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“Tres Cantos Nativos” Unit Curriculum Plan
LAMP
Ball State University
Fishers High School
Lindsey Stamper
Spring 2018
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Table of Contents
3 Purpose of project
4 Objectives
5 Vocabulary
6 Timeline
7-27 Lesson Plans
28-32 Student Assessment Tools
33 Technology
34 Differentiation and Accommodation
35-40 Pre and Post Tests
41-43 Pre and Post Test Graphs
44-49 Narrative Statements
50-51 Project Rubric
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Purpose of the Project
The purpose of this Learning Assessment Module Project is to teach students about the culture of
the Kraó tribe as it pertains to the music of “Tres Cantos Nativos”. This project functions as a
unit curriculum plan model for the choral classroom. It also addresses aspects of comprehensive
musicianship through performance in a choral setting. The standards addressed in this unit
include the following:
Indiana Music Standards (1994):
5. Reading and notating music.
e. sightread, accurately and expressively, music with a difficulty level of 4, on a
scale of 1 to 6.
8. Understanding relationships between music, the other arts, and disciplines outside the
arts.
c. explain ways in which the principles and subject matter of various disciplines
outside the arts are interrelated with those of music.
9. Understanding music in relation to history and culture.
d. identify and explain the stylistic features of a given musical work that serve to
define its aesthetic tradition and its historical or cultural context.
English Standard:
9. Students develop an understanding of and respect for diversity in language use,
patterns, and dialects across cultures, ethnic groups, geographic regions, and social roles.
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Objectives
At the conclusion of this unit, students will be able to…
1. Cognitive Objective: Describe the music of the Kraó tribe of Brazil and explain the
stylistic features of "Tres Cantos Nativos Dos Indios Kraó" that serve to delineate its
cultural history (IS 9d).
• I will assess the outcomes of this objective through the use of a written test of
their knowledge of the Kraó tribe and their musical style.
2. Psychomotor Objective: Accurately read and perform rhythms from "Tres Cantos
Nativos Dos Indios Kraó", including metric borrowing and level 4 sixteenth note patterns
(IS 5e).
• I will assess the outcomes of this objective by administering individual rhythmic
reading tests.
3. Affective Objective: Compare and contrast language, culture, and music with respect for
the diversity represented in "Tres Cantos Nativos Dos Indios Kraó" (IS 8c; English
Standard 9).
• I will assess the outcomes of this objective through the use of classroom
discussion and individual responses to questions concerning respect for diversity
and languages of other cultures.
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Vocabulary
• Congas – a percussion instrument from Latin America played by tapping the drumhead
with fingers and hands
• Drone – a long, sustained bass note
• Endangered Language – a language that has potential to die out because of declining
numbers of speakers
• Improvisation – the spontaneous composition of music
• Metric Borrowing – using the division of the beat from simple meter in a compound
piece, or vice versa; e.g. a triplet in simple meter
• Ostinato – a short rhythmic/tonal/melodic pattern that is repeated throughout a section or
piece
• Phoneme – the smallest meaningful unit of sound in a language
• Rattles – a percussion instrument consisting of a shell with beads inside that make noise
when shaken
• Syncopation – an accent off the beat
• Triplet – a rhythmic pattern of three equal eighth notes in one beat of a simple meter,
notated with a three above or below the beam
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Timeline
Week 1: 1/16-1/19
• Pretest (1/17)
• Primeiro Canto with emphasis on rhythms of Soprano/Alto lines (1/19)
Week 2: 1/22-1/26
• Primeiro Canto with emphasis on language and rhythmic accuracy (1/23)
• Listening Lesson with other music from the Kraó tribe (1/25)
Week 3: 1/29-2/2
• Segundo Canto with emphasis on rhythms of Tenor/Bass lines (1/30)
• Segundo Canto with emphasis on the use of repeating figures in folk music (2/1)
Week 4: 2/5-2/9
• Musical style of the Kraó tribe (2/6)
• Terceiro Canto with emphasis on metric borrowing (2/9)
Week 5: 2/12-2/163
• Terceiro Canto with emphasis on ties (2/13)
• Polish and continue work on piece, add animal sounds and percussion (2/15)
Week 6: 2/19-2/23
• Review and discussion of diversity of the Kraó language and respect for other cultures
(2/20)
• Posttest (2/21)
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Lesson Plans
Lesson One
Basic Info
Lindsey Stamper
MT: Mr. Johnson
19 January 2018
Cantabile
Behavioral Objectives
At the conclusion of this lesson, swbat…
• Sing with supported breath, resonant tone, excellent intonation and excellent diction through the use of VT exercises (IS 1).
• Accurately sightread an exercise including TKDM, TDM, and KDM on TKDM syllables with a steady tempo (IS 5).
• Sing “Primeiro Canto” with accurate pitches and rhythms on TKDM syllables (IS 1).
• Define the term “drone” using musical language (IS 6).
Standards
1. Singing, alone and with others, a varied repertoire of music.
b. sing music written in four parts, with and without accompaniment
c. demonstrate well-developed ensemble skills
5. Reading and notating music.
b. sightread, accurately and expressively, music with a difficulty level of 3, on a scale of
1-6
6. Listening to, analyzing, and describing music.
b. demonstrate extensive knowledge of the technical vocabulary of music
Prereq Knowledge
Level 3 Simple Rhythms
Key signatures
Pitch matching
Materials
Whiteboard/marker
TCN Copies
Piano
Rhythm Cards
Set-up
Write exercise on the board
Start recording video
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Procedures
10:32a VT
• Set: Respiration – breathe in for 4, pulse for 4, let all the air out of 4/8/12/16/20 counts
• Phonation: “Don’t you love to sing?” on SFMDMM from EM up to AM
• Resonance: “Hallelujah” on SSD’SMD from CM up to GM o Clean entrance on anacrusis
• Diction: “Unique New York” on SFMRD from DM down to AM 10:37a CT
• Intonation: D DRD exercise, omitting a chosen solfege pitch and inserting claps 10:40a ML
• Echo and echo translate Level 4 Simple patterns including TKDM, KDM, TDM, and TD
• Read rhythm cards for the same patterns o Add rest card to demonstrate placement of syllables visually
• Read patterns in context from the whiteboard (TKDM KDM TDM TD T KDM TDM TD TDM T)
10:47a Announcements
• Ask if anyone did not receive a copy of “Tres Cantos Nativos”
• The following people have not submitted a recording for their rhythmic pretest OR their recording did not have sound: Emilia P, Tayllor M, Genevieve D, Angel M, Christian M,
Jill B, Ainsley D, John W, Ryan W, Noel P, Allie G, Nathan M, Braeden H, and Maddie
D.
• The following people have not completed the written knowledge pretest on google forms: Emilia P, Tayllor M, Genevieve D, and Mackenzie S.
10:48a Rehearsal – “Tres Cantos Nativos”
• All echo the rhythm of the S line, one measure at a time
• Read rhythm together in time with Miss S for support
• QUESTION: Compare the alto line starting in m. 9 to the soprano line starting in m. 10. What is similar or different about this? Where do these parts become dissimilar?
• All echo measure long chunks, singing TKDM on pitches o Compare to VT exercise: “Don’t you love to sing?” o Isolate Altos/Sopranos in mm. 14-15
11:03a
• QUESTION: What key are we in? (EM) What solfege pitches do the basses and tenors sing? (D S D’)
• TB sing mm. 1-21 on TKDM (Ta) o Remind them to audiate the beat numbers to keep time
• Introduce them to the term DRONE through questioning – sustained bass note over several measures
• SA sing first and second ending on Ta
• All sing from m. 1 to the first ending
• QUESTION: What do the numbers 1 and 2 mean on page 3? (First and second ending)
• Perform entire song with repeat 11:18a
• Closure: Review the term drone. Sing “Primeiro Canto” once more.
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Assessment
The instructor will utilize questioning, aural error detection, and sightreading exercises to
determine whether or not students understand the new material.
Lesson Two
Basic Info
Lindsey Stamper
MT: Mr. Johnson
23 January 2018
Cantabile
Behavioral Objectives
At the conclusion of this lesson, swbat…
• Read level 4 simple rhythmic patterns accurately and expressively on TKDM syllables (IS 5).
• Sing with excellent diction, resonance, expression, phonation, and breath support through the use of vocal technique exercises and literature (IS 1).
• Define the term phoneme and describe its relation to “Tres Cantos Nativos” (IS 6).
Standards
1. Singing, alone and with others, a varied repertoire of music.
c. demonstrate well-developed ensemble skills.
5. Reading and notating music.
e. sightread, accurately and expressively, music with a difficulty level of 4, on a scale of
1 to 6.
6. Listening to, analyzing, and describing music.
b. demonstrate extensive knowledge of the technical vocabulary of music.
Prereq Knowledge
Primeiro Canto of “TCN”
Level 4 TKDM Simple
D DRD Exercise
Materials
Whiteboard/marker
TCN
Piano
Set-up
Write rhythms on the board
Write schedule on the board
Procedures
10:32a VT
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• Set: Greetings to Cantabile and reminders to take headphones out and put cell phones away. Discussion of “word vomit”; set a goal to reduce extraneous talking with them for
this rehearsal.
• Respiration: Breathe in for 4, pulse on “ss” for 4, out for 4/8/12/16/20 on “ss”
• Phonation: Up and over vocal siren
• Resonance: “I love to sing” on SDSMD from BbM up to FM o Kinesthetic hand motion to assist with psychomotor skills o Lots of space, flat tongue, raised soft palate
• Diction: echo phonemes from the first song of “Tres Cantos” – [ham de ke ko ri ra re he za ra mu tum]
10:37a CT
• Intonation: D DRD DRMRD exercise but MUCH SLOWER o Insert claps on M and then L o Make sure they are audiating and not singing the solfege that we clap o Pay attention to intonation of solfege after a skip
10:40a ML
• Echo and echo translate Level 4 rhythms on TKDM syllables, including rhythms present in “TCN”
• Using the whiteboard, explain how the syllables TKDM line up in every beat. Compare and contrast these rhythms (written in vertical alignment to see the relationship): TKDM,
KDM, KD, T—M, TDM, TKD
• Read rhythmic exercise on the board: -KDM TDM TKD T—M -KD- TKDM -KDM -KD 10:47a Literature Rehearsal – “Tres Cantos”
• Review what we learned on Friday on TKDM syllables. Speaking first. Then, add pitches.
• Introduce Kraó language to the students. o Potentially endangered, only 1,900 speak it. o Composer is Marcos Leite o Treated the text as a group of phonemes because the meaning was unknown o Define phonemes: smallest meaningful unit of sound in a language
• Echo text of Primeiro Canto: RAM Dekekeke korirare he Jaramutum korirare o Pay special attention to their vowel production o Note that the timbre of their vowels is incredibly bright and forward when
compared to classic choral singing
o Speak text in rhythm 10:57a
• Sing with text.
• Clean and polish rhythms, pitches, and text.
• Sing with accurate dynamics. o Decrescendo at the ends of the RAMs for TB o S like an echo of A o Crescendo at the first ending o Get softer at the second ending
• Closure: Review the definition of phoneme and the endangered position of Kraó language.
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Assessment
Throughout the lesson, the instructor will utilize questioning and student responses to assess
student learning. Based on the students’ response to reading rhythms, the instructor will
determine whether to continue reviewing the same rhythms or move on to new material for the
next lesson.
Lesson Three
Basic Info
Lindsey Stamper
MT: Mr. Johnson
25 January 2018
Cantabile
Behavioral Objectives
At the conclusion of this lesson, swbat…
• Accurately sightread exercise level 4G.4 simple (sound connections) on TKDM syllables (IS 5).
• Sing with resonant tone, tall vowels, clear diction, and excellent expression (IS 1).
• Describe and evaluate the following musical elements while listening to examples of music from the Kraó tribe: timbre, repetition, improvisation, tempo, dynamics,
percussion, accents, articulation, intonation, contour, drone, and texture (IS 6).
• Demonstrate their progress in the affective domain of learning, as well as respect for diversity and other cultures, through the use of questions regarding the culture and
language of the Kraó people (English Standard 9).
Standards
1. Singing, alone and with others, a varied repertoire of music.
c. demonstrate well-developed ensemble skills.
5. Reading and notating music.
e. sightread, accurately and expressively, music with a difficulty level of 4, on a scale of
1 to 6.
6. Listening to, analyzing, and describing music.
a. analyze aural examples of a varied repertoire of music, representing diverse genres and
cultures, by describing the uses of elements of music and expressive devices.
b. demonstrate extensive knowledge of the technical vocabulary of music.
English Standard:
9. Students develop an understanding of and respect for diversity in language use, patterns, and
dialects across cultures, ethnic groups, geographic regions, and social roles.
Prereq Knowledge
Drone, phoneme, accents, articulation, dynamics, repetition, tone, vowels – terms
“Tres Cantos Nativos: Primeiro Canto”
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Materials
32 Copies of worksheet (Attached separately in LAMP folder in Box)
Projector/Screen
YouTube
Audio
Pencils (Students provide)
OneNote
Piano
Set-up
Connect your laptop to the projector screen and check audio
Pass out copies of worksheet
Print LP and record lesson
Procedures
10:32a ML
• Set: echo and echo translate level 4 simple rhythm patterns, including TKDM TKD TDM T—M -KDM -KD-
• Read patterns in context: read the pink exercise in OneNote from the projector. o If time, read the first blue exercise as well.
10:37a VT
• Respiration: hands on abdomen, floating ribs, small of back, and shoulders. Discuss which areas should move and which should not.
• Phonation: vocal siren by echoing, do the type with the “yees” at the beginning that move in circular motion upward
• Diction: “Don’t you love to sing?” from BbM up to EM o Expand at the beginning to imitate the literature “d-d-d-don’t you love to sing?” o Question: What TKDM syllables would the “d-d-d-“ of this exercise be? Use echo
translation. (-KDM)
• Resonance: “nai nai nai nai nai” on SFMRD from EM down to GM o Demonstrate bright, forward vowels and have them perform it that way. o Contrast with dark vowels. o Compare and contrast tall vs. spread vowels.
• Expression: “Li li li lo lo lo luuuu” on DDDRD RRRMR DRMRDS’D from DM up to GM
o Perform staccato, tenuto, accented, and marcato. o Use conducting gesture to show the difference. See if they could read your hand
gestures.
10:42a CT
• Intonation, Part-singing, Balance, Blend: Solfege scale building exercise in major. D DRD DRMRD and so on.
o Perform in canon: BTAS, STAB, ATBS 10:45a Listening Lesson
• Make sure worksheet is passed out and students have their pencils ready.
• Before each video, select students to read the questions aloud to get them thinking about what they will have to answer while watching the video. Accesses auditory learners.
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• Play video one (the whole length) and mention important musical elements as they listen and fill out the questions for video one on the worksheet.
• Play video two (12:07-15:00) and mention important musical elements as they listen and fill out the questions for video two on the worksheet.
• Play the following excerpts of video three and mention important musical and cultural elements as they listen and fill out the questions for video three on the worksheet:
beginning part, 4:59-5:51, 6:48-7:41, 8:24-end.
• Give them time to finish writing questions about the videos and reflect on their understanding of cultural relations in the last section.
11:05a END/Transition to Mr. J
• Closure: Review what part of Brazil the Kraó tribe is from (Amazon Rainforest) and who the composer of the piece is (Marcos Leite).
Assessment
The instructor has attached a cognitive and affective worksheet that she will be using in
collaboration with several videos to listen and analyze. The instructor will also utilize
questioning and sightreading examples as methods of assessment in the first fifteen minutes.
Lesson Four
Basic Info
Lindsey Stamper
MT: Mr. Johnson
30 January 2018
Cantabile
Behavioral Objectives
At the conclusion of this lesson, swbat…
• Accurately sightread Level 4 simple rhythms on TKDM, including sixteenth note patterns with rests (IS 5).
• Sing the “Segundo Canto” of “Tres Cantos Nativos” with accurate pitches and rhythms, precise repetition, and balanced parts (IS 1).
Standards
1. Singing, alone and with others, a varied repertoire of music.
c. Demonstrate well-developed ensemble skills.
5. Reading and notating music.
e. Sightread, accurately and expressively, music with a difficulty level of 4, on a scale of
1-6
Prereq Knowledge
Level 4 TKDM Simple
Primeiro Canto
Listening Lesson on Thursday
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Materials
Whiteboard/marker
Piano
Sheet music
Set-up
Write rhythm exercise on the board
Procedures
10:32a VT
• Set: Grab their attention and focus it through a breathing exercise. Breathe in for 4, pulse for 4 on “ss”, exhale on “ss” for 8/12/16/20/24 counts. Let all the air out in this time.
• Phonation: “Brr rum pum pum pum pum” on DSFMRD from FM down to AM
• Resonance: “Sho weh oh weh” on D’SMD from CM up to GM
• Diction: [bi E bE bi i bi bi a:I bIka ba:I bi o bo…] from DM up to AbM o B, P, T, S, K, V
• Expression: “I will go with you, will you go with me to the Dairy Queen?” on skip step ladder from CM up to EbM
o Crescendo/decrescendo where instructed 10:37a CT
• Part-Singing and Blend: D DRD DRMRD… in DM o ASTB, TABS, BATS
10:40a ML
• Echo and echo translate level 4 simple patterns on TKDM syllables, including -KDM, T—M, -KD-, TDM, TKDM, and TD
• Read the following exercise written on the board: TDM TKDM TDM (Rest) T—M -KDM T—M -KD- TDM TKDM -KDM T—M -KD-
10:45a Literature Rehearsal: “Tres Cantos Nativos”
• Read the rhythm of the Tenor/Bass line on TKDM with Miss S for support
• Read the rhythm of the Alto/Soprano line on TKDM with Miss S for support
• Read the rhythms of the song in the context of the piece with precise entrances as written, m. 27-49.
• Add pitches: T echo on pitched TKDM o B echo on pitched TKDM o SA echo on pitched TKDM o All sing together mm. 27-49 on TKDM syllables
10:55a
• Make connections from the listening lesson: How does this section use repetition? How did the Kraó tribe’s music demonstrate repetition in the videos from last week?
• Concept introduction: Ostinato (a short rhythmic/tonal/melodic pattern that is repeated throughout a piece or a section)
o Ask students to list examples of ostinatos in the second song
• Perform “Segundo Canto” from mm. 27-49
• Closure: Review the term ostinato. 11:05a END
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Assessment
Throughout the lesson, the instructor will use questioning, listening, and aural error detection to
assess students’ learning of the material.
Lesson Five
Basic Info
Lindsey Stamper
MT: Mr. Johnson
1 February 2018
Cantabile
Behavioral Objectives
At the conclusion of this lesson, swbat…
• Sing vocal and choral technique exercises with excellent phonation, respiration, diction, expression, and intonation and apply these skills to the literature (IS 1).
• Read the green and orange examples of rhythm reading in OneNote with accuracy and precision (IS 5).
• Sing “Segundo Canto” of “Tres Cantos Nativos” with accurate pitches and rhythms, expression, and tempo, including all musical elements written on the page (IS 1).
Standards
1. Singing, alone and with others, a varied repertoire of music.
a. sing with expression and technical accuracy a large and varied repertoire of vocal
literature with a difficulty level of 4, on a scale of 1 to 6, including some songs performed
from memory
b. sing music written in four parts, with and without accompaniment
c. demonstrate well-developed ensemble skills
5. Reading and notating music.
b. sightread, accurately and expressively, music with a difficulty level of 3, on a scale of
1 to 6.
Prereq Knowledge
Tres Cantos Primeiro and Segundo Cantos
Li lo lu gesture reading exercise
Cascade/solfege amen
Half step
Floating ribs, drone, phoneme, ostinato
Materials
Projector/Screen/Laptop
Piano
Whiteboard/marker
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Set-up
Plug in laptop and open OneNote
Procedures
10:32a Set
• Students will follow the teacher’s moves to create the sound effects of a rainstorm o Rubbing hands together, snapping, patting legs, jumping o Crescendo to climax of storm and decrescendo in reverse order o Give verbal instructions while they create the storm o Explain your goal with the exercise
10:35a VT
• Respiration: Lip trill pattern from CM up to GM o Switch to Ta ta ta ta ta ta na… ha syllables o Have students perform it all on one breath o Students put hands on their floating ribs to feel them expand and contract
• Phonation: [po tu la bE da mE ni] on a DM scale, changing the emphasized syllable every time the pitch changes
o Write these PHONEMES on the board so that they can follow along o Go slower than you want to
• Diction: echo phonemes from the Segundo canto (patcho iuenere djo sire patcho parrare adjosire iuenere kaporra djo sire)
• Expression: Li li li lo lo lo lu exercise from GM down to AM o Read gestured articulations to review (staccato, tenuto, marcato) o Now read tempo from the conducting gesture
• Intonation: Cascade/Solfege amen, move up and down by half steps and adjust tuning according to aural error detection
10:39a ML
• Echo and echo translate Level 4 and 5 simple rhythm patterns, including triplets and sixteenth note divisions
• Read green and orange examples in OneNote 10:44a Tres Cantos Nativos
• Review what we learned Tuesday o Lead students to understand which rhythms are syncopated o “Syncopation is an accent off the beat” ditty
• Learn text by rote o Speak in rhythm o Add pitches
• M. 26 – ad libitum o Define “ad libitum”, connect to “liberty” o Make sure students understand what the x notehead means o Pat eighth notes on leg and all speak text
• Perform up to tempo with all parts o Include clapping and m. 26 o Guys: claps are on “pa” of patcho
10:54a
• Review ostinato and repetition and how it applies to the literature
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o Higher order question: Why would a composer use ostinatos and repetition? o HOQ: What is advantageous about repetition for folk music? Why would
repeating figures be a good technique to use in these genres?
• Add expressive elements: dynamics, atmospheric effects, rainstorm
• M. 47-48 try with rainforest sounds with TB ostinato
• Sponge: If time, go back to “primeiro canto” and sing at tempo with repeats and transition to “Segundo canto”.
• Closure: Review phoneme, ad libitum, syncopation, ostinato, drone, and details of the Kraó tribe.
11:04a END/Transition to Mr. J
Assessment
Throughout the lesson, the instructor will utilize several rounds of questions to review musical
terminology that we have learned in class. She will also attempt to include higher order questions
to challenge their thought process about multiculturalism and music composition.
Lesson Six
Basic Info
Lindsey Stamper
MT: Mr. Johnson
6 February 2018
Cantabile
Behavioral Objectives
At the conclusion of this lesson, swbat…
• Accurately sightread the red orange and blue exercises on TKDM in OneNote (IS 5).
• Sing with great expression, intonation, balance, blend, diction, resonance, respiration, and phonation through the use of VT and CT exercises (IS 1).
• Read and peform the “Terceiro Canto” accurately and expressively on both TKDM and Solfege syllables (IS 5).
Standards
1. Singing, alone and with others, a varied repertoire of music.
c. demonstrate well-developed ensemble skills.
5. Reading and notating music.
b. sightread, accurately and expressively, music with a difficulty level of 3, on a scale of
1 to 6.
Prereq Knowledge
Level 5 Basic Ability Rhythm
First and second song of TCN
Fermata, drone, metric borrowing, phoneme
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Materials
OneNote
Laptop
Projector
Sheet Music
Piano
Set-up
Connect a laptop to projector
Procedures
10:32a VT
• Set: Stretch our bodies and turn them into instruments – rib cage expanded, shoulders back, feet shoulder width apart, knees relaxed, head level with shoulders, hands at the
side
• Respiration: Lip trill/ta ta ta from CM up to GM o Try all on one breath o Switch to Ta’s around EM
• Phonation: “D-d-d-don’t you love to sing?” exercise on SSSFMDMM from EM down to AM
o Sing on TKDM, student volunteer to translate it
• Resonance: [mi mE ma mo mu] on Major chord o Bass Do, Tenor So, Alto Mi, Soprano DO o Moving up by half steps from CM up to FM o Lots of space and spin in the sound, make it even and smooth
• Diction: echo phonemes from “Tres Cantos Nativos” o Patcho, iuenere, adjosire, kaporra, etc.
• Expression: practice facial expressions with [jam jam ji] on SMDRMRD o Excited, frightened, surprised, angry, sad, etc.
10:37a CT
• Intonation, Part-Singing, Blend, Balance: Cascade in DM o Evaluate CT by ear
10:40a ML
• Echo and echo translate Level 5 rhythms in simple meter with triplets
• Read the red orange exercise on TKDM from OneNote.
• Introduce (officially) the concept of ties o Define o Compare aurally and visually with examples
• Read the blue exercise with ties in it on TKDM syllables. o Compare to red orange exercise
10:45a Literature Rehearsal: “Tres Cantos”
• Goal: learn pitches and rhythms of Terceiro Canto
• Read the soprano/alto line rhythm (mm. 50-58) on TKDM as a class with Miss Stamper o Read without Miss Stamper o Make sure they do the fermatas in m. 50 and understand what a fermata is o Make sure they understand what a triplet looks like in this piece
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• Read the tenor/bass line rhythm (mm. 50-58) on TKDM as a class with Miss Stamper o Read without Miss Stamper
• Once rhythm is secure, read pitch alone, no rhythm, one note at a time o Everyone first on SA line, mm. 50-58 o Then everyone on TB line, mm. 50-58 o Be super clear with your directions and repeat them so everyone can be with you
• Sing on TKDM in rhythm with pitches, mm. 50-58, own voice parts 10:58a
• Read rhythm of all lines mm. 59-65 on TKDM (homorhythmic)
• Sopranos read mm. 59-61 on Solfege in rhythm
• Altos and basses read mm. 59-61 on Solfege in rhythm
• Tenors read mm. 59-61 on Solfege in rhythm
• Put all parts together for mm. 59-61
• Read mm. 61-65 on TKDM, all parts o Point out the circle with the x in it notehead, define as sucking in air through
closed teeth, as it says at the bottom of the sheet music
o Compare to when someone wants you to do something that you are not fond of and you inhale through your teeth in exasperation
• Read mm. 61-65 on Solfege in rhythm, all parts, including sucking through the teeth
• Sing entire “Terceiro Canto” on TKDM o Be sure they are keeping a steady beat and that you are demonstrating that for
them as well
o Clean any parts that need it
• Closure: review terms (drone, phoneme, fermata, metric borrowing) that they have learned in class previously.
11:05a End/Transition to Mr. J
Assessment
Throughout the lesson, the instructor will utilize sightreading and questioning as methods of
assessment.
Lesson Seven
Basic Info
Lindsey Stamper
MT: Mr. Johnson
9 February 2018
Cantabile
Behavioral Objectives
At the conclusion of this lesson, swbat…
• Read the exercise written below with accurate pitches and rhythms on Solfege (IS 5).
• Sing with excellent tone, diction, resonance, intonation, balance, blend, and dynamics (IS 1).
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• Perform the third song of “Tres Cantos Nativos” with proper articulation, text pronunciation, and expression (IS 1).
Standards
1. Singing, alone and with others, a varied repertoire of music.
a. sing with expression and technical accuracy music with a difficulty level of 4, on a
scale of 1 to 6
b. sing music written in four parts, with and without accompaniment
c. demonstrate well-developed ensemble skills
5. Reading and notating music.
b. sightread, accurately and expressively, music with a difficulty level of 3, on a scale of
1 to 6
Prereq Knowledge
TCN: 3rd song
ML Level 4 Rhythms, Level 2 Major
Bee eh beh exercise
Materials
Whiteboard/marker
Piano
Sheet Music
Set-up
Write exercise and obj’s on board
Procedures
10:32a VT
• Set: Happy Friday! Inhale 4 counts, pulse on ss 4 counts, exhale all air 12/16/20/24 counts
• Phonation: “I love to sing!” on SD’SMD from CM up to GM o Lots of space, tall vowels
• Resonance: “Dekeke korira rehe” on SSSSFMDMM from EM down to AM o Bright, forward, resonant tone
• Diction: Bee eh beh bee ee bee exercise in EbM o B P T S K V R M N
• Expression: [jam jam ji] on SMDRMRD from EbM up to AbM o Perform with different dynamics: pp, p, mp, mf, f, ff
10:37a CT
• Cascade in DM o Blend, balance, intonation
10:40a ML
• Echo and echo translate level 5 rhythms
• Echo and echo translate level 3 major tonal patterns
• Read Curwen handsigns level 3 major
• Read this exercise on the board:
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o Rhythm: 2/4 Ta TaDi / TaKiDa Ta Da / -KaDiMi TaDi / TaKiDa TaDi // o Solfege: EM Do LaSo / DoReMi Re Do / -SoSoSo DoRe / MiFaSo SoDo //
10:47a Literature Rehearsal: “Tres Cantos Nativos”
• Review pitches and rhythms that we learned Tuesday o Clarify any problems
• Echo text from the back page o Make sure you and the class are saying [kamahera] for Kamerrera o Double rr = [h]
• Speak text in rhythm with Miss S modeling first
• Sing song on text with repeats
• If they are not already, make sure they are performing the accents on the downbeats and the crescendos on the fermatas.
11:07a Closure: What is the difference between a tie and a slur? How do we speak ties on
TKDM? How do we speak slurs on TKDM?
11:25a Bell Rings
Assessment
Throughout this lesson, the instructor will utilize music literacy examples and questioning to
assess student understanding.
Lesson Eight
Basic Info
Lindsey Stamper
MT: Mr. Johnson
13 February 2018
Cantabile
Behavioral Objectives
At the conclusion of this lesson, swbat…
• Sing with excellent diction, breath support, intonation, resonance, expression, and phonation (IS 1).
• Accurately sightread level 4 and 5 simple patterns on TKDM syllables (IS 5).
• Perform “Tres Cantos Nativos” with expression and accuracy (IS 1).
Standards
1. Singing, alone and with others, a varied repertoire of music.
a. sing with expression and technical accuracy music with a difficulty level of 4, on a
scale of 1 to 6
c. demonstrate well-developed ensemble skills
5. Reading and notating music.
b. sightread, accurately and expressively, music with a difficulty level of 3, on a scale of
1 to 6
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Prereq Knowledge
Tres Cantos Nativos
Phonemes, drone, syncopation
Info about Kraó tribe
Materials
Piano
Whiteboard/marker
Sheet Music
Set-up
Write exercise and obj’s on board
Procedures
10:32a VT
• Set: echo consonant patterns (diction) o P ch t k h r s, etc.
• Stretches and massage train, switch sides o Give students option to opt out of massages
• Respiration: lip trill pattern (DMSD’SMDRMFSFMRDD’DSDMDRD) from CM up to GM
o Switch to ta na ha around EM
• Resonance: [i] on S—FMRD—RMFS—FMRD from FM down to AM o Warm tone, forward resonance, use [i] vowel for RTP
• Expression: “I will go with you will you go with me to the Dairy Queen?” on skip-step pattern from CM up to FM
o Turn to your neighbor and sing expressively to them o Be sincere o Switch to other neighbor
• Phonation: [ma:I ma:I ma:I] on MDL with portamentos (smoothly sliding between two notes) from fm down to Bbm
o Identify the sliding as a portamento 10:38a CT
• Intonation: Cascade in am, Sopranos L L Tenors F M Altos R D Basses T L o Make sure wholes and halves are tuned correctly o B half diminished seventh to A minor
10:42a ML
• Echo and echo translate level 4 and 5 rhythms, including metric borrowing and sixteenth note divisions
• Read the following exercise written on the board: 2/4 -KDM T-D- / T-DM (TKD) / TKD- (TKD) / -KD- T—M / (TKD) (T-D) / -KD- TK-M / (T-D) TKDM //
10:47a Literature Rehearsal: “Tres Cantos Nativos”
• Goal: expressive performance of all three songs together
• First Song o Intonation issues fix on drones o Sopranos (mp) as echo of Altos (f)
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o Distinguish between first and second ending dynamics 10:52a
• Second Song o Review speaking part for SA at the beginning o Make sure TB don’t rush o Pronunciation of words with double r’s = [h] o With claps – TB on every “pa” of patcho, SA on TaDi’s
10:57a
• Third Song o Accents on each downbeat o Crescendos on fermata notes in m. 50 o Clarity between TaDi’s and TaKiDa’s o Perform faster, up to tempo
11:02a
• Perform all three songs in succession with success
• Closure: Review terms and info on the post-test o Drone, phoneme, syncopation, Kraó tribe is from Amazon Rainforest
11:07a END/Transition to Mr. J
Assessment
Throughout this lesson, the instructor will adapt her methods based on the response of the
students. She will also utilize questioning as a method of reinforcing information about the Kraó
tribe and “Tres Cantos Nativos”.
Lesson Nine
Basic Info
Lindsey Stamper
MT: Mr. Johnson
15 February 2018
Cantabile
Behavioral Objectives
At the conclusion of this lesson, swbat…
• Accurately sightread level 5 rhythms with metric borrowing as present in the third song of “Tres Cantos Nativos” (IS 5).
• Sing with excellent intonation, blend, balance, resonance, breath support, diction, and expression (IS 1).
• Perform “Tres Cantos Nativos” accurately and expressively with percussive elements and sound effects (IS 1).
Standards
1. Singing, alone and with others, a varied repertoire of music.
a. sing with expression and technical accuracy a large and varied repertoire of vocal
literature with a difficulty level of 4, on a scale of 1 to 6
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c. demonstrate well-developed ensemble skills
5. Reading and notating music.
e. sightread, accurately and expressively, music with a difficulty level of 4, on a scale of
1 to 6
Prereq Knowledge
TCN
Level 4 rhythm
Cascade
Materials
Laptop/projector
Whiteboard/marker
Sheet music
Congas and rattles
YouTube video
Piano
Study Guides from Copy Center
Set-up
Bring percussion instruments to choir room
Write exercise and obj’s on board
Pull up YouTube video for examples of animal/rain sounds
Procedures
10:32a VT
• Set: Inhale for 2 counts, exhale powerfully on “sh” for 4 counts, repeat thrice
• Phonation: vocal siren
• Resonance: “Gloria” with tall open space on D’SMD from CM up to GM, gl- before bt.
• Diction: SFMRD on “Toy boat toy boat toy” and “unique New York unique New York unique” from DM down to AM
• Expression: [li lo lu] on DDDRDRRRMRDRMRDSD from DM up to AM, read gesture for tempo and articulation
10:37a CT
• New Cascade: o All sing major scale up o Sopranos DTD o Tenors LSS o Altos FFM(RM) o Basses RRD
10:40a ML
• Echo and echo translate level 4 and 5 simple rhythms with metric borrowing o Be sure to distinguish between Ta-Da and Ta—Mi
• Read the following exercise on the board: ¾ (Quarter Rest) Ta (fermata) Ta (fermata) / Ta (Ta-Da) (TaKiDa) / Ta (Ta-Da) (Ta-Da) / TaDi Ta (eighth rest) Ta Ta //
10:45a Literature Rehearsal: “Tres Cantos Nativos”
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• Goal: Polish a few areas and add percussive elements
• Fix Intonation on Ram’s for TB o Sustained breath support and open space
• Make a note of the rhythm for TB line o 8 counts, 8, 6, 4, 3, 3, 2, 2, 8 o Do without SA once o Do with SA but cueing TB still o SA enter with *BRIGHT AND FORWARD* vowels, just like the Kraó tribe
10:50a
• Perform all three songs together with percussion and sound effects o Begin with rainforest storm with hands o Play pitches from piano o TB and percussion enter – student volunteer
▪ Improvise on *CONGAS AND RATTLES* by using *REPEATING PATTERNS*
o SA add animal sounds: birds, monkeys, etc. ▪ https://www.youtube.com/watch?v=8myYyMg1fFE for examples
o SA enter with *BRIGHT AND FORWARD* vowels o Second song: make sure SA enter together and speak more quickly o Percussion enters with TB – new student? o Mention clapping adds another *LAYER OF PERCUSSION* o Animal and rain sounds with last TB repeats o Third song with quick tempo o New percussion volunteer o No percussion on “tioiremo” part
• Perform again if time permits with all elements
• Closure: pass out study guides, tell them they’re due Tuesday, review the parts of the lesson plan that are notated *LIKE THIS* because they’ll be on the test.
11:05a Transition to Mr. J
Assessment
In this lesson, the instructor will utilize aural assessment for the first twenty minutes of the plan.
For the last portion, the study guide will act as the method of assessment of learning objectives.
Lesson Ten
Basic Info
Lindsey Stamper
MT: Mr. Johnson
20 February 2018
Cantabile
Behavioral Objectives
At the conclusion of this lesson, swbat…
• Detail aspects of the Kraó tribe’s culture and music through the use of a Kahoot (IS 9).
https://www.youtube.com/watch?v=8myYyMg1fFE
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• Compare and contrast language, culture, and music with respect for the diversity represented in “Tres Cantos Nativos” (IS 8; ES 9).
Standards
9. Understanding music in relation to history and culture.
d. identify and explain the stylistic features of a given musical work that serve to define
its aesthetic tradition and its historical or cultural context.
8. Understanding relationships between music, the other arts, and disciplines outside the arts.
c. explain ways in which the principles and subject matter of various disciplines outside
the arts are interrelated with those of music.
English Standard:
9. Students develop an understanding of and respect for diversity in language use, patterns, and
dialects across cultures, ethnic groups, geographic regions, and social roles.
Prereq Knowledge
Information about Kraó tribe and “Tres Cantos”
How to play a Kahoot
Endangered language
Materials
Laptop/Projector
Set-up
Connect laptop to projector through airplay
Procedures
10:32a Review Game
• Set: Kahoot will be waiting to be started for students on the projector screen.
• Collect study guide
• Instructions: take out your devices and go to kahoot.it. Enter the code that will be displayed shortly. You will be asked to provide a nickname. It must be school appropriate
or you will not be allowed to play.
• Play Kahoot 10:42a Discussion
• Ask students to raise their hands before talking and to not talk out of turn. Let’s all turn on our listening ears.
• Questions for Discussion: o What are some aspects of the culture of the Kraó tribe? Reflect back on the
listening lesson where we viewed some of the activities of the tribe.
o How do these differ from Western culture in America? o What are some differences between the music of Western culture and the culture
of the Kraó tribe (Non-western culture)?
o If you spoke an endangered language, how would this change your daily life? ▪ Angel commented the other day that we only sustain about 300
relationships in our lives, but we certainly interact in public with many
more people that we don’t know. What if there was a language barrier
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between you and these people because your language was endangered and
they did not speak it?
• Closure: Reminder to look over the rhythms in “Tres Cantos” tonight using TKDM to review for the post-test.
10:52a Transition to Mr. J
Assessment
Assessment in this lesson will be through the use of a Kahoot and discussion questions.
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Student Assessment Tools
Kraó Tribe Listening Lesson
QUESTIONS FOR VIDEO 1
Listen to this suite of traditional songs from the Kraó tribe and answer the following questions
based on their singing.
1. Describe the timbre (quality) of their vowels. For example, you could use words like tall, narrow, wide, spread, bright, forward, dark, throaty, resonant, etc.
2. What types of percussive instruments do they use? How do they use them? Write about the rhythmic patterns and interaction of the instruments and singers. Examples of
percussive instruments: bongos, rattles, marimba, congas, tambourine, maracas, drumset,
3. How do these songs use repetition?
4. What kind of dynamics do you hear this choir demonstrating?
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5. What kinds of accents and articulations do you hear this choir demonstrating?
6. Describe the conductor’s tempo (pace of music) choices in this performance. Do they keep a consistent tempo? Are there points where it speeds up or slows down or moves
freely?
7. Evaluate the intonation (pitch accuracy) of this choir. You can use words like in tune, sharp, or flat.
QUESTIONS FOR VIDEO 2
Listen to this soloist from the Kraó tribe sing and answer the following questions.
1. Describe the melodic contour (musical shape) of the song. You could use descriptive words, such as high/low, or you could draw a line to represent the contour of his song.
2. Describe the singer’s use of repetition in this song. Do you think that this song could have been improvised? (Improvisation is the spontaneous performance of music without
written notes.) Why or why not?
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QUESTIONS FOR VIDEO 3
Listen to the music of the Kraó tribe in this video and answer the following questions.
1. Listen for an example of a drone in the video and write at what point in the video it occurs (beginning, middle, end).
2. Describe the use of percussion in these songs. What kind of instruments are they playing? For extra credit, notate the rhythms that the instruments are playing in 4/4 time.
3. Which of the following textures (the interaction of melodic and harmonic line(s) with each other) does the tribe use most often?
a. Homophonic – one main melodic line with other supporting harmonic lines. b. Polyphonic – multiple simultaneous melodic lines. c. Monophonic – one single melodic line. d. Homorhythmic – one main melodic line with other supporting harmonic lines
moving in the same rhythm.
4. Describe the quality of tone and vowels of this tribe’s singing.
QUESTIONS FOR REFLECTION AND REVIEW
Answer the following questions based on what we have learned in rehearsal and your views of
language and culture.
1. Define the musical term drone. What voice part(s) demonstrate a drone in “Tres Cantos Nativos”?
BUT WAIT, THERE’S MORE 😊
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2. Relate your experience of the language you speak to the experience of a Kraó speaker. Remember that there are less than 2,000 people who speak this language. If your
language was potentially endangered, how do you think that would change your daily
life?
3. Define the language term phoneme. How do phonemes relate to “Tres Cantos Nativos”?
4. From what you saw in the video, describe the culture of the Kraó tribe—the materials they use in daily life, the clothing they wear, the ceremonies they have, etc.
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Performance-Based Rubric
“Tres Cantos Nativos” Rhythmic Pretest Rubric
Name: ______________________________________ Date: _______________________ Choir: _____________________________
Student will read portions of “Tres Cantos Nativos” on TaKaDiMi syllables.
56 Points
Unsatisfactory (D or
below)
(0-27)
Basic (C)
(28-31)
Proficient (B)
(32-35)
Distinguished (A)
(36-40)
Rhythmic Accuracy
(One Point Per Beat)
Performed many
incorrect rhythms
(thirteen or more errors).
Performed some correct
rhythms, but there were
nine to twelve errors.
Performed mostly
correct rhythms, but
there were five to eight
errors.
Performed rhythms with
four or less errors.
(0-10) (11-13) (14-15) (16)
Steady Beat & Tempo
(One Point Per
Measure)
Student did not keep a
steady beat or consistent
tempo. More than five
measures had steady beat
issues.
Student kept a steady
beat, but tempo
fluctuated or the student
had to stop in the middle.
More than two measures
had steady beat issues.
Student kept a steady
beat with mostly
consistent tempo, but
hesitated at a couple of
measures.
Student kept a steady
beat with consistent
tempo.
General Comments: Total Points: ____/56 Points
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Technology
• OneNote – This program from Microsoft Office allows users to create notebooks
with content of their choice. Fishers High School uses this program for every student
by creating a notebook for each class. In this project, I used OneNote to post rhythm
reading examples in the content library of Cantabile’s notebook.
• Projector – I used a projector to display rhythmic reading examples, videos of the
Kraó tribe, and a video for the rainforest sounds.
• YouTube – I utilized YouTube to find clips with music from the Kraó tribe as well as
their daily life practices. I also played a clip of rainforest sounds for students to
emulate in the first and second song of “Tres Cantos Nativos”.
o Cantosospeso - Suite of traditional songs of the Kraho tribe o Krahô Pārtêre tribe, the tradition of food and ethnic life (2014) o Indigenous people and their struggle in Tocantins Brazil - diariesof
#TravelStories
o https://www.youtube.com/watch?v=8myYyMg1fFE (Rainforest Sounds)
• Google Forms – I utilized Google’s information gathering system to create my
pretest. This system allows users to create questions and post the link to those
questions to anyone you allow.
• Socrative – This is a test and quiz taking software that has the added advantage of
shuffling questions while students are taking a test. I used this for my post-test so that
students would be less likely to look off one another’s tests.
• Kahoot – This software allows users to create a fun, timed quiz for anyone with the
quiz code to join. It makes it fun for the students by showing who has the top score,
based on who answered correctly the fastest. Students are also allowed to create their
own creative usernames.
https://www.youtube.com/watch?v=OwM1pGYtK3chttps://www.youtube.com/watch?v=qhuq7uydt1Qhttps://www.youtube.com/watch?v=LHwizf0fqqkhttps://www.youtube.com/watch?v=LHwizf0fqqkhttps://www.youtube.com/watch?v=8myYyMg1fFE
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Differentiation and Accommodations
In this class, I had a few students with Individualized Education Plans. In order to accommodate
these students, I allowed them 100% extended time on all assignments and tests. For one
listening lesson, I allowed a student to take the lesson home and access the videos from OneNote
in order to complete the assignment. During rhythm reading, I allowed these students to take as
much time as they needed to look over the rhythm examples and prepare to read them.
Additionally, one student with ADD was placed in their preferential seating to help them focus
during choir.
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Pre and Post Tests
Written Test, Student Version
1. Where is the Kraó tribe from?
A. The Yucatan Peninsula
B. The Fertile Crescent
C. The Amazon Rainforest
D. The Indus Valley
2. Which of these musical techniques is the Kraó tribe most likely to use?
A. Drone
B. Sequence
C. Pentatonic Melodies
D. Polyrhythm
3. Define syncopation using musical terms.
4. What are phonemes?
5. Who is Marcos Leite?
6. Which of these instruments might be used by the Kraó tribe (may be more than one)?
A. Congas
B. Marimba
C. Rattles
D. Timpani
E. Koto
7. The tribe’s language, Kraó, is potentially endangered.
True or False
8. Describe a way that the Kraó tribe might use clapping in music.
9. Describe the timbre of the vowels of the Kraó tribe. You could use words like bright, nasal,
tall, wide, spread, forward, backward, dark, light, throaty, and any others you may feel
appropriate.
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10. How do you notate the effect of sucking in air through closed teeth?
11. How does the Kraó tribe use improvisation in their music?
12. Relate your experience of the language you speak to that of a Kraó speaker. Remember that
there are less than 2,000 people who speak this language. If your language was potentially
endangered, how do you think that would change your daily life?
13. Describe the culture of the Kraó tribe. Include information such as ceremonies, daily life,
relationships, resources, etc.
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Written Test, Teacher Version
1. Where is the Kraó tribe from? (IS 9c)
A. The Yucatan Peninsula
B. The Fertile Crescent
C. The Amazon Rainforest
D. The Indus Valley
2. Which of these musical techniques is the Kraó tribe most likely to use? (IS 9c)
A. Drone
B. Sequence
C. Pentatonic Melodies
D. Polyrhythm
3. Define syncopation using musical terms. (IS 9c)
An accent off the beat
4. What are phonemes? (IS 8c)
The smallest meaningful unit of sound in a language
5. Who is Marcos Leite? (IS 9c)
A Brazilian composer, the composer of “Tres Cantos Nativos”
6. Which of these instruments might be used by the Kraó tribe (may be more than one)? (IS 9c)
A. Congas
B. Marimba
C. Rattles
D. Timpani
E. Koto
7. The tribe’s language, Kraó, is potentially endangered. (ES 9, IS 8c)
True or False
8. Describe a way that the Kraó tribe might use clapping in music. (IS 9c)
They might use clapping as an added layer of percussion.
9. Describe the timbre of the vowels of the Kraó tribe. You could use words like bright, nasal,
tall, wide, spread, forward, backward, dark, light, throaty, and any others you may feel
appropriate. (IS 9c)
Their vowels are bright and forward.
10. How do you notate the effect of sucking in air through closed teeth? (IS 9c)
Answer: D
11. How does the Kraó tribe use improvisation in their music? (IS 9c)
They use repetition of phrases and patterns to create different arrangements of
music.
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12. Relate your experience of the language you speak to that of a Kraó speaker. Remember that
there are less than 2,000 people who speak this language. If your language was potentially
endangered, how do you think that would change your daily life? (ES 9, IS 8c)
Answers vary by student.
13. Describe the culture of the Kraó tribe. Include information such as ceremonies, daily life,
relationships, resources, etc. (ES 9, IS 8c, IS 9c)
Answers vary by student.
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Skills Test, Student Version
Rhythm Reading Pre/Post Test for “Tres Cantos Nativos”
A.
B.
C.
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Skills Test, Teacher Version
Rhythm Reading Pre/Post Test for “Tres Cantos Nativos”
A. (IS 5e)
B. (IS 5e)
C. (IS 5e)
Ka Di Mi Ta Di Mi Ta Di Mi------ Ka Di Mi
Ta Di Mi Ta Di Mi--------- Ka Di Mi Ta Di Mi Ta Di Ta Ka Di Mi---
Ta Mi Ka Di Mi Ta Mi Ka Di
Ta Ta Da TaKiDa Ta Ta Da TaKiDa Ta Ta Da Ta Da Ta Di Ta Ta Ta
Ta Ta Da Ta Ki Da Ta Ta Da Ta Ki Da Ta Ta Da Ta Da Ta Di Ta
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Graphed Data
Pre and Post Test Comparison
Pretest in black
Post Test in red
Pre Test Indiana Standard 5e
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Pre Test Indiana Standards 8c, 9c, and English Standard 9
*Students 8 and 29 did not take the cognitive pretest before the unit started, so their
demonstration of knowledge would have been changed by instruction. They were not present on
the pretest day.
Post Test Indiana Standard 5e
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Post Test Indiana Standards 8c, 9c, and English Standard 9
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Narratives
Unit Narrative
In this unit, I addressed three music standards and one English standard to create
interdisciplinary connections. The music standards include Indiana Standards five, eight, and
nine—reading and notating music; understanding relationships between music, the other arts,
and disciplines outside the arts, and understanding music in relation to history and culture,
respectively. The English standard that I addressed is number nine--students develop an
understanding of and respect for diversity in language use, patterns, and dialects across cultures,
ethnic groups, geographic regions, and social roles. In this class, there were a few students with
different abilities. To prepare them for success, I allowed extra time and preferential seating for
these students. I also made sure to explain each concept in multiple ways to address multiple
learning styles. This unit allowed students to cultivate deeper understanding of the music they
perform. They made connections to the people of the Kraó tribe, studied their culture, and related
their experiences of language to those of the Kraó tribe. In terms of authentic critical thinking,
the students learned how to empathize with a culture of people whose language is endangered.
Throughout the unit, I implemented various instructional strategies. For rhythm reading, I used
several varying sightreading examples including metric borrowing and divisions of sixteenth
note patterns. Using the TaKaDiMi syllable system, I explained to the students how each
sixteenth note has a place in the beat that consistently stays the same. I utilized visual and aural
examples of these rhythms throughout the unit. Regarding the connections to history and culture,
I utilized videos from YouTube to demonstrate the culture of the Kraó tribe to the students. I had
them listen for musical traits as the tribe sung in the videos, such as timbre, dynamics,
articulations, and tone. I also integrated these aspects of culture into the rehearsal sequence as
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45
they learned the song. For students to understand the relationship between music and language
arts, I explained the concept of phonemes and how they are employed in “Tres Cantos Nativos”.
I also had a class discussion with the students regarding the importance of cultural and language
diversity in society. In this unit, I used the following technology—YouTube, Kahoot, OneNote, a
projector, Google forms, and Socrative.
Assessment Narrative
In this unit, I had a few students with special needs. However, their list of
accommodations and modifications for class only included extended time on tests and
preferential seating. The assessments that I created included a rhythmic reading test and a
knowledge-based test over the culture of the Kraó tribe. For the rhythm reading test, they read
rhythms from “Tres Cantos Nativos” that were particularly challenging. These included rhythms
with sixteenth note divisions, sixteenth note rests in the middle of the beat, metric borrowing,
and ties across bar lines. I used a rubric to grade these tests. The rubric consisted of a rhythmic
accuracy portion with one point per beat and a steady beat portion with one point per measure. I
calculated the score ranges based on Distinguished, Proficient, Basic, and Unsatisfactory
correlating with 90-100%, 80-89%, 70-79%, and 69% or below, respectively. For the written
portion of the test, I asked questions related to the musical material present in “Tres Cantos”. For
example, I asked students to define the term phoneme and explain its role in the piece. I also
asked students to define syncopation, locate the origin of the Kraó tribe, describe their cultural
traditions, and identify the specific symbol used in the third song to notate the effect of sucking
air in through closed teeth. For the final grade, I counted the written test as 60% of 100 points
and the rhythm reading test as 40% of 100 points. I made the rhythm reading portion worth less
percentage wise because these students are on different levels of sightreading. Mr. Johnson uses
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a system called “Tae Kwon Do Re Mi” where each student is on yellow, green, blue, red, pre-
black, or black belt level for sightreading. The range of belts in Cantabile was from yellow to
red, so I modified the weight of the rhythm reading portion to match the varying abilities present
within the choir. Another type of assessment I used was a formative listening lesson worksheet.
In this lesson, I asked the students to listen to three videos with examples of the Kraó tribe’s
music. I asked them to evaluate musical details such as dynamics, tempo, articulations, vowels,
instrumentation, and timbre. I asked them to notate rhythms performed in the percussion using
their echo translation skills. I also asked them questions about the culture that they witnessed in
the videos and how their culture compared to that of the Kraó tribe. This worksheet was used as
formative assessment and was only used for a five-point completion grade.
Instructional Narrative
Considering that my LAMP was based on a unit curriculum plan for an ISSMA
performance piece, the instructional portion relies on rehearsal techniques and supplemental
materials to teach the information to the students. In terms of directions, I used a lot of echoing
in the beginning to present the rhythms of the piece to the students. During rehearsal, I used a lot
of rehearsal techniques, such as looping, priming, echoing, speaking the rhythm, and repeating
sections. For lessons that were not rehearsal sequences, I repeated directions several times so that
all students had an opportunity to hear what was expected of them. The standards addressed in
this unit were connected to every activity in this unit. During rehearsal, I presented terms and
topics in the music and explained them to the students. I used lots of questioning to engage them
in the process of connecting the music to history and culture, as in standard nine. Every time that
we worked on music literacy, I presented rhythms from “Tres Cantos” and had them echo, echo
translate, and read the rhythms, which aligns with standard five. As far as addressing students of
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varying abilities and personalities, I incorporated several different levels of questioning, from
identification and explanation to synthesis and analysis. I also explained the rhythmic content of
the piece in several different ways to try to help them understand how the rhythms should be
performed. I talked about how each sixteenth note lies in the same place in every beat and how
they line up across different rhythmic patterns. I also talked about meter and the division of the
beat to explain the way that triplets work in simple time. I used various song examples with
different meters to explain the difference between simple and compound meter aurally. This
project also allowed students to connect their musical skills to real life investigation. By
connecting their own experience and culture to that of the Kraó tribe, students made connections
cross-culturally and across disciplines. The skills that they acquired by digging into the culture of
the Kraó tribe apply to any piece of music within a cultural context. They can take the same
process that we applied in “Tres Cantos” and bring it to other pieces that they perform in choir
and other musical contexts. As far as criteria for this project, the students understood from the
beginning that this piece was one of their ISSMA repertoire choices and that they would be
performing this for ISSMA contest in April. They also were informed that there would be a
pretest and posttest regarding their knowledge of the Kraó tribe and their ability to perform the
rhythms of the piece on TaKaDiMi.
Results/Interpretation Narrative
The pretest results indicated that students did not have any prior knowledge of the Kraó
tribe, their cultural traditions, and the musical content of “Tres Cantos Nativos”. This was the
results across the board, individually and collectively. However, for the rhythmic pretest, there
were a variety of results. Some students struggled to complete the rhythmic pretest at all. One
student in particular had a lot of anxiety leading into the rhythm reading and was pleading me
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not to make them take it. On the other hand, another student performed the rhythms in simple
meter nearly perfectly and only struggled with metric borrowing. Based on these results, I
continued as planned to address the rhythm and culture from a starting point of no prior
knowledge. I had already planned to teach the unit from this place, so I did not need to make any
adjustments. I expected the students to come with no prior knowledge of the Kraó tribe and to
struggle with the difficult rhythm examples of “Tres Cantos Nativos”, which they did. After
teaching the unit, most students showed significant growth. On average, students showed
improvement of about 35%. The student with the highest growth improved by 52.1%. Overall,
the average score increased by 37.1% from 48.3% on the pretest to 85.4% on the posttest.
Student performed very well overall on the cognitive portion of the posttest. On the rhythmic
portion, students showed significant growth and clearly demonstrated understanding of the
sixteenth note divisions and metric borrowing. Based on the results of this project, there are a
few aspects that I would have done differently. First, I would have liked to incorporate some
instructional time to coach students individually that needed more attention. For example, I could
have gone through the rhythm reading portion individually with the student who had anxiety
about the test to prepare them for success on the posttest. I also would have liked to incorporate
individual echoing and echo translation during music literacy instruction to prepare students for
the test ahead of them. However, I did incorporate many different resources of the culture into
the lesson plans, which allowed the students to observe the culture from different perspectives. I
also believe that my use of questioning to reinforce the concepts associated with the unit was
very strong.
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Final Statement
I believe this project was very useful for me to understand the process of creating deeper
connections to the music for students. It allowed me to go into detail about exactly what
knowledge and skills I wanted students to gain from performing a piece. I will be able to apply
this same process to future literature throughout my career. It was also very valuable to have the
experience of creating and administering written and performance-based assessments both before
and after instruction.
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Project Rubric Unsatisfactory Basic Proficient Distinguished
Instructional
Effectiveness
Instruction is not
designed to meet the
needs of students, neither
average nor exceptional.
Instruction is designed to
meet the needs of the
average student, but does
not include variety to
reach students of varying
abilities.
Instruction is designed to
meet the needs of most
students through several
different resources and
methods of application
of content.
Instruction is designed to
meet the needs of all
students through a
variety of resources and
methods of application
of content.
Quality of Assessment
Tools
The assessment tools
implemented are neither
valid nor reliable. The
tools are not suited to
guide student
understanding of content
and teacher
understanding of student
knowledge and skill.
The assessment tools
implemented are
minimally valid and
reliable. The tools are
generally suited to guide
student understanding of
content and teacher
understanding of student
knowledge and skill, but
with basic success.
The assessment tools
implemented are mostly
valid and reliable. The
tools are mostly suited
guide student
understanding of content
and teacher
understanding of student
knowledge and skill.
The assessment tools
implemented are valid
and reliable. The tools
are perfectly suited to
guide student
understanding of
content, as well as
teacher understanding of
student knowledge and
skill.
Planning and
Preparation
The instructor does not
plan lessons with
effective methods,
resources, and
explanations. The
instructor is not prepared
for class and does not
have the necessary
materials.
The instructor plans
lessons with one method,
one or two resources,
and one main
explanation. The
instructor is minimally
prepared for class with
some materials
necessary.
The instructor plans
lessons with a few
different methods,
resources, and
explanations. The
instructor is mostly
prepared for class time
with most of the
materials necessary.
The instructor plans
lessons with a variety of
methods, resources, and
explanations. The
instructor is fully
prepared for class time
with all necessary
materials and clear
demonstration of
preparedness.
Student Success Students did not show
growth with lasting
effects. Students did not
demonstrate an increase
in knowledge and skill.
Students showed basic
growth without lasting
effects. Students
demonstrated minimal
increase in knowledge
and skill through the
assessment tools.
Students showed
significant growth but
with minimal lasting
effects. Students
demonstrated an increase
in knowledge and skill
through the assessment
tools.
Students showed
significant, lasting
growth and demonstrated
a great increase
knowledge and skill
through the assessment
tools.
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Self-Ratings
Instructional Effectiveness: Proficient
Quality of Assessment Tools: Proficient
Planning and Preparation: Distinguished
Student Success: Proficient
LAMP Document: Distinguished
LAMP Document There are several
elements of the LAMP
document missing. The
document is not
organized in any way.
Some elements of the
LAMP document are
missing. The document
is not organized in a
logical way and/or
presentation is messy.
All elements of the
LAMP document are
present. The document is
organized in a logical
way, but presentation
may be messy.
All elements of the
LAMP document are
present, specific, and
detailed. The document
is organized in a logical
and well-presented way.