesson5.htm http://www.enchantedlearning.com/music/ http://www.cybermusicacademy.org/lessons2.htm http://au.geocities.com/drbobsmithau/notation.htm http://www.finalemusic.com/finale/home.aspx http://www.numbera.com/musictheory/theory/scalesandkeys.aspx http://cnx.org/content/m11884/latest/ http://www.serve.com/marbeth/staccatovslegato.html

Technique and Articulation

http://www.cybermusicacademy.org/lesson5.htm http://www.enchantedlearning.com/music/ http://www.lessontutor.com/musicgenhome.html http://au.geocities.com/drbobsmithau/notation.htm http://www.finalemusic.com/finale/home.aspx http://www.numbera.com/musictheory/theory/scalesandkeys.aspx http://cnx.org/content/m11884/latest/ http://www.serve.com/marbeth/staccatovslegato.html


http://www.serve.com/marbeth/staccatovslegato.html

http://cnx.org/content/m11884/latest/







http://www.serve.com/marbeth/staccatovslegato.html

http://cnx.org/content/m11884/latest/








http://www.musictheory.net/

http://musictheoryresources.com/members/FA_intervals.htm

http://www.macgamut.com/

http://www.menc.org/

http://www.dalcrozeusa.org/home.html

http://www.oake.org/

http://www.hsc.csu.edu.au/music/performance/preparation/performance_tips/performance_tips_owens.htm

http://iwritethemusic.com/performance_skills.html

http://www.musicbizacademy.com/knab/front4_performance.htm

http://cnvi.com/applause/

http://www.irenejackson.com/perftips.html

http://www.geocities.com/vienna/studio/6917/perform2.html


Triads http://www.musicalintervalstutor.com/ http://library.thinkquest.org/15413/theory/intervals.ht

World Music www. worldmusic .org/ http://www.putumayo.com/ http://www.worldmusicstore.com/ http://worldmusiccentral.org/ http://worldmusic.about.com/ http://www.rootsworld.com/rw/


http://www.rootsworld.com/rw/

http://worldmusic.about.com/

http://worldmusiccentral.org/

http://www.worldmusicstore.com/

http://www.putumayo.com/

http://www.worldmusic.org/

http://library.thinkquest.org/15413/theory/intervals.htm

http://www.musicalintervalstutor.com/

Documents

NEWARK PUBLIC · Web viewNEWARK PUBLIC SCHOOLS SCHOOL ADVISORY BOARD MEMBERS 2013-2014 Ms. Antoinette Baskerville-Richardson, Chairperson Mr. Marques-Aquil Lewis, Vice Chairperson