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FREEHOLD REGIONAL HIGH SCHOOL DISTRICT
OFFICE OF CURRICULUM AND INSTRUCTION
MUSIC DEPARTMENT
Music Theory II-IV,
Honors Music Theory II-IV
COURSE DESCRIPTION
Grade Level: 10-12 Department: Music Department
Course Title: Music Theory II-IV, Credits: 5.0
Honors Music Theory II-IV
Course Code: 102200, 102220, 102240,
102280, 102300, 102320
Board of Education adoption date: August 27, 2012
Board of Education
Mr. Heshy Moses, President Mrs. Jennifer Sutera, Vice President
Mr. Carl Accettola Mr. William Bruno
Mrs. Elizabeth Canario Mrs. Kathie Lavin
Mr. Ronald G. Lawson Mr. Michael Messinger Ms. Maryanne Tomazic
Mr. Charles Sampson, Superintendent
Ms. Donna M. Evangelista, Assistant Superintendent for Curriculum and Instruction
Curriculum Writing Committee Mr. Anthony Limaldi Mr. Edward Gattsek
Supervisors
Ms. Deana Farinick Ms. Judith Lagana Ms. Judith Newins Mr. Stanley Koba Ms. Michelle Lilley
Ms. Stephanie Kayafas
Music Theory II-IV and Honors Level(s) - Introduction
Music Theory II-IV
Course Description & Philosophy
This is a one year, five credit course which satisfies the 5 credit graduation requirement for fine and performing arts. Music Theory explores various styles
of musical composition. It is a rigorous course with a structured and regimented method. The main composition style that will be explored is that which
was used by composers during the Common Practice Period (1500-1913) In addition, some contemporary techniques will be explored. Composition and
analysis will constitute the bulk of the course work and nightly homework will be assigned. A musical background and/or working knowledge of musical
rhythm and at least one musical clef: treble or bass, will be helpful, but not necessary. The level of musicianship ranges from students who understand
the fundamentals of music to students who can create original works for large ensembles.
We believe our curriculum should provide quality experiences that are musically meaningful to the education of all our students. It should help them
discover, understand, and enjoy music as an art form, an intellectual endeavor, a medium of self-expression, and a means of social growth.
Music is considered basic to the total educational program. To each new generation this portion of our heritage is a source of inspiration, enjoyment, and
knowledge which helps to shape a way of life. Our music curriculum enriches and maintains this life and draws on our nation and the world for its ever-
expanding course content taking the student beyond the realm of the ordinary, everyday experience.
Music is an art that expresses emotion, indicates mood, and helps students to respond to their environment. It develops the student’s character through
its emphasis on responsibility, self-discipline, leadership, concentration, and respect for and awareness of the contributions of others. Music contains
technical, psychological, artistic, and academic concepts. It is an integral part of life and therefore should be studied to further enrich the lives of our
students.
“Musical training is a more potent instrument than any other, because rhythm, harmony, and melody find their way into the inward places of our soul, on
which they mightily fasten, imparting grace, and making the soul of him who is educated graceful.” — Plato
Course Map and Proficiencies/Pacing
Course Map
Relevant
Standards
Enduring
Understandings Essential Questions
Assessments
Diagnostic Formative Summative
1.1.12.B.1 1.1.12.B.2 1.2.12.A.1 1.3.12.B.1 1.3.12.B.2 1.3.12.B.3 1.3.12.B.4
It is the combination of harmony and rhythm that forms the foundation of music of the Western Hemisphere.
To what extent do harmony and rhythm affect Western music? How is Western music different from music around the world? How much does rhythm affect music? How much does harmony affect music?
Anticipatory set Oral questions/discuss ion
Research and define terms Quizzes Critique & analysis
Unit test Individual performance
1.1.12.B.1 1.1.12.B.2 1.2.12.A.1 1.3.12.B.1 1.3.12.B.2
(Four/SATB) Part-writing is the foundation of the language of music.
What is four-part/SATB writing?
How does four-part writing affect the study music theory?
Where is four-part writing used?
Anticipatory set Student survey Discussion
Homework assignments Participation Assignments Analysis
Unit Test Analysis
1.1.12.B.1 Major and minor scales and combinations of their intervals are the vocabulary of harmonic language.
What are major and minor scales? How many major and minor scales are there? Where are major and minor scales utilized? To what extent are major and minor scales utilized in music? What are the different combinations of intervals that make chords and other desired sounds?
Discussion Anticipatory set Analysis
Aural identification Exercises Analysis
Performance Unit Test
1.1.12.B.1 1.2.12.A.1
Having a basic understanding of the keyboard (clavier) is essential to learning Music Theory.
What patterns in the keyboard can be identified?
Does performing on the keyboard help with learning music theory?
Discussion Anticipatory set questions Entry performance/assessment
Performance exercises Analysis Exit performance
Performance
1.1.12.B.1 1.1.12.B.2 1.2.12.A.1 1.2.12.A.2 1.3.12.B.1 1.3.12.B.3 1.4.12.A.1
Listening is an essential skill. How does performing in an ensemble better us as musical listeners?
How does listening to ensemble works develop musical leadership skills in order to conduct/lead? How does listening to compositions give a better understanding of music theory?
What common musical devices are common in society? (Examples: intervals, car horns, jingles, trademarks, commercials)
Why is hearing a sense that should be protected?
How often do musicians lose their hearing?
Why should hearing be protected?
What steps can be taken to protect hearing?
Discussion Oral questions
Aural identification Professional speech from audiologist Analysis Criticism Research
Individual/group project Analysis
1.1.12.B.1 1.1.12.B.2 1.3.12.B.1 1.3.12.B.3
Music Theory is expressed by both aural and tactile means.
Why is penmanship important when writing music?
Explain some of the methods used to transcribe music.
How is ear training a big part of music theory?
How does singing improve ear training?
Why is ear training essential in music theory?
Why do listening and performing become essential components to developing musicianship?
Discussion Anticipatory set Questions Aural exercises Written exercises
Aural exercises Written exercises Aural performance Critique
Aural Test Written Test Performance
1.1.12.B.1 1.1.12.B.2 1.2.12.A.1 1.2.12.A.2 1.3.12.B.1 1.4.12.A.4
Music Theory provides insight into the background of musicians & composers.
Where do popular musicians & composers get their musical experience?
How much of musician’s and composers’ experience is taught and how much is learned?
Discussion Oral questions
Research Written assignments Analysis
Individual & group projects
1.1.12.B.2 1.2.12.A.2 1.3.12.B.3 1.3.12.B.4 1.4.12.B.3
Notation software and other technologies have a role to play in modern music notation.
How does having an understanding of notation software impact knowledge of music theory?
How does notation software effect writing and creating in music theory?
What brands of software compete to be the brand of choice?
Discussion Student survey
Presentation projects Present various examples Multimedia presentation
Comparison presentations Individual projects
1.1.12.B.2 1.2.12.A.1 1.2.12.A.2 1.3.12.B.1 1.3.12.B.3 1.3.12.B.4
A musician knowing his/her role is essential to having a successful ensemble.
What background does a conductor need to have in order to be successful?
What techniques are needed in order to be a successful conductor?
How does music theory correlate with conducting?
How does a member of a musical group communicate without a conductor?
Define the roles performed by various instruments.
Discussion Background presentation Oral questions/discussion
Exercises Analysis Interpretation project
Performance Individual project
Proficiencies and Pacing
Unit Title Unit Understanding(s) and Goal(s) Recommended Duration
Unit 1 - The Fundamentals of Music: Notation/Elements of Pitch, Scales, Tonality, Key, Modes, Intervals & Transposition
Notation is essential when using music theory.
Scales, intervals, and transposition along with tonality are the foundation of music.
At the conclusion of Music Theory II, participants will be able to:
1. Demonstrate knowledge of the letter names in alto and tenor clefs. 2. Demonstrate knowledge of all note values and how their use in measures of 3/8, 12/8, 5/8, 5/4, 7/8. 3. Demonstrate knowledge of all harmonic and melodic minor scales. 4. Demonstrate advanced knowledge of the circle of fifths (Example: chord substitutions). 5. Demonstrate knowledge of all intervals within two octaves, both written and aural.
At the conclusion of Music Theory III and IV, participants will be able to:
1. Demonstrate knowledge of ranges, clefs and transpositions of all band and orchestral instruments. 2. Demonstrate knowledge of all modes relative to "C".
10-11 Weeks ongoing
Unit 2 - Structural Elements of Music: Triads, Cadences, Nonharmonic Tones, Voice Leading in Two & Four Voices, and Harmonic Progression and Harmonic Rhythm, Dominant 7th Chord, Leading-Tone Seventh Chords, Secondary Dominants and Leading-Tone Chords
Harmony is the musical result of tones sounding together. Whereas melody implies the linear or horizontal aspect of music, harmony refers to the vertical dimension of music.
Chord structures and all their varieties and inversions provide a pillar in the construction of Western Music.
Phrases are created in music through an interaction of melody, harmony, and rhythm. Voice leading is the term used to describe the linear aspect of musical writing. In four-voice textures, the interaction of harmony and melody and their equal importance become clear. Chords are selected to succeed each other in a piece of music using harmonic progressions.
Students will be able construct chords and cadences using proper voice leading.
The dominant seventh chord is a diatonic seventh chord built on the fifth scale degree of the major, harmonic minor and melodic minor scales. The major triad and minor seventh create a distinctive sound that is universally linked to the dominant function.
Students will be able to construct the seventh chords and corresponding cadences using proper voice leading.
The leading tone seventh chord is similar to the dominant seventh chord due to its similar chord tones.
At the conclusion of Music Theory II, participants will be able to:
1. Demonstrate knowledge of major, minor, augmented and diminished triads in 1st and 2nd inversions both written and aural. 2. Demonstrate knowledge of major, minor, augmented and diminished seventh chord, both written and aural. 3. Harmonize intermediate rhythmic melodies with I, II, III, IV, v, VI, and VII° chords, utilize figure bass notation for analysis. 4. Use of diatonic non-harmonic tones both aural and written. 5. Compose 4-part passages in SATB.
At the conclusion of Music Theory III, participants will be able to:
1. Harmonize advance melodies with seventh chords, sub tonic, minor dominant and utilize figured bass for analysis. 2. Use of chromatic non-harmonic tones both aural and written. 3. Demonstrate knowledge of the common essentials of part writing. 4. Demonstrate knowledge of major, minor, augmented and diminished seventh chord, 1st, 2nd and 3rd inversions, both
written and aural. 5. Compose duets and trios.
At the conclusion of Music Theory IV, participants will be able to:
1. Harmonize advanced melodies with secondary dominant and leading tone seventh chords, utilize figured bass for analysis.
2. Demonstrate knowledge of borrowed and altered chords. (Examples: Neapolitan 6th, Augmented 6th chords)
13-14 Weeks ongoing
Unit 3 - Melodic and Rhythmic Organization
Organizing melody and melodic thought are the ways in which musical units are combined into larger.
At the conclusion of Music Theory II, participants will be able to:
1. Write intermediate melodies using proper rhythms and melodic movement, in both major and minor keys up to 4 #s and 4 bs.
2. Take intermediate dictation in rhythm and melody. 3. Sing intermediate melodic and rhythmic patterns used in class and on approved music theory training
websites. 4. Use of solfege syllables to be used in both sight singing and dictation. 5. Demonstrate knowledge of all note values and their use in proper measure of advanced time
signatures.
At the conclusion of Music Theory III, participants will be able to:
1. Work in advanced syncopated rhythmic notation. 2. Write advanced melodies using proper rhythms and melodic movement in both major and minor keys
up to 7 #s and 7bs. 3. Take advanced melodic and rhythmic dictation. 4. Sing intermediate melodic and rhythmic patterns used in class and on approved music theory training
websites. 5. Demonstrate knowledge of simple melodic form.
At the conclusion of Music Theory IV, participants will be able to:
1. Take advanced melodic and rhythmic dictation on 3 or fewer hearings. 2. Sing advanced melodic and rhythmic patterns used in class and on approved music theory training
websites.
3-5 Weeks
Unit 4 - Texture, Textural Reduction and Form: Polyphony and other textures, Two-Part (Binary) Form, Three-Part (Ternary, ABA), Sonata Form(s)
Texture refers to the way melodic rhythmic and harmonic materials are woven together in a composition.
Secondary dominants are chord that are altered to sound like dominants.
Form in music is the result of the interaction of all the structural elements. Two-Part Binary Form deals with complete compositions.
Ternary form is a sectional form consisting of three principal parts (A B A) in which each section is a complete musical statement.
At the conclusion of Music Theory II, participants will be able to:
1. Students will be able to analyze compositions using the various forms.
At the conclusion of Music Theory III, participants will be able to:
1. Demonstrate knowledge of secondary dominants chords and their inversions in a textual setting. 2. Students will recognize, construct, and utilize secondary dominants in their proper formats. 3. Demonstrate knowledge of Two-Part Binary Form in a composition.
At the conclusion of Music Theory IV, participants will be able to:
1. Demonstrate knowledge of Ternary (A B A) form by using it in a composition. 2. Students will be able to analyze large works and identity specific forms. 3. Demonstrate knowledge of advanced musical structure and design (Examples: binary, ternary, rondo
and sonata-allegro forms). 4. Students will be able to differentiate, analyze, and create compositions with different textures.
3-5 Weeks
Unit 5 - Composers, Composing and Performance
Twentieth century music is a departure of common musical practices. Many different styles culminate to develop the definitions of twentieth century music.
Composition is the ultimate demonstration of concept mastery.
Working alone and in groups to create musical art using modern/contemporary instruments both acoustic and electronic serve to elevate the human condition.
At the conclusion of Music Theory II, participants will be able to:
1. Demonstrate knowledge of subdivision of duple, triple and quadruple meters through performance and composition.
At the conclusion of Music Theory III, participants will be able to:
1. Compose 4-part passages for brass, woodwind, strings and mallet ensemble - make necessary arrangements to have it performed in class.
2. Compose and perform a four-part work that demonstrates elementary modulation (V/V, pivot chords) and make necessary arrangements to have it performed in class.
1. Compose harmonic and melodic passages in all modes in all key signatures. 2. Demonstrate basic knowledge of whole tone, quartile, quintal and twelve tone harmonies. 3. Compose and arrange music for voices, wind band, orchestra, jazz band, rock band, and other small
ensembles. 4. Compose and arrange music with advanced modulations to unrelated keys. 5. Demonstrate knowledge of major, minor, augmented and diminished 9th, 11th, and 13th chords, root
position, both written and aural.
10-12 Weeks ongoing
Music Theory II-IV and Honors Level(s) - Unit 01 - The Fundamentals
of Music
Unit Plan
Enduring Understandings: It is the combination of harmony and rhythm that forms the foundation of music of the Western Hemisphere. Major and minor scales and combinations of their intervals are the vocabulary of harmonic language. Having a basic understanding of the keyboard (clavier) is essential to learning music theory. Listening is as essential a skill. Music theory is expressed by both aural and tactile means. Notation software and other technologies have a role to play in modern music notation. Essential Questions:
To what extent do harmony and rhythm affect Western music? How is Western music different from music around the world? How much does harmony affect music?
What are the major and minor scales? How many major and minor scales are there? Where are major and minor scales utilized? To what extent are major and minor scales utilized in music? What are the different combinations of intervals that make chords and other desired sounds?
What patterns in the keyboard can be identified? Does performing on the keyboard help with learning music theory?
How does listening to compositions give a better understanding of music theory? What common musical devices are common in society? (Examples: intervals, car horns, jingles, trademarks, commercials)
Why is penmanship important when writing music? What are some of the methods used to transcribe music? How is ear training a big part of music theory? How does singing improve ear training? Why is ear training essential in music theory? Why do listening and performing become essential components to developing musicianship?
How does having an understanding of notation software impact knowledge of music theory? How does notation software effect writing and creating in music theory? What brands of software compete to be the brand of choice?
Unit Goals:
At the conclusion of Music Theory II, participants will be able to:
1. Demonstrate knowledge of the letter names in alto and tenor clefs.
2. Demonstrate knowledge of all note values and how their use in measures of 3/8, 12/8, 5/8, 5/4, 7/8.
3. Demonstrate knowledge of all harmonic and melodic minor scales.
4. Demonstrate advanced knowledge of the circle of fifths, i.e., chord substitutions.
5. Demonstrate knowledge of all intervals within two octaves, both written and aural.
At the conclusion of Music Theory III and IV, participants will be able to:
1. Demonstrate knowledge of ranges, clefs and transpositions of all band and orchestral instruments.
2. Demonstrate knowledge of all modes relative to "C".
(Honors Prerequisite-Participation in a school performing ensemble)
At the conclusion of Music Theory Honors, participants will be able to:
1. Demonstrate knowledge of all clefs.
2. Demonstrate examples of arrangements and compositions appropriate to the student's pre-assessed skill set.
3. Customize arrangements for specified school ensembles.
Recommended Duration: 10-12 weeks
Guiding/Topical Questions Content/Themes/Ski
lls Resources and Materials Suggested Strategies Suggested Assessments
How do scale degrees vary?
How are intervals used?
What is the level of keyboard competency throughout the class?
Can the students perform a scale?
Why is ear training important?
What is the level of ear training throughout the class?
What resources are available to help students develop their ear training?
What are the different tonalities and modalities? How do you calculate each of them based on “C” and on other pitches?
Calculate intervals and scales based on print and aural perception.
Write in and perform a variety of scales and modes.
Transpose for basic band instruments, in Bb, Eb, and F.
Complete musical work in treble, bass, alto and tenor clefs.
Ascertain which intervals are more recognizable than others.
Current textbook and workbook
Kostka, Stefan & Dorothy Payne. Tonal Harmony with an Introduction to 20th Century Music, 6th ed. Boston: McGraw-Hill, 2009. Marker board with staff lines and markers
Interactive whiteboard
Appropriate websites
Keyboard or percussion keyboard instrument with proper mallets
Other appropriate instruments
Secure storage for said instruments
Staff paper notebook, pencils and eraser
Provide specific written examples of notation of pitch, scales, tonality, key signatures, modes, intervals and transposition.
Listening Activities of specific tonalities and modalities. Try Norton Scores.
Play various intervals and scales.
Have students perform on an instrument (even if for the first time) to their ability. Use mallet instruments and give the student one stick and assign responsibility for a single, simple line, while other, more experienced students can contribute at their appropriate levels.
Use a website such as teoria.com or musictheory.net which offers free examples with which to practice.
Complete text book and workbook exercises.
Analyses of scores
Class preparation
Safe handling of class materials.
Performances
Aural Dictation Project/Exam
Responses to discussion questions
Written tests & quizzes
Penmanship
AR.9-12.1.1.12.B.1
Examine how aspects of meter, rhythm, tonality, intervals, chords, and harmonic progressions are organized and manipulated to establish unity and variety in genres of musical compositions.
AR.9-12.1.1.12.B.2 Synthesize knowledge of the elements of music in the deconstruction and performance of complex musical scores from diverse cultural contexts. AR.9-12.1.3.12.2 The ability to read and interpret music impacts musical fluency. AR.9-12.1.3.12.4 Basic vocal and instrumental arranging skills require theoretical understanding of music composition. AR.9-12.1.3.12.B.4 Arrange simple pieces for voice or instrument using a variety of traditional and nontraditional sound sources or electronic media, and/or analyze prepared scores using music
composition software.
Differentiation
We must “tap into” the multi-stimulus, kinesthetic nature of music theory. Most differentiation needs can be met by varying assignments and instruction to improve skills in four core music theory areas: musical composition, analytical skills, performance skills and aural skills. Each student will have strengths and weaknesses based in each of these core skills. Activities should represent differentiation for the needs of the students based on pre-assessment. Provide traditional “blackboard” instruction while augmenting this instruction with audio and visual stimulus of topics.
Other differentiation strategies which can be used include:
small group instruction supplemental materials of interest to students examples based on student interests student questions as a guide to lecture notes and material selection tiered activities—activities at different levels of difficulty, but focused on same learning goals varied pacing of student work variety of criteria to measure success allow multiple options to express learning balance competitive, collegial and independent work arrangements rubrics—given to students prior to assignments set benchmarks—break larger tasks into smaller tasks multisensory materials opportunities to practice with support flexible opportunities for demonstrating skill choices of content and tools pre-tests to assess where individual students need to begin study of a given topic breakdown of assignments into smaller, more manageable parts that include structured directions for each part groups for like and unlike readiness, interest, and learning profile groups intersperse lecture with small group discussions make connections with key ideas/skills and students’ cultures and interests provide practical, analytical, and creative options for student work help students perform any classroom functions that are not imperative for the teacher to perform
Technology
Using a projector and screen in conjunction with a video camera or document projector will allow the entire class to comfortably view the hands of a keyboardist or guitarists so that visual patterns can be associated with various harmonies and rhythms. Use notation software or websites print music. Use for homework submission, composition, etc. Use electronic instruments--keyboard, guitars, amplifiers (often student provided), sound machines, tuners, mixers, even microphones and recording equipment--constitutes real-world use of music and music technology. Use software like Audacity, Sibelius, Garage Band, Finale, etc. as tools to edit and manipulate music and sound files.
College and Workplace Readiness
It is without question that this course will serve the needs of future music professionals –performers, composers, educators and therapists. The study of intervals, tonality, modes, etc. would serve well in many kinds of musical fields, of course, but might also serve many other types of artistic endeavors. Lessons plans could be made in incorporate any number of subsets or skills into the classroom. Students can be exposed to subfields and related professions that include acoustician, architect, filmmaker, videogame creator, alarm maker. Music theory or harmonic/rhythmic language can be used in and to describe other arts. In a multi-year music theory program, students who are enrolling for second and third years could serve as student leader/mentors for their younger, less experienced counterparts in Music Theory I. Project-based learning, with many of our activities based in students working in tight-knit groups towards a common goal of a musical composition and performance, is critical in the college environment and in the business world. Students will gain an improved detail in listening skills as they practice error detection. Students will learn about and practice strategies for protecting hearing so there is little long term hearing loss. Students will practice and refine ear-training for music professionals. Students will practice skills from character education: persistence, initiative, optimism, resiliency, flexibility, independence.
By collaborating with different populations and presenting for information and persuasion, students will refine their communication skills.
Music Theory II-IV and Honors Level(s) - Unit 02 - Structural Elements
of Music
Unit Plan
Enduring Understandings:
It is the combination of harmony and rhythm that forms the foundation of music of the Western Hemisphere.
(Four/SATB) Part-writing is the foundation of the language of music.
Major and minor scales and combinations of their intervals are the vocabulary of harmonic language.
Listening is an essential skill.
Music theory is expressed by both aural and tactile means.
Essential Questions:
To what extent do harmony and rhythm affect Western music?
How is Western music different from music around the world?
How much does rhythm affect music?
How much does harmony affect music?
What is four-part/SATB writing?
How does four-part writing affect studying music theory?
Where is four-part writing used?
What are the major and minor scales?
How many major and minor scales are there?
Where are major and minor scales utilized?
To what extent are major and minor scales utilized in music?
What are the different combinations of intervals that make chords and other desired sounds?
How does performing in an ensemble better us as musical listeners?
How does listening to compositions give a better understanding of music theory?
Why is penmanship important when writing music?
What are some of the methods used to transcribe music?
How is ear training a big part of music theory?
How does singing improve ear training?
Why is ear training essential in music theory?
Why do listening and performing become essential components to developing musicianship?
Unit Goals:
At the conclusion of Music Theory II, participants will be able to:
1. Demonstrate knowledge of major, minor, augmented and diminished triads in 1st and 2nd inversions both written and aural.
2. Demonstrate knowledge of major, minor, augmented and diminished seventh chords, both written and aural
3. Harmonize intermediate rhythmic melodies with I, II, III, IV, V, VI, and VII chords, utilize figure bass notation for analysis.
4. Use of diatonic, non-harmonic tones, both aural and written.
5. Compose Four-part passages in SATB.
At the conclusion of Music Theory III, participants will be able to:
1. Harmonize advance melodies with seventh chords, sub tonic, minor dominant and utilize figured bass for analysis.
2. Use of chromatic non-harmonic tones both aural and written.
3. Demonstrate knowledge of the common essentials of part writing.
4. Demonstrate knowledge of major, minor, augmented and diminished seventh chord, 1st, 2nd and 3rd inversions, both written and aural.
5. Compose duets and trios.
At the conclusion of Music Theory IV, participants will be able to:
1. Harmonize advanced melodies with secondary dominant and leading tone seventh chords, utilize figured bass for analysis.
2. Demonstrate knowledge of borrowed and altered chords (Examples: Neapolitan 6th, Augmented 6th chords).
(Honors Prerequisite - Participation in a school performing ensemble)
At the conclusion of Honors Music Theory, participants will be able to:
1. Aurally identify triads, seventh chords and other advanced harmonies with inversions.
2. Conduct/lead a musical ensemble.
3. Compose/arrange advanced, genre-specific, compositions for school ensembles.
Recommended Duration: 13-15 Weeks (ongoing)
Guiding/Topical
Questions
Content/Themes/Skills Resources and
Materials
Suggested Strategies Suggested
Assessments How has harmony and rhythm changed throughout the centuries?
How does harmony effect musical composition?
What do proper and improper voice leadings sound like?
Why do certain cadences slow down, speed up or stress certain parts of the beat?
How do secondary dominant chords relate to dominant chords?
What are the uses of the dominant, secondary dominant and augmented sixth chords?
How are chords used in their respective keys?
What leads a composer to choose certain meters?
How does listening to ensemble works, develop musical leadership skills in order to conduct/lead?
What is the role of the musical leader/conductor in an ensemble?
Notation of chords
Chromatic chords in major and minor keys
Important chromatic seventh chord in major and minor modes
Calculate through aural perception and written use, the dominant and secondary dominant seventh chords.
Define various meters and their uses.
Harmonic progressions
Proper voice leading
Current textbook and workbook
Kostka, Stefan & Dorothy Payne. Tonal Harmony with an Introduction to 20th Century Music, 6th ed. Boston: McGraw-Hill, 2009. Marker board with staff lines and markers
Interactive whiteboard
Appropriate websites
Keyboard loud enough for entire class to hear
Staff paper notebook, pencils and eraser
Provide specific written and aural examples of triads, cadences, non-harmonic tones, voice leading in 2 and 4 voices, and harmonic progression and harmonic rhythm, dominant 7th chords, leading-tone seventh chords, secondary dominants leading-tone chords and augmented sixth chords.
Performance projects
Lecture
Use a website such as teoria.com or musictheory.net which offers free examples with which to practice.
Use masking tape to make large 5-lined staff on the floor. Have students stand in/on appropriate lines and spaces for voice leading and chord resolutions.
Complete text book and workbook exercises.
Analyses of scores
Notate chords, voice single triads, use proper parallel motion of voices.
Performance
Lab
Written tests & quizzes
Worksheets
Project assessments
Chapter test
Workbook exercises
Projects
Manuscript book assessments
Responses to discussion questions and topics
Penmanship
AR.9-12.1.1.12.1 Understanding nuanced stylistic differences among various genres of music is a component of musical fluency. Meter, rhythm, tonality, and harmonics are determining factors in the categorization of musical genres.
AR.9-12.1.1.12.B.1 Examine how aspects of meter, rhythm, tonality, intervals, chords, and harmonic progressions are organized and manipulated to establish unity and variety in genres of musical compositions.
AR.9-12.1.3.12.4 Basic vocal and instrumental arranging skills require theoretical understanding of music composition.
Differentiation
Melodic and rhythmic dictation represents one of the best ways to differentiate the music theory curriculum. At its very minimum, dictation is process in which a melody, harmony, or rhythm is repeated until copied by ear by the listener/student. Varying the number of repetitions, or providing any number of hints throughout the process the teacher is able to differentiate, pre-assess, assess and post-assess, all during the same lesson, multiple times. Require that more advanced students complete the dictation in 3 to 5 listenings, average students between 6 –9 listenings and struggling students 10+. Provide more specific instruction for critical listening and melodic hints for later repetitions.
Enhanced skills can be developed at the appropriate differentiated level on websites such as teoria.com and music theory.net.
After pre-assessment, vary the 1) difficulty, 2) time allowed, 3) skills being tested, and 4) number of permitted repetitions, etc to allow for proper individual differentiation.
Other strategies which can be used to differentiate include:
vary levels of reading materials
use texts with key portions highlighted
provide organizers to guide note taking
provide a list of key terms, vocabulary, events, etc.
provide supplemental materials of interest to students
use examples based on student interests
allow for wait time for student reflection
vary instructional strategies—lecture, group work, independent study
use tiered activities—activities at different levels of difficulty, but focused on same learning goals
vary pacing of student work
use of variety of criteria to measure success
show examples
use multisensory materials
provide multiple exams
highlight critical features in lessons, texts, etc.
provide multiple media and formats
utilize pre-tests to assess where individual students need to begin study of a given topic
make assessment an ongoing, interactive process
compact or exempt students from work on which they show mastery
bookmark websites on key topics
intersperse lecture with small group discussions
make connections with key ideas/skills and students’ cultures and interests
provide tiered practice and assessments
Technology
Using a projector and screen in conjunction with a video camera or document projector will allow the entire class to comfortably view the hands of a keyboardist or guitarists so that visual patterns can be associated with various harmonies and rhythms. Use notation software or websites print music. Use for homework submission, composition, etc. Use electronic instruments--keyboard, guitars, amplifiers (often student provided), sound machines, tuners, mixers, even microphones and recording equipment--constitutes real-world use of music and music technology. Use software like Audacity, Sibelius, Garage Band, Finale, etc. as tools to edit and manipulate music and sound files.
College and Workplace Readiness
It is without question that this course will serve the needs of future music professionals –performers, composers, educators and therapists.
The study of intervals, tonality, modes, etc. would serve well in many kinds of musical field, of course, but might also serve many other types of
artistic endeavors. Lessons plans could be made in incorporate any number of subsets or skills into the classroom. Students can be exposed to
subfields and related professions that include acoustician, architect, filmmaker, videogame creator, alarm maker.
Music theory or harmonic/rhythmic language can be used in and to describe other arts.
In a multi-year music theory program, students who are enrolling for second and third years could serve as student leader/mentors for their
younger, less experienced counterparts in Music Theory I.
Project-based learning, with many of our activities based in students working in tight-knit groups towards a common goal of a musical
composition and performance, is critical in the college environment and in the business world.
Students will gain an improved detail in listening skills as they practice error detection.
Students will learn about and practice strategies for protecting hearing so there is little long term hearing loss.
Students will practice and refine ear-training for music professionals.
Music Theory II-IV and Honors Level(s) - Unit 03 - Melodic and
Rhythmic Organization
Unit Plan
Enduring Understandings: It is the combination of harmony and rhythm that form the foundation of music of the Western Hemisphere. (Four/SATB) Part-writing is the foundation of the language of music. Major and minor scales and combinations of their intervals are the vocabulary of harmonic language. Listening is an essential skill. Music theory is expressed by both aural and tactile means. Notation software and other technologies have a role to play in modern music notation. A musician knowing his/her role is essential to having a successful ensemble.
Essential Questions: To what extent do harmony and rhythm affect Western music? How is Western music different from music around the world? How much does rhythm affect music? How much does harmony affect music?
What is four-part/SATB writing? How does four-part writing affect studying music theory? Where is four-part writing used?
What are the major and minor scales? How many major and minor scales are there? Where are major and minor scales utilized? To what extent are major and minor scales utilized in music? What are the different combinations of intervals that make chords and other desired sounds?
Why is hearing a sense that should be protected? How often do musicians lose their hearing? Why should hearing be protected? What steps can be taken to protect hearing?
How does having an understanding of notation software impact knowledge of music theory? How does notation software effect writing and creating in music theory? What brands of software compete to be the brand of choice?
What background does a conductor need to have in order to be successful? What techniques are needed in order to be a successful conductor? How does music theory correlate with conducting? How does a member of a musical group communicate without a conductor? Define the roles performed by various instruments.
Unit Goals:
At the conclusion of Music Theory II, participants will be able to:
1. Write intermediate melodies using proper rhythms and melodic movement, in both major and minor keys up to 4 sharps and 4 flats.
2. Take intermediate dictation in rhythm and melody.
3. Sing intermediate melodic and rhythmic patterns used in class and on approved music theory training websites.
4. Use of solfege syllables to be used in both sight singing and dictation.
5. Demonstrate knowledge of all note values and their use in proper measure of advanced time signatures.
At the conclusion of Music Theory III, participants will be able to:
1. Work in advanced syncopated rhythmic notation.
2. Write advanced melodies using proper rhythms and melodic movement in both major and minor keys up to 7 sharps and 7 flats.
3. Take advanced melodic and rhythmic dictation.
4. Sing intermediate melodic and rhythmic patterns used in class and on approved music theory training websites.
5. Demonstrate knowledge of simple melodic form.
At the conclusion of Music Theory IV, participants will be able to:
1. Take advanced melodic and rhythmic dictation on 3 or fewer hearings.
2. Sing advanced melodic and rhythmic patterns used in class and on approved music theory training websites.
(Honors Prerequisite - Participation in a school performing ensemble)
At the conclusion of Honors Music Theory, participants will be able to:
1. Create simple, intermediate and advanced melodic and rhythmic dictations to be used by the class/ensemble.
2. Share advanced knowledge of music theory websites and other web resources.
Recommended Duration: 3-6 Weeks
Guiding/Topical Questions Content/Themes/Skills Resources and Materials Suggested Strategies Suggested Assessments
Why is ear training important?
What is the level of ear training throughout the class?
How does rhythm affect music?
How is music that is purely rhythmic written?
What musical devices help us organize rhythm and melody?
What resources are available to help students develop their ear training?
How often do students rely on their hearing v sight when learning music?
What sorts of intervals and basic melodies pervade our everyday life?
Calculate intervals and scales based on print and aural perception
Take melodic and rhythmic dictation
Notation of melodies in tenor and alto clef
Ascertain which intervals are more recognizable than others
Perform on keyboard the simple and recognizable intervals
Notate music that only has rhythm
Define various meters and their uses
Define subdivisions and how they change in various meters
Play by imitation
Take melodic and rhythmic dictation
Current textbook and workbook
Kostka, Stefan & Dorothy Payne. Tonal Harmony with an Introduction to 20th Century Music, 6th ed. Boston: McGraw-Hill, 2009.
Marker board with staff lines and markers
Interactive whiteboard
Appropriate websites
Keyboard load enough for entire class to hear
Staff paper notebook, pencils and eraser
Use the interactive whiteboard to demonstrate a musical line, 2 lines or even an entire score. The effect of seeing the music and hearing the music as it is going by simultaneously is desirable.
Dictate many melodies. Keep simple at first use Do and Re and offer rhythmic options of 1-beat quarters and 2-beat half notes. Many students complete assignments using those four variables. Each lesson, change or add another note of the scale or rhythmic complication.
Students compose their own monophonic melodies – combine with Unit IV.
Lecture and class discussion
Lecture
Performance projects
Complete text book and workbook exercises.
Composition assessment rubric
Musical performances
Written tests & quizzes
Aural Dictation Project/Exam
Responses to discussion questions
Workbook exercises
Penmanship
AR.9-12.1.1.12.1
Understanding nuanced stylistic differences among various genres of music is a component of musical fluency. Meter, rhythm, tonality, and harmonics are determining factors in the categorization of musical genres.
AR.9-12.1.1.12.2 Musical proficiency is characterized by the ability to sight-read advanced notation. Musical fluency is also characterized by the ability to classify and replicate the stylistic differences in music of varying traditions.
AR.9-12.1.3.12.B.2 Analyze how the elements of music are manipulated in original or prepared musical scores. AR.9-12.1.3.12.B.4 Arrange simple pieces for voice or instrument using a variety of traditional and nontraditional sound sources or electronic media, and/or analyze prepared scores using music
composition software.
Differentiation
Allow students to sing, hum or use an instrument (perhaps even use a kazoo) to demonstrate melodies. Enhanced skills can be developed at the appropriate differentiated level on websites such as teoria.com and music theory.net.
Students, alone or in groups, will find examples in published media that demonstrate advanced syncopations and complex key signatures.
Additional differentiation strategies include:
use texts with key portions highlighted use small group instruction provide list of key terms, vocabulary, events, etc. provide supplemental materials of interest to students use examples based on student interests allow for wait time for student reflection vary instructional strategies—lecture, group work, independent study use tiered activities—activities at different levels of difficulty, but focused on same learning goals use of variety of criteria to measure success encourage students to design or participate in lesson tasks allow multiple options to express learning balance competitive, collegial and independent work arrangements provide multiple exams highlight critical features in lessons, texts, etc. provide multiple media and formats utilize pre-tests to assess where individual students need to begin study of a given topic make assessment an ongoing, interactive process negotiate delay of due dates and times for tasks compact or exempt students from work on which they show mastery collect textbooks of different readability levels and keep in classroom for easy access use pre-assigned groups so students know by cue where to move in the room and who to sit with plan groups for like and unlike readiness, interest, and learning profile groups intersperse lecture with small group discussions make connections with key ideas/skills and students’ cultures and interests use ‘expert groups’ to help teach key ideas have students perform any classroom functions that are not imperative for the teacher to perform
Technology
Using a projector and screen in conjunction with a video camera or document projector will allow the entire class to comfortably view the hands of a keyboardist or guitarists so that visual patterns can be associated with various harmonies and rhythms. Use notation software or websites print music. Use for homework submission, composition, etc. Use electronic instruments--keyboard, guitars, amplifiers (often student provided), sound machines, tuners, mixers, even microphones and recording equipment--constitutes real-world use of music and music technology. Use software like Audacity, Sibelius, Garage Band, Finale, etc. as tools to edit and manipulate music and sound files.
College and Workplace Readiness
It is without question that this course will serve the needs of future music professionals –performers, composers, educators and therapists. The study of intervals, tonality, modes, etc. would serve well in many kinds of musical fields, of course, but might also serve many other types of artistic endeavors. Lessons plans could be made in incorporate any number of subsets or skills into the classroom. Students can be exposed to subfields and related professions that include acoustician, architect, filmmaker, videogame creator, alarm maker. Music theory or harmonic/rhythmic language can be used in and to describe other arts. In a multi-year music theory program, students who are enrolling for second and third years could serve as student leader/mentors for their younger, less experienced counterparts in Music Theory I. Project-based learning, with many of our activities based in students working in tight-knit groups towards a common goal of a musical composition and performance, is critical in the college environment and in the business world. Students will gain an improved detail in listening skills as they practice error detection. Students will learn about and practice strategies for protecting hearing so there is little long term hearing loss. Students will practice and refine ear-training for music professionals. Other college and workplace readiness skills include:
reasoning skills—evaluate evidence and text problem solving skills and creativity note taking skills character education: persistence, initiative, optimism, resiliency, flexibility, independence digital Literacy skills communication skills—collaborate with different populations, present for information, persuasion, etc social interaction
Music Theory II-IV and Honors Level(s) - Unit 04 - Texture, Textural
Reduction and Form
Unit Plan
Enduring Understandings:
It is the combination of harmony and rhythm that form the foundation of music of the Western Hemisphere.
(Four/SATB) Part-writing is the foundation of the language of music.
Listening is an essential skill.
Music theory provides insight in to the background of musicians & composers.
Essential Questions:
To what extent do harmony and rhythm affect Western music?
How is Western music different from music around the world?
How much does rhythm affect music?
How much does harmony affect music?
What is four-part/SATB writing?
How does four-part writing affect studying music theory?
Where is four-part writing used?
How does performing in an ensemble better us as musical listeners?
How does listening to compositions give a better understanding of music theory?
What common musical devices are common in society? (Examples: intervals, car horns, jingles, trademarks, commercials)
Why is hearing a sense that should be protected?
How often do musicians lose their hearing?
Why should hearing be protected?
What steps can be taken to protect hearing?
Where do popular musicians and composers get their musical experience?
How much of musician’s and composers’ experience is taught and how much is learned?
Unit Goals:
At the conclusion of Music Theory II, participants will be able to:
1. Students will be able to analyze compositions using the various forms.
At the conclusion of Music Theory III, participants will be able to:
1. Demonstrate knowledge of secondary dominant chords and their inversions in a textural setting.
2. Students will recognize, construct, and utilize secondary dominants in their proper formats.
3. Demonstrate knowledge of Two-Part Binary Form in a composition.
At the conclusion of Music Theory IV, participants will be able to:
1. Demonstrate knowledge of Ternary (A B A) form by using it in a composition.
2. Students will be able to analyze large works and identify specific forms.
3. Demonstrate knowledge of advanced musical structure and design such as binary, ternary, rondo and sonate-allegro forms.
4. Students will be able to differentiate, analyze, and create compositions with different textures.
(Honors Prerequisite - Participation in a school performing ensemble)
At the conclusion of Honors Music Theory, participants will be able to:
1. Analyze complex/major works for form and advanced harmonies such as secondary dominants.
2. Compose/arrange works which demonstrate advanced musical structure and design. (Examples: binary, ternary, rondo and sonata-allegro forms)
Recommended Duration: 4 - 8 weeks ongoing
Guiding/Topical Questions Content/Themes/Skills Resources and Materials Suggested Strategies Suggested Assessments
Why is ear training important?
What is musical texture?
What do different textures sound
like?
How is music “put together?”
How are poetry and music congruent
in terms of form?
Play various selections of
music from various genres
Define monophonic,
polyphonic, duo phonic,
homophonic and antiphonal
Define forms such as Two-
Part (Binary) Form, Three-
Part (Ternary, ABA), Rondo,
Sonata Form(s)
Recommend various live
performances for students to
attend, amateur as well as
professional
Research various genres and
identify contrasting
characteristics
Identify different
characteristics within each
selection played
Kostka, Stefan & Dorothy
Payne. Tonal Harmony with an
Introduction to 20th Century
Music, 6th ed. Boston: McGraw-
Hill, 2009.
Audio system with volume loud
enough for the entire class to
hear
Recordings or streaming video
of appropriate examples.
Musical score for same
Interactive whiteboard or
projector with screen
Textbook
Describe the different
techniques used in the
listening selections
Compare and contrast
various textures.
Discuss musical themes. Use
examples of modern music
and classical or perhaps
famous film scores.
Provide musical examples of
forms such as the
Symphony, the Concerto,
the Concerto Grosso, Rondo,
Fugue, Toccata, Da Capo
Aria, etc.
Allow students to
demonstrate their own
selections.
Characteristic rubric
Analyses of scores
Listening quizzes
Research projects
Characteristic quizzes
AR.9-12.1.1.12.B.2 Synthesize knowledge of the elements of music in the deconstruction and performance of complex musical scores from diverse cultural contexts.
AR.9-12.1.3.12.1 Technical accuracy, musicality, and stylistic considerations vary according to genre, culture, and historical era. AR.9-12.1.3.12.2 The ability to read and interpret music impacts musical fluency.
Differentiation
We must “tap into” the multi-stimulus, kinesthetic nature of music theory. Most differentiation needs can be met by varying
assignments and instruction to improve skills in four core music theory areas: musical composition, analytical skills, performance skills
and aural skills. Each student will have strengths and weaknesses based in each of these core skills. Activities should represent
differentiation for the needs of the students based on pre-assessment.
Teachers can pre-assess students’ knowledge in various genres of music.
Students, alone or in groups, will find examples in published media that demonstrate various musical forms and complex harmonic
shifts.
Other differentiation strategies include:
use of texts with key portions highlighted
use of small group instruction
provide a list of key terms, vocabulary, events, etc.
provide supplemental materials of interest to students
allow for wait time for student reflection
make task directions more detailed and specific for some learners and more open for others
use of variety of criteria to measure success
allow multiple options to express learning
balance competitive, collegial and independent work arrangements
use rubrics—give to students prior to assignment
provide multiple media and formats
provide opportunities to practice with support
utilize pre-tests to assess where individual students need to begin study of a given topic
break assignments into smaller, more manageable parts that include structured directions for each part
use pre-assigned groups so students know by cue where to move in the room and who to sit with
provide practical, analytical, and creative options for student work
use ‘expert groups’ to help teach key ideas
Technology
Using a projector and screen in conjunction with a video camera or document projector will allow the entire class to comfortably view the hands of a keyboardist or
guitarists so that visual patterns can be associated with various harmonies and rhythms. Use notation software or websites print music. Use for homework submission, composition, etc. Use electronic instruments--keyboard, guitars, amplifiers (often student provided), sound machines, tuners, mixers, even microphones and recording equipment--constitutes real-world use of music and music technology.
Use software like Audacity, Sibelius, Garage Band, Finale, etc. as tools to edit and manipulate music and sound files.
College and Workplace Readiness
It is without question that this course will continue to establish a solid foundation for future Music Professionals –performers, composers, educators, therapists. The study of intervals, tonality, modes, etc. would serve well in many kinds of musical fields, of course, but might also serve many other types of artistic endeavors. Lessons plans could be made in incorporate any number of subsets or skills into the classroom. Music theory or Harmonic/Rhythmic language can be used in and to describe and appreciate other arts.
In a multi-year music theory program, students who are enrolling for second and third years could serve as student leader/mentors for their younger, less experienced counterparts in Music Theory I.
Project-based learning, with many of our activities based in students working in tight-knit groups towards a common goal of a musical composition and performance, is critical in the college environment and in the business world.
Students will gain an improved detail in listening skills as they practice error detection.
Students will learn about and practice strategies for protecting hearing so there is little long term hearing loss.
Students will practice and refine ear-training for music professionals.
Students will use reasoning skills to evaluate evidence and text; problem solving skills and creativity when revising music; note taking skills during class lectures; reading skills such as pattern recognition and reading for comprehension and analysis.
Through class activities students will be exposed to multicultural experiences and will learn to see others’ perspectives.
Digital Literacy skills can be enhanced through the use of specialized programs and software.
Student communication skills will be refined through the collaboration with different populations and the oral presentations for information and persuasion.
Music Theory II-IV and Honors Level(s) - Unit 05 - Composers,
Composing and Performance
Unit Plan
Enduring Understandings: It is the combination of harmony and rhythm that forms the foundation of music of the Western Hemisphere. (Four/SATB) Part-writing is the foundation of the language of music. Major and minor scales and combinations of their intervals are the vocabulary of harmonic language. Having a basic understanding of the keyboard (clavier) is essential to learning music theory. Listening is an essential skill. Music theory is expressed by both aural and tactile means. Music theory provides insight in to the background of musicians & composers. Notation software and other technologies have a role to play in modern music notation. A musician knowing his/her role is essential to having a successful ensemble.
Essential Questions: To what extent do harmony and rhythm affect Western music? How is Western music different from music around the world? How much does rhythm affect music? How much does harmony affect music?
What is four-part/SATB writing? How does four-part writing affect studying music theory? Where is four-part writing used?
What are the major and minor scales? How many major and minor scales are there? Where are major and minor scales utilized? To what extent are major and minor scales utilized in music? What are the different combinations of intervals that make chords and other desired sounds?
What patterns in the keyboard can be identified? Does performing on the keyboard help with learning music theory?
How does performing in an ensemble better us as musical listeners? How does listening to compositions give a better understanding of music theory? What common musical devices are common in society? (Examples: intervals, car horns, jingles, trademarks and commercials) Why is hearing a sense that should be protected? How often do musicians lose their hearing? Why should hearing be protected? What steps can be taken to protect hearing?
Why is penmanship important when writing music? What are some of the methods used to transcribe music? How is ear training a big part of music theory? How does singing improve ear training? Why is ear training essential in music theory? Why do listening and performing become essential components to developing musicianship?
Where do popular musicians and composers get their musical experience? How much of musician’s and composers’ experience is taught and how much is learned? How does having an understanding of notation software impact knowledge of music theory? How does notation software effect writing and creating in music theory? What brands of software compete to be the brand of choice?
What background does a conductor need to have in order to be successful? What techniques are needed in order to be a successful conductor? How does music theory correlate with conducting? How does a member of a musical group communicate without a conductor? Define the roles performed by various instruments.
Unit Goals:
At the conclusion of Music Theory II, participants will be able to:
1. Demonstrate knowledge of subdivision of duple, triple and quadruple meters through performance and composition.
At the conclusion of Music Theory III, participants will be able to:
1. Compose 4-part passages for brass, woodwind, strings and mallet ensemble - make necessary arrangements to have it performed in class.
2. Compose and perform a 4-part work that demonstrates elementary modulation (V/V, pivot chords) - make necessary arrangements to have it performed in class.
At the conclusion of Music Theory IV, participants will be able to:
1. Compose harmonic and melodic passages in all modes in all key signatures.
2. Demonstrate basic knowledge of whole tone, quartal, quintal and twelve tone harmonies.
3. Compose and arrange music for voices, wind band, orchestra, jazz band, rock band, and other small ensembles.
4. Compose and arrange music with advanced modulations to unrelated keys.
5. Demonstrate knowledge of major, minor, augmented and diminished 9th, 11th, and 13th chords, root position, both written and aural.
(Honors Prerequisite -Participation in a school performing ensemble)
At the conclusion of Honors Music Theory, participants will be able to:
1. Compose/arrange advanced, genre-specific, compositions for school ensembles.
2. Demonstrate knowledge of composers' styles and historical contexts.
3. Conduct/lead a musical ensemble.
Recommended Duration: 2-4 weeks Guiding/Topical Questions
Content/Themes/Skills Resources and Materials Suggested Strategies Suggested Assessments
What is tonal?
What is the common practice period?
How has the definition of tonality been challenged?
How many current forms of music can be identified as having
been influenced by the “classics”?
To what extent do composers such as Bach, Mozart,
Beethoven, and Brahms effect current forms of music?
What is atonal music?
What modern composers continue to compose in the style of
the common practice period?
How is mathematics involved in some forms of contemporary
music?
What sorts of choices are there for notation software
programs?
What are the characteristics of each program?
What students have experience using software?
When a piece of music is performed, how much of it is
notation and how much is interpretation?
How do rhythm and harmony affect music and composing?
What leads a composer to choose certain meters?
How are chords used in their respective keys?
What is the role of the musical leader/conductor in an
ensemble?
How does listening to ensemble works develop musical
leadership skills in order to conduct/lead?
Research basic understanding of
how to use notation software
Construct scales
Research & analyze famous works
Construct original composition(s)
Notation of chords
Define various meters and their uses
Harmonic progression
Proper voice leading
Observe various conductors and
their styles through media and live
Learn different conducting patterns
in various meters
Read scores mimicking a live
ensemble
Conduct a live ensemble
Discuss communication between the
musical leader/conductor and the
ensemble, also musical
communication which goes on
within the ensemble
Demonstrate various patterns
Computer
Internet access and
appropriate websites
Appropriate music notation
software
Textbook & Workbook
Kostka, Stefan & Dorothy
Payne. Tonal Harmony with
an Introduction to 20th
Century Music, 6th ed.
Boston: McGraw-Hill, 2009
CD’s, iPod & docking station
Manuscript book
Video/DVD’s
Scores
Worksheets
Lecture
Complete text book and
workbook exercises.
Play selections using material
using listening rubric.
Analysis of scores
Demonstrate rhythm, harmony,
and contour.
Have students perform on an
instrument (even if for the first
time) to their ability. Use mallet
instruments and give the
student one stick and assign
responsibility for a single, simple
line, while other, more
experienced students can
contribute at their appropriate
levels.
Determine the instrumental
experience of each student.
Form groups based on
instrumental logistics. Assign
various projects that
demonstrate the desired
objective.
Arrange previously composed
music for an ensemble of varied
instruments.
The activities of this unit represent a very
effective way to assess many of the skills taught
in Units I-IV.
Projects assessments
Performance assessments
Lab(s)
Research projects
Manuscript book assessment
Responses to discussion questions and topics
AR.9-12.1.1.12.1 Understanding nuanced stylistic differences among various genres of music is a component of musical fluency. Meter, rhythm, tonality, and harmonics are determining factors in the categorization of musical genres.
AR.9-12.1.1.12.B.1 Examine how aspects of meter, rhythm, tonality, intervals, chords, and harmonic progressions are organized and manipulated to establish unity and variety in genres of musical compositions.
AR.9-12.1.1.12.2 Musical proficiency is characterized by the ability to sight-read advanced notation. Musical fluency is also characterized by the ability to classify and replicate the stylistic differences in music of varying traditions.
AR.9-12.1.1.12.B.2 Synthesize knowledge of the elements of music in the deconstruction and performance of complex musical scores from diverse cultural contexts. AR.9-12.1.3.12.1 Technical accuracy, musicality, and stylistic considerations vary according to genre, culture, and historical era. AR.9-12.1.3.12.B.4 Arrange simple pieces for voice or instrument using a variety of traditional and nontraditional sound sources or electronic media, and/or analyze prepared scores using music
composition software.
Differentiation
Composition and performance represent the very best of differentiation in music theory. In these processes, students can contribute in so many diverse ways. Excellent classroom management and varying
expectations are a must. In pre-assessment, establish which students possess instrumental skills. (Any student without will be able to contribute to performance by striking single notes on a mallet instrument.)
Within a school year of instruction there is opportunity for both teacher-generated groups and ultimately, student-generated groups. It is important to establish clear guidelines and expectations for group work and
group activities. Logistics also plays a role in group creation. Depending on the goals of the assignment, the groups may have to be as small as a duet or as large as the entire class. Groups of instruments in some
close variation of SATB voicing will also be helpful for many assignments. Within the group context the student may serve as a group leader, principal or minor composer, principal or minor performer, score/part
maker, teacher liaison, all the while, the students must work together to perform their group composition assignment within a certain deadline. It is in this context also that students demonstrate their readiness.
Teachers must observe here if the students are demonstrating knowledge, comprehension, application, analysis, synthesis, and/or evaluation.
For groups or individuals who complete projects early, have Anchoring Activities like sheet music to analyze or a listening station where different examples of harmonic and rhythmic concepts could be
demonstrated.
Additional strategies include:
use of small group instruction
model skills and behaviors
use of variety of criteria to measure success
use of rubrics—give to students prior to assignment
show examples
set benchmarks—break larger tasks into smaller tasks
provide multiple media and formats
provide opportunities to practice with support
utilize pre-tests to assess where individual students need to begin study of a given topic
break assignments into smaller, more manageable parts that include structured directions for each part
establish stations for inquiry-based independent learning activities
post several room arrangement charts to have students rearrange the room quickly
use pre-assigned groups so students know by cue where to move in the room and who to sit with
plan groups for like and unlike readiness, interest, and learning profile groups
make connections with key ideas/skills and students’ cultures and interests
provide practical, analytical, and creative options for student work
use ‘expert groups’ to help teach key ideas
have students perform any classroom functions that are not imperative for the teacher to perform
Technology
Using a projector and screen in conjunction with a video camera or document projector will allow the entire class to comfortably view the hands of a keyboardist or guitarists so that visual patterns can be associated with various harmonies and rhythms. Use notation software or websites print music. Use for homework submission, composition, etc. Use electronic instruments--keyboard, guitars, amplifiers (often student provided), sound machines, tuners, mixers, even microphones and recording equipment--constitutes real-world use of music and music technology. Use software like Audacity, Sibelius, Garage Band, Finale, etc. as tools to edit and manipulate music and sound files.
College and Workplace Readiness
Music theory or Harmonic/Rhythmic language can be used in and to describe other arts.
In a multi-year music theory program, students who are enrolling for second and third years could serve as student leader/mentors for their younger, less experienced counterparts in Music Theory I.
Project-based learning, with many of our activities based in students working in tight-knit groups towards a common goal of a musical composition and performance, is critical in the college environment and in the business world.
Students will gain an improved detail in listening skills as they practice error detection.
Students will learn about and practice strategies for protecting hearing so there is little long term hearing loss.
Students will practice and refine ear-training for music professionals. Students will use reasoning skills to evaluate evidence and text; problem solving skills and creativity when revising music; note taking skills during class lectures; reading skills such as pattern recognition and reading for comprehension and analysis; time management skills will be refined as students work independently and within groups to accomplish a common goal; creative writing and technical writing skills will be practiced as students research, compose, reflect and revise their writing, and good decision making skills will be required as students participate in group ensembles and performances.
Through class activities students will be exposed to multicultural experiences and will learn to see others’ perspectives.
Digital Literacy skills can be enhanced through the use of specialized programs and software.
Student communication skills will be refined through the collaboration with different populations and the oral presentations for information and persuasion.
Character education emphasizing persistence, initiative, optimism, resiliency, flexibility, independence will be reinforced.
Career planning is a continuous component throughout the course.