GENERAL MUSIC RESPONDING UNIT, GRADE 5 RESPONDING … · GENERAL MUSIC RESPONDING UNIT, GRADE 5 . RESPONDING TO MUSIC . ... RUBRICS FOR PERFORMANCE-BASED ASSESSMENTS ... define basic

GENERAL MUSIC RESPONDING UNIT, GRADE 5 RESPONDING TO MUSIC

A Curriculum Project of the National Association for Music Education (NAfME) and the Library of Congress of the United States (LOC)

Teaching with Primary Sources

GENERAL MUSIC RESPONDING UNIT | G r a d e 5 | NATIONAL ASSOCIATION for MUSIC EDUCATION 2

ACKNOWLEDGMENTS

PERSONNEL, LIBRARY OF CONGRESS GRANTWRITING RESPONDING UNITS, 20162017

PROJECT DIRECTOR

Johanna J. Siebert

CHORUS WRITING TEAM

Tom Dean, Team Chair Terry Eberhardt Joe Farrell Briana Nannen Kim Yannon

GENERAL MUSIC WRITING TEAM

Robyn Swanson, Team Chair Karen Benson Ellie Jacovino Craig Knapp Aimee Swanson

Special thanks to the Library of Congress for the generous grant for Teaching with Primary Sources (TPS), which made this resource possible.


OVERVIEW

This general music unit contains music-making activities and responding activities using the folk song Old Joe Clark. Three audio examples of Old Joe Clark will be used as primary resources from the Library of Congress.

The lessons in this unit can be done in approximately 22.5 hours of total instruction time. The first lesson is a Readiness lesson, where the students will be exposed to music-making opportunities with Old Joe Clark. The intent is to establish familiarity with the folk song. In subsequent lessons, introductory activities will be explored to increase familiarity with Old Joe Clark. Reinforcing and extending the material over several lessons will allow time for student reflection and retention (This will also allow the opportunity for students who were absent in a previous lesson to have the opportunity to be exposed to the folk song). The Readiness activities for Old Joe Clark used in this unit include multiple listening examples that can be teacher-selected from various resources. While this unit focuses on the Responding Artistic Process, it is important to incorporate music-making opportunities that also include areas of Creating, Performing, and Connecting. Additionally, other music-making experiences separate from the Old Joe Clark activities are encouraged for exploration within the lessons. This approach will help keep students engaged in the overall music-making and learning process.

PREREQUISITE SKILLS FOR THE UNIT

Students understand how their musical interests and experiences influence knowing about the contexts of music (purposes, culture, historical periods).

Students can explain why music may interest them.

Students can understand the purposes for which music was/is created.

Students can identify selected elements of music, such as articulation/style, dynamics, harmony, tempo, timbre (instrument families), texture, and form in aural or written form (e.g., using a word wall).

Students know what an arrangement of a piece of music is.

Students can label elements of music while listening to music.

Students understand how knowing about music elements aids in a performers interpretation of the musics expressive intent.

Students understand how lyrics reflect expressive intent.

Students display knowledge of criteria for judging the quality of musical works and performances.

Students demonstrate an ability to evaluate musical works and performances using specific criteria based on the elements of music.

Note: This unit contains old recordings that have been digitized from the Library of Congress collections. It may be necessary to discuss old recording technology with students before beginning the unit so they understand that the crackle and hissing sounds are not part of the music examples.


INSTRUCTIONAL GOALS/OBJECTIVES

Grade Level Content and Learning Targets (using primary source materials)

I Can

make connections between music and the real world.

demonstrate form through movement.

use my singing voice to perform a folk song.

analyze and interpret how I feel when listening to a song.

analyze and describe the meaning of a song.

perform a folk dance expressively.

evaluate my own performance as well as my peers?

apply feedback from my teacher and peers to my performance.

analyze and evaluate various musical works and performances.

EMBEDDED INQUIRY MODEL: KWL

Know: What do students already know about the pieces after listening?

Elements of music including articulation/style, dynamics, harmony, tempo, timbre (instrument families), texture, form.

Criteria for judging the quality of musical work.

Evaluate musical works and performances using specific criteria based on the elements of music.

Want: What do they want to know about the pieces?

Deeper understanding of the pieces, including when it was written and recorded and why the recordings sound the way they do.

Learn: Students apply what they have learned about the piece.

Students create additional verses that they feel will best capture the spirit and authenticity of the piece.


NATIONAL CORE ARTS STANDARDS (2014)

The Responding Artistic Processes addressed in this unit are displayed below.

SELECT: Choose music appropriate for a specific purpose or context.

EndurIng undErstandIngs

Individuals selection of musical works is influenced by their interests, experiences, understandings, and purposes.

EssEntIal quEstIon

How do individuals choose music to experience?

spECIfIC pErformanCE standard

Demonstrate and explain, citing evidence, how selected music connects to and is influenced by specific interests, experiences, purposes, or contexts (MU:Re7.1.5a)

ANALYZE: Analyze how the structure and context of varied musical works inform the response.

EndurIng undErstandIng

Response to music is informed by analyzing context (social, cultural, and historical) and how creators and performers manipulate the elements of music.

EssEntIal quEstIons

How does understanding the structure and context of music inform a response?


Demonstrate and explain, citing evidence, how responses to music are informed by the structure, the use of the elements of music, and context, such as social, cultural, and historical (MU:Re7.2.5a).

INTERPRET: Support interpretations of musical works that reflect creators/performers expressive intent.


Through their use of elements and structures of music, creators and performers provide clues to their expressive intent.

EssEntIal quEstIon

How do we discern the musical creators and performers expressive intent?



Demonstrate and explain how the expressive qualities (such as dynamics, tempo, timbre, and articulation) are used in performers and personal interpretations to reflect expressive intent (MU:Re8.1.5a).

EVALUATE: Support evaluations of musical works and performances based on analysis, interpretation, and established criteria.


The personal evaluation of musical works and performances is informed by analysis, interpretation, and established criteria.

EssEntIal quEstIon

How do we judge the quality of musical works and performances?


Evaluate musical works and performances, applying established criteria, and explain appropriateness to the context, citing evidence from the elements of music (MU:Re9.1.5a).

Other Artistic Processes (Creating, Performing, Connecting) used in this unit: MU:Pr4.2.5c: Explain how context (such as social, cultural, and historical) informs performances.

ADDITIONAL ESSENTIAL QUESTIONS

What inspires someone to create a piece of music?

How does culture affect music?

What criteria do we use to evaluate a performance?

How does familiarity with a piece of music affect how we respond?

Why do people have different interpretations of the same piece?

How can appropriate music vocabulary help in discussing musical evaluation with others?

ADDITIONAL ENDURING UNDERSTANDINGS

The depth of musical knowledge one possesses impacts how, and to what degree, one analyzes, describes, and evaluates music.

Music is an important element of the historical and cultural record of humankind.


FORMATIVE/SUMMATIVE ASSESSMENTS

Responding Worksheets are embedded into each lesson.

Lesson 1: Responding Worksheet 1



Lesson 4 : Responding Worksheet 4A

Lesson 4: Responding Worksheet 4B

RUBRICS FOR PERFORMANCE-BASED ASSESSMENTS

Folk Dance Scoring Rubric (R-1)

Responding to Music and Creating New Verse Scoring Rubric (R-2)

LIBRARY OF CONGRESS RESOURCE LINKS:

Jabbour, Alan, and Henry Reed. Old Joe Clark. Reed familyhome, Glen Lyn, Giles County, Virginia, 1966. Audio. Retrievedfrom the Library of Congress, https://www.loc.gov/item/afcreed000130/.

Todd, Charles L., and Robert Sonkin. Old Joe Clark. Arvin FSACamp, 1941. Audio. Retrieved from the Library of Congress,https://www.loc.gov/item/toddbib000257/.

Archive of Folk Song, U.S., and Library of Congress. RecordingLaboratory. American Fiddle Tunes. [Washington, DC: Libraryof Congress, American Folklife Center: Library of Congress,Recording Laboratory AFS L62, 1971, 2012] Audio. Retrievedfrom the Library of Congress, https://www.loc.gov/item/2016655239/.

https://www.loc.gov/item/afcreed000130/https://www.loc.gov/item/toddbib000257/https://www.loc.gov/item/2016655239/https://www.loc.gov/item/2016655239/https://www.loc.gov/item/afcreed000130/


ADDITIONAL RECOMMENDED RESOURCES:

Feierabend, John M., comp. The Book of Song Dances. Chicago, IL:GIA Publications, 2014. Print.

Feierabend, John Martin, and Jill Trinka. Old Joe Clark. GIAPublications, 2006. CD.

Seeger, Ruth Crawford. American Folk Songs for Children. NewYork: Doubleday & Co., 1948. Print.

Fiddlin Powers & Family performing Old Joe Clark.http://www.library.ucsb.edu/OBJID/Cylinder1394

Pete Seeger performing Old Joe Clark. https://www.youtube.com/watch?v=9hCb6b1vAmg

William Fremd High School Treble Choir performing Old JoeClark, arranged by Mary Goetzehttps://www.youtube.com/watch?v=d1MAz8ZRPbI

Internet Access

Space for dance/movement

CD Player or iPod and iPod dock (optional)

SmartBoard or other projection resource (optional)

LESSON PROCEDURES

LESSON 1READINESS FOR RESPONDING

objECtIvE

I can demonstrate form through movement.

I can perform a folk dance expressively.

I can use my singing voice to perform a folk song.

I can analyze and describe the meaning of a song.

I can analyze and interpret how I feel when listening to a song.

EssEntIal quEstIons

How does understanding the structure and context of musicinform a response?

How do we judge the quality of musical works and performances?

How does culture affect music?

What criteria do we use to evaluate a performance?

http://www.library.ucsb.edu/OBJID/Cylinder1394https://www.youtube.com/watch?v=9hCb6b1vAmghttps://www.youtube. com/watch?v=KjQlE-J8k0Mhttps://www.youtube.com/watch?v=d1MAz8ZRPbI



Demonstrate and explain, citing evidence, how responses to music are informed by the structure, the use of the elements of music, and context such as social, cultural, and historical (MU:Re7.2.5a).


proCEdurE

1. Teacher presents to the students the selected audio version of Old Joe Clark.

2. Teacher presents dance for the song Old Joe Clark. Students walk through the dance steps.

Dance Directions:

Partners stand in a circle with partner 1 on the left and partner 2 on the right.

Chorus: Partners take hands in a promenade position and walk counterclockwise 16 beats. End in one large circle with partner 1 on the left and partner 2 on the right.

Verses: Remain in a single circle at the completion of the chorus and partners face each other. Partners perform do-si-do (8 beats). Students then turn and face the person next to them whos not their partner (neighbor) and do-si-do their neighbor (8 beats).

Students remain with their neighbor (who is now their new partner) and begin the dance again with the promenade during the chorus. (Students are assessed using the Folk-Dance Scoring Rubric.)

3. After the dance portion concludes, have the students sing the chorus of the song while the teacher sings the verses.

4. Students complete the Responding Worksheet 1.

GENERAL MUSIC RESPONDING UNIT | G r a d e 5 | NATIONAL ASSOCIATION for MUSIC EDUCATION 1 0

assEssmEnts

Students are assessed on folk dancing activity using the Folk-Dance Scoring Rubric (R-1)

Achievement Level

Level 1

Emerging

Level 2

Approaches Standard

Level 3

Meets Standard

Level 4

Exceeds Standard

Knowledge of

Folk-Dance

Vocabulary

Student is unable

to identify and/or

define basic

folk-dance

vocabulary.

Student can identify

and define some

folk-dance

vocabulary, but

requires frequent

assistance from the

teacher and other

students.

Student can

identify, define, and

demonstrate

folk-dance

vocabulary, with

minimal assistance

from others.

Student can identify,

define, and demonstrate

folk-dance vocabulary,

and can successfully

assist other students.

Performance of

Folk-Dance

Vocabulary

Student appears lost

and/or consistently

demonstrates

incorrect dance

steps.

Student can correctly

perform portions

of the dance with

frequent cues

provided by the

teacher.

Student can perform

the majority of the

dance sequence with

some guided help

from others.

Student clearly

demonstrates the

correct dance sequence

and can successfully

lead and assist other

students.

Formation Student is unable

to demonstrate the

dance formation.

Student requires

some assistance from

teacher while getting

into position.

Student gets into

position for the dance

with little assistance

from the teacher.

Student demonstrates

clearly the correct dance

formation while leading

and assisting others.

Beat Student is unable

to perform the

movements to the

beat of the music.

The dance steps are

not synchronized

with the music/beat.

Student is able to

move to the beat,

but movements

are sometimes

inconsistent, and they

fluctuate at times.

Student demonstrates

the beat consistently

and is able to maintain

it throughout the

dance.

Student consistently

maintains the beat

throughout the dance.

Style Student

demonstrates styles

that do not show

progression or

theme specific to the

dance.

Student is

progressing toward

the demonstration of

stylistic moves that

are characteristic of

the dance.


demonstrates

stylistic moves while

performing the dance.


demonstrates stylistic

moves in keeping with

the dance and can

explain why the style

is appropriate for the

dance.

FOLK-DANCE SCORING RUBRIC R-1


STUDENTS COMPLETE RESPONDING WORKSHEET 1

RESPONDING WORKSHEET 1

Old Joe Clark Lyrics

Chorus:Fare thee well, Old Joe Clark,

Fare the well, I say.Fare thee well, Old Joe Clark,

Aint got long to stay.

Verses:I went down to Old Joes house,

Met him at the door.Shoes and stocking in his hands,

His feet upon the floor!

I went down to Old Joes house,Never been there before.

He slept on the corn shuck bed,And I slept on the floor.

I went down to Old Joes house,He told me to come and eat,I drank all the curdled milk,

And he ate all the meat.

Old Joe Clark, he had wifeName of Mary Lou;

She had two great big brown eyes,The other two were blue.

Old Joe Clark, he built a house,Told his friends Its neat.

He built the floors above his head,The ceilings under his feet.

What is the musical form of the song Old Joe Clark?


Please cite specific music vocabulary to justify your response.Based on the lyrics, describe what kind of person you think Old Joe Clark is?

In the song Old Joe Clark, what do you think Fare thee well means? Why do you think Fare thee well is not commonly used in todays culture? When do you think this phrase was commonly used?

Would you want to visit Old Joe Clarks house? Why or why not? Give reasons from the song lyrics to justify your response.

In what time period do you think this song was written?


LESSON 2

objECtIvE

1. I can demonstrate form through movement.

2. I can perform a folk dance expressively.

3. I can use my singing voice to perform a folk song.

4. I can analyze and describe the meaning of a song.

5. I can analyze and interpret how I feel when listening to a song.

6. I can analyze and evaluate various musical works and performances.

EssEntIal quEstIons

1. How do individuals choose music to experience?

2. How does understanding the structure and context of music inform a response?

3. How do we discern the musical creators and performers expressive intent?

4. How do we judge the quality of musical works and performances?

5. What criteria do we use to evaluate a performance?

6. How does familiarity with a piece of music affect how we respond?

7. Why do people have different interpretations of the same piece?

8. How can appropriate music vocabulary help in discussing musical evaluation with others?


spECIfIC pErformanCE standards

Demonstrate and explain, citing evidence, how selected music connects to and is influenced by specific interests, experiences, purposes, or contexts (MU:Re7.1.5a).

Demonstrate and explain, citing evidence, how responses to music are informed by the structure, the use of the elements of music, and context, such as social, cultural, and historical (MU:Re7.2.5a).



proCEdurE

1. Present teacher-selected version of Old Joe Clark used in Lesson 1 for students to listen to and review.

2. Teacher reviews the dance for the song Old Joe Clark, used in Lesson 1. Teacher sings song, Old Joe Clark while students perform the dance.

3. Teacher shares several of the student responses from the prior lessons Responding Worksheet 1. Class discussion ensues.

4. Teacher presents the first LOC version (Reed) of Old Joe Clark for students to listen to. https://www.loc.gov/item/afcreed000130/

5. Students compare the listening selection (teacher-selected) from Lesson 1 to the LOC (Reed) version (Lesson 2) using Responding Worksheet 2.

assEssmEnt

Students complete the following Responding Worksheet 2:

Select the qualities of the elements of music that you hear in each recording. Check all that apply.

https://www.loc.gov/item/afcreed000130/


Elements of Music Performance 1Teacher Selected from

Lesson 1

Performance 2Henry Reed (LOC)

Beat/Meter Duple Triple

Duple Triple

Dynamics Forte Piano Dynamic Changes

Forte Piano Dynamic Changes

Harmony Yes No

Yes No

Tempo Largo Andante Allegro Tempo Changes

Largo Andante Allegro Tempo Changes

Timbre Voice Male Female ChildInstrumentation Woodwinds Brass Percussion Strings

Voice Male Female ChildInstrumentation Woodwinds Brass Percussion Strings

Texture 1 Part 2 Parts 3 or More Parts

1 Part 2 Parts 3 or More Parts

Reflection Performance 1Teacher Selected from Lesson 1

Performance 2Henry Reed (LOC)

How do the elements of music and structural components identified for each performance affect a listeners response?

Which version do you think best represents the expressive intent, and what criteria did you use to make that choice?


SELECT THE QUALITIES OF THE ELEMENTS OF MUSIC THAT YOU HEAR IN EACH RECORDING. CHECK ALL THAT APPLY.


After listening to both versions of Old Joe Clark, which version do you feel is the more authentic? Explain your selection using music vocabulary citing evi-dence of expressive qualities (such as elements of music) and your own personal interpretation.

Teacher-Selected from Lesson 1

Henry ReedLOC Recording

After listening to both the Teacher Selected from Lesson 1 and Henry Reed versions of Old Joe Clark, please state in what time period you think they were recorded. Explain your response, giving specific evidence from each recording.

In what part of the country do you think Old Joe Clark was first written? Please use your background knowledge of music style genres and your knowledge of American folk music to justify your response.


Which version of Old Joe Clark do you prefer? Explain why you made your selection? Please give specific examples from your listening to justify your response.

LESSON 3

objECtIvEs




4. I can apply feedback from my teacher and peers to my responses.

EssEntIal quEstIons




4. How do we judge the quality of musical works and performances?








Demonstrate and explain, citing evidence, how responses to music are informed by the structure, the use of the elements of music, and context. such as social, cultural, and historical (MU:Re7.2.5a

Demonstrate and explain how the expressive qualities such as dynamics, tempo, timbre, and articulation are used in performers and personal interpretations to reflect expressive intent (MU:Re8.1.5a).


PROCEDURE

1. Students listen to the teacher-selected and the Reed versions of Old Joe Clark used in Lessons 1 and 2.

2. Teacher shares several of the student responses from the Responding Worksheet 2 (Reed Version of Old Joe Clark). Class discussion ensues.

3. Teacher leads discussion into the history of Old Joe Clark, which will include:

It is believed that Old Joe Clark was written in Kentucky and first published in 1842.

Discussion on What is a folk song? Folk songs are regional and come from a specific country, region, or area. Folk songs follow the oral tradition. They werent written down; they were passed on over time. Since they were passed down over time, folk songs have variations and different versions. It is common that folk songs changed over time as singers snag the story differently and people performed them differently.

It is believed that Joe Clark was a real man from Kentucky. There are records of a Joe Clark who served in the Seventh Kentucky Infantry during the Civil War and then settled in Sexton Creek, Kentucky. He was allegedly a strange man, and people from the community started making poems and songs about him. These stories grew more strange and silly, but they were possibly based on the life of a real person.

4. Teacher presents the second LOC version (Todd/Sonkin) of Old Joe Clark for students to listen to https://www.loc.gov/item/toddbib000257/

5. Students compare the listening selection LOC (Reed) version (Lesson 2) to the LOC (Todd/Sonkin) version using Responding Worksheet 3.


ASSESSMENT:

Students complete the following Responding Worksheet 3.


Select the qualities of the elements of music that you hear in each recording. Check all that apply.

Elements of Music Performance 3Todd/Sonkin Collection (LOC)

Beat/Meter Duple Triple

Dynamics Forte Piano Dynamic Changes

Harmony Yes No

Tempo Largo Andante Allegro Tempo Changes

Timbre Voice Male Female ChildInstrumentation Woodwinds Brass Percussion Strings

Texture 1 Part 2 Parts 3 or More Parts

Reflection

How do the elements of music and structural components identified for each performance affect a listeners response?


Compare the Reed and Todd/Sonkin versions of Old Joe Clark. Include both similarities and differences. Explain your comparison, citing examples from each recording, music vocabulary and your own personal interpretation.

Where do you think the Todd/Sonkin version of Old Joe Clark was recorded? Cite specific examples from the recording that led you to your response.

Write as many of the lyrics from the Todd/Sonkin that you were able to distinguish.

Which version of Old Joe Clark (Reed or Todd/Sonkin) do you prefer? Explain why you made your selection. Please give specific examples from your listening to justify your response.


LESSON 4

objECtIvE




4. I can apply feedback from my teacher and peers to my performance.

5. I can make connections between music and the real world.

6. I can evaluate my own responses as well as my peers.

EssEntIal quEstIons




4. How do we judge the quality of musical work(s) and performance(s)?





9. What inspires someone to create a piece of music?

spECIfIC pErformanCE standards


Demonstrate and explain, citing evidence, how responses to music are informed by the structure, the use of the elements of music, and context, e.g, social, cultural, and historical (MU:Re7.2.5a).




proCEdurE

1. Teacher presents the first LOC version (Reed) of Old Joe Clark for students to listen to and review. https://www.loc.gov/item/afcreed000130/

2. Teacher presents the second LOC version (Todd/Sonkin) of Old Joe Clark for students to listen to and review. https://www.loc.gov/item/toddbib000257/

3. Teacher shares several of the student responses from the prior lessons Responding Worksheet 3A and the optional 3B. Class discussion ensues.

4. Teacher presents the third LOC version (Jabbour) of Old Joe Clark for students to listen to. https://www.loc.gov/item/2016655239

5. Students complete the Responding Working 4A comparing all three LOC versions of Old Joe Clark.

6. Students complete Responding Worksheet 4B whereby using the directions provided each creates a new verse for Old Joe Clark.

7. Teacher evaluates each students responding to music responses Worksheets 4A and 4B using the Responding to Music and Creating New Verse Scoring Rubric (R-2).


ASSESSMENTS

Students complete the following Responding Worksheets 4A and 4B and theResponding to Music and Creating New Verse Scoring Rubric (R-2).

RESPONDING WORKSHEET 4A

Based on your preference, explain which Library of Congress recording perfor-mance you liked best. Which Library of Congress recording performance did you prefer? Why?

Reed (LOC Recording 1 with violin)

Todd/Sonkin (LOC Recording 2 with singing)

Jabbour (LOC Recording 3 with violin)

Explain, citing evidence, how your preferred performance relates to your personal interests and experiences.


RESPONDING WORKSHEET 4B

Part 1: Based on what you learned about the musical and historical aspects of the song, Old Joe Clark, create your own verses that you feel will best add to the spirit of the song. Make sure lines 2 and 4 rhyme. Create two new verses. Verse 1 must be as if you lived during the time period Old Joe Clark was written (mid 1800s), and verse 2 must be as if Old Joe Clark lived today.

Part 2: After you create new verses for Old Joe Clark, give the reasons that the lyrics you chose for version 1 reflect the mid-1800s time period and the lyrics you chose for version 2 reflect the present day.

VERSION 1


Part 2: After you create new verses for Old Joe Clark, give the reasons that the lyrics you chose for version 1 reflect the mid-1800s time period and the lyrics you chose for version 2 reflect the present day.

VERSION 2


Achievement Level

Level 1Emerging

Level 2Approaches

Standard

Level 3Meets

Standard

Level 4Exceeds Standard

PerformanceStandards

InterpretSupport expressive qualities of musical works that reflect expressive intent.

Interpreting

Qualities

(RW 4B)

Provided limited use of

musical elements and

historical aspects to create

verses of the song Old

Joe Clark.

Provided with some

inaccuracies musical

elements and historical

aspects to create verses

of the song Old Joe

Clark.

Accurately used musical

elements and historical

aspects to create verses

of the song Old Joe

Clark.

Accurately used, with

expanded detail or insight,

musical elements and

historical aspects to create

verses of the song Old

Joe Clark.

Demonstrate and explain how

the expressive qualities (such

as dynamics, tempo, timbre,

and articulation) are used

in performers and personal

interpretations to reflect

expressive intent.

(MU:Re8.1.5a)

Interpreting

Qualities

(RW 2)

Provided limited rationale

to which version of Old

Joe Clark best represents

an authentic recording,

citing lyrics and/or

elements of music reflect

the expressive intent of

the music.

Described with some

inaccuracies which

version of Old Joe

Clark best represents



elements of music

reflect the expressive

intent of the music.

Provided reasonable

rationale of which

version of Old Joe

Clark best represents



elements of music reflect

the expressive intent of

the music.

Provided insightful

rationale of which version

of Old Joe Clark best

represents an authentic

recording, citing lyrics

and/or elements of music

reflect the expressive

intent of the music.

AnalyzeAnalyze the use of the elements of music in the performance.

Reflection

(RW 2 & 3 )

Identified elements of

music and structural

components without

connection to informed

response.

Suggested general

ideas as to how

response is informed by

elements of music and

structural components.

Cited evidence how

response is informed by

elements of music and

structural components.

Demonstrated enhanced

insight into how response

is informed by elements

of music and structural

components

Demonstrate and explain,

citing evidence, how responses

to music are informed by the

structure, the use of the elements

of music, and context (such as

social, cultural, and historical).

(MU:Re7.2.5a)

EvaluateEvaluate the appropriateness of the performance to the context.

Selecting Best

Representation of

Expressive

Intent

(RW 2 & 3A)

Cited inappropriate

criteria used to evaluate

appropriate representation

of expressive intent

citing evidence from the

elements of music.

Cited limited

criteria used to

evaluate appropriate

representation of

expressive intent citing

evidence from the

elements of music.

Cited reasonable

criteria used to

evaluate appropriate

representation of

expressive intent citing

evidence from the

elements of music.

Cited insightful criteria

used to evaluate

appropriate representation

of expressive intent


elements of music.

Evaluate musical works and

performances, applying

established criteria, and explain

appropriateness to the context,


elements of music.

(MU:Re9.1.5a)

SelectExplain, citing evidence, how selected music relates to specific interest (personal).

Connections

(RW 2 & 4A)

Selected, but provided

limited description as to

interests, experiences,

purposes, or contexts

supporting their preferred

performance.

Selected and briefly

described interests,

experiences, purposes,

or contexts supporting

their preferred

performance.

Selected and described

interests, experiences,

purposes, or contexts

supporting their

preferred performance.

Selected and described

with expanded detail

and insight interests,

experiences, purposes, or

contexts supporting their

preferred performance.

Demonstrate and explain, citing

evidence, how selected music

connects to and is influenced by

specific interests, experiences,

purposes, or contexts.

(MU:Re7.1.5a)

RESPONDING TO MUSIC AND CREATING NEW VERSE SCORING RUBRIC


EXTENSIONS

The United States Library of Congress contains a plethora of rich and valuable resources. This unit focuses on Old Joe Clark, but the lesson procedures, responding worksheets, and assessments can easily be used with other songs from LOC. Here are some recommended songs and links from LOC:

OLD DAN TUCKER


https://www.loc.gov/item/lomaxbib000156/


http://www.loc.gov/jukebox/recordings/detail/id/6884

POP! GOES THE WEASEL




TURKEY IN THE STRAW




YANKEE DOODLE

https://www.loc.gov/item/ihas.100010448/

www.loc.gov/item/ihas.100000089/

https://www.loc.gov/item/ihas.100000090/

https://www.loc.gov/item/afcreed000225/https://www.loc.gov/item/lomaxbib000156/https://www.loc.gov/item/lomaxbib000138/http://www.loc.gov/jukebox/recordings/detail/id/6884https://www.loc.gov/item/afcreed000110/http://www.loc.gov/jukebox/recordings/detail/id/6884http://www.loc.gov/jukebox/recordings/detail/id/8604https://www.loc.gov/item/lomaxbib000159/https://www.loc.gov/item/afcreed000091/http://www.loc.gov/jukebox/recordings/detail/id/7815https://www.loc.gov/item/ihas.100010448/www.loc.gov/item/ihas.100000089/https://www.loc.gov/item/ihas.100000090/


DANCE/MOVEMENT EXTENSION

Since the students performed the Old Joe Clark dance, an extension les-son could be in pair-share or small groups: Students create a new dance for Old Joe Clark. Below is a worksheet for the Create a New Dance for Old Joe Clark activity.

CREATE A NEW DANCE FOR OLD JOE CLARK

Working with a partner or in a small group, use folk-dance vocabulary to create a new folk dance for Old Joe Clark. Explain, citing evidence, how your folk dance aligns with the form of the song Old Joe Clark. Explain similarities and differences between the folk dance learned in previous lessons and the folk dance you create. Give your reasons for selecting your folk-dance movements.

A Curriculum Project of the National Association for Music Education (NAfME) and the Library of Congress of the United States (LOC) Teaching with Primary Sources

What is the musical form of the song Old Joe Clark 1: What is the musical form of the song Old Joe Clark 2: What is the musical form of the song Old Joe Clark 3: What is the musical form of the song Old Joe Clark 4: What is the musical form of the song Old Joe Clark 5: What is the musical form of the song Old Joe Clark 6: Based on the lyrics describe what kind of person you think Old Joe Clark is 1: Based on the lyrics describe what kind of person you think Old Joe Clark is 2: Based on the lyrics describe what kind of person you think Old Joe Clark is 3: Based on the lyrics describe what kind of person you think Old Joe Clark is 4: Based on the lyrics describe what kind of person you think Old Joe Clark is 5: Based on the lyrics describe what kind of person you think Old Joe Clark is 6: Based on the lyrics describe what kind of person you think Old Joe Clark is 7: Based on the lyrics describe what kind of person you think Old Joe Clark is 8: you think this phrase was commonly used 1: you think this phrase was commonly used 2: you think this phrase was commonly used 3: you think this phrase was commonly used 4: you think this phrase was commonly used 5: you think this phrase was commonly used 6: you think this phrase was commonly used 7: you think this phrase was commonly used 8: from the song lyrics to justify your response 1: from the song lyrics to justify your response 2: from the song lyrics to justify your response 3: from the song lyrics to justify your response 4: from the song lyrics to justify your response 5: from the song lyrics to justify your response 6: from the song lyrics to justify your response 7: from the song lyrics to justify your response 8: In what time period do you think this song was written 1: In what time period do you think this song was written 2: In what time period do you think this song was written 3: In what time period do you think this song was written 4: In what time period do you think this song was written 5: In what time period do you think this song was written 6: In what time period do you think this song was written 7: Henry ReedLOC Recording 1: Henry ReedLOC Recording 2: Henry ReedLOC Recording 3: Henry ReedLOC Recording 4: Henry ReedLOC Recording 5: Henry ReedLOC Recording 6: Henry ReedLOC Recording 7: Henry ReedLOC Recording 8: recorded Explain your response giving specific evidence from each recording 1: recorded Explain your response giving specific evidence from each recording 2: recorded Explain your response giving specific evidence from each recording 3: recorded Explain your response giving specific evidence from each recording 4: recorded Explain your response giving specific evidence from each recording 5: recorded Explain your response giving specific evidence from each recording 6: recorded Explain your response giving specific evidence from each recording 7: recorded Explain your response giving specific evidence from each recording 8: American folk music to justify your response 1: American folk music to justify your response 2: American folk music to justify your response 3: American folk music to justify your response 4: American folk music to justify your response 5: American folk music to justify your response 6: American folk music to justify your response 7: American folk music to justify your response 8: American folk music to justify your response 9: 1: 2: 3: 4: your response 1: your response 2: your response 3: your response 4: your response 5: your response 6: your response 7: your response 8: your response 9: your response 10: your response 11: your response 12: your response 13: recording music vocabulary and your own personal interpretation 1: recording music vocabulary and your own personal interpretation 2: recording music vocabulary and your own personal interpretation 3: recording music vocabulary and your own personal interpretation 4: recording music vocabulary and your own personal interpretation 5: recording music vocabulary and your own personal interpretation 6: recording music vocabulary and your own personal interpretation 7: recording music vocabulary and your own personal interpretation 8: Cite specific examples from the recording that led you to your response 1: Cite specific examples from the recording that led you to your response 2: Cite specific examples from the recording that led you to your response 3: Cite specific examples from the recording that led you to your response 4: Cite specific examples from the recording that led you to your response 5: Cite specific examples from the recording that led you to your response 6: Cite specific examples from the recording that led you to your response 7: Cite specific examples from the recording that led you to your response 8: to distinguish 1: to distinguish 2: to distinguish 3: to distinguish 4: to distinguish 5: to distinguish 6: to distinguish 7: to distinguish 8: to justify your response 1: to justify your response 2: to justify your response 3: to justify your response 4: to justify your response 5: to justify your response 6: personal interests and experiences 1: personal interests and experiences 2: personal interests and experiences 3: personal interests and experiences 4: personal interests and experiences 5: personal interests and experiences 6: personal interests and experiences 7: personal interests and experiences 8: personal interests and experiences 9: 1_2: 2_2: 3_2: 4_2: 5: 6: 7: 8: 9: 10: 11: 12: 13: 14: 15: 16: 1_3: 2_3: undefined: undefined_2: undefined_3: undefined_4: undefined_5: undefined_6: undefined_7: undefined_8: undefined_9: undefined_10: undefined_11: undefined_12: undefined_13: undefined_14: undefined_15: undefined_16: undefined_17: undefined_18: undefined_19: undefined_20: undefined_21: undefined_22: undefined_23: undefined_24: undefined_25: undefined_26: undefined_27: undefined_28: undefined_29: undefined_30: undefined_31: undefined_32: version 2 reflect the present day 1: version 2 reflect the present day 2: version 2 reflect the present day 3: version 2 reflect the present day 4: version 2 reflect the present day 5: version 2 reflect the present day 6: version 2 reflect the present day 7: version 2 reflect the present day 8: 1_4: 2_4: 3_3: 4_3: 5_2: 6_2: 7_2: dance you create Give your reasons for selecting your folkdance movements 1: dance you create Give your reasons for selecting your folkdance movements 2: dance you create Give your reasons for selecting your folkdance movements 3: dance you create Give your reasons for selecting your folkdance movements 4: dance you create Give your reasons for selecting your folkdance movements 5: dance you create Give your reasons for selecting your folkdance movements 6: dance you create Give your reasons for selecting your folkdance movements 7: dance you create Give your reasons for selecting your folkdance movements 8: dance you create Give your reasons for selecting your folkdance movements 9: 1_5: 2_5: 3_4: 4_4: 5_3: 6_3: 7_3: 8_2: 9_2: 10_2: 11_2: 12_2: 13_2: 14_2: 15_2: 16_2: 1_6: 2_6: 3_5: 4_5: 5_4: Check Box7: Check Box9: Check Box12: Check Box5: Check Box13: Check Box14: Check Box15: Check Box19: Check Box20: Check Box21: Check Box22: Check Box16: Check Box17: Check Box18: Check Box23: Check Box24: Check Box25: Check Box26: Check Box27: Check Box28: Check Box29: Check Box30: Check Box31: Check Box32: Check Box33: Check Box34: Check Box35: Check Box36: Check Box37: Check Box38: Check Box39: Check Box40: Check Box41: Check Box42: Check Box43: Check Box44: Check Box45: Check Box46: Check Box47: Check Box48: Check Box49: Check Box50: Check Box51: Check Box52: Check Box53: Check Box54: Check Box55: Check Box56: Check Box57: Check Box58: Check Box59: Check Box60: Check Box61: Check Box62: Check Box63: Check Box64: Check Box65: Check Box66: Check Box67: Check Box68: Check Box69: Check Box70: Check Box71: Check Box72: Check Box73:

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