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MUSIC CURRICULUM

GRADES K-12

Written by the graduate students in MUS 645, Music Curriculum and AssessmentDepartment of Music, Theatre and Dance, Oakland University

Instructor, Jackie Wiggins, Professor of Music EducationJuly 11-22, 2005

UNDERLYING PHILOSOPHY OF THE MUSIC PROGRAM

Music is a basic human construct, a form of (means of, vehicle for) personal expression (communication) common to all people and all cultures.

Music is a way of learning, a way of knowing, a form of knowledge common to all people.

Music is a form of intelligence (thinking) that links to other forms of (intelligence) thinking.

Music making fosters collaboration in the pursuit of common goals, developing problem solving skills, responsibility, positive self-image, and sense of community (in an academic setting).

Music is a means of enhancing students’ global awareness of historical and cultural traditions.

Everyone is capable of experiencing and engaging in music.

Music is essential to the academic experience; therefore, everyone has the right to a balanced music education.

MUS 645 (Summer 2005) Curriculum Document, Page 1

4. All students will understand, analyze, and describe the arts in their historical, social, and cultural contexts.

9. Understanding music in relation to history and culture

5. All students will recognize, analyze, and describe connections among the arts; between the arts and other disciplines; between the arts and everyday life.

3. All students will analyze, describe, and evaluate works of art.

2. All students will apply skills and knowledge to create in the arts.

1. All students will apply skills and knowledge to perform in the arts.

6. Listening to, analyzing, and describing music

7. Evaluating music and music performance

3. Improvising melodies, variations, and accompaniments

4. Composing and arranging music within specific guidelines

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

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

5. Reading and notating music

MICHIGAN STANDARDS FOR MUSIC EDUCATION

NATIONAL STANDARDS FOR MUSIC EDUCATION

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


This Music Curriculum is designed to enable graduates of Marysville High School to achieve the following exit outcomes adopted by the Board of Education in 2009.

IF THERE ARE ANY, FILL IN AS NEEDED…


OVERRIDING GOALS OF THE MUSIC CURRICULUM

Students will develop skills necessary to pursue music at the highest level they choose, including career preparation. Students will meaningfully differentiate, discern, and describe a breadth and depth of musical styles, genres, and cultures. Students will create and express original musical ideas. Students will make relevant and authentic connections between classroom learning and their lives.

Students will achieve the above goals through development of conceptual understanding of the elements (dimensions and metadimensions) of music and of how they interact to produce a musical whole:

PitchRegisterIntonation

Rhythm (Duration)Sound/SilenceBeatMeter

MelodyContour and DirectionIntervalsPhrases

HarmonyTonalityModality

Tempo

Dynamics

Timbre (Tone Color)

Articulation

Form

Texture

and the ways they interact to produce:StyleGenre

and Affective Qualities such as:MoodTension and ReleaseClimax and DenouementBalance (as a piece of art)Unity and Variety

reflective of:Cultural ContextHistorical Context

Personal Context

performed and understood with:a Sense of Ensemblea Sense of Simultaneity

a Sense of Individuality.


Students learn the above concepts through engaging in the interactive processes of music (small circles) within universal thought processes (outer circle):

Performing, Listening, and Creating are interactive in that: Performing involves listening and creating (interpreting). Creating generally involves listening and performing. While audience Listening does not involve performing, it is considered a creative process in that during listening, the

mind is actively interpreting and recreating what is heard (and actively constructing understanding of what is heard, which is also a creative process).

CURRICULUM FOR GENERAL MUSIC


GRADES K - 2

In this document, the means of assessment listed in under “Students will demonstrate through” are intended as suggestions for teachers to use as a basis for lesson planning and assessment. There is no expectation that every teacher will use every assessment tool in every category for every child.

CC = Conceptual Connection to other disciplines.PC = Process Connection to other disciplines.

BY THE END OF SECOND GRADE…CONCEPT In music of a variety of styles, genres, and cultural

and historical contexts, students will be able to:Students will demonstrate through: National

StandardsMichigan Standards

RHYTHM:Understanding basic concepts of rhythm and how they operate in a musical work.

Identify and use steady beat and absence of beat. • Gesture and/or whole body movements while singing or listening.• Reading and manipulating graphic representations of sound.• Singing and playing in ensemble with others.• Identifying in a listening experience.

1, 2, 5, 6, 9

1, 3, 4

Identify and use sound and silence (rest). 1, 2, 3, 4, 5, 6, 9

1, 2, 3, 4Identify and use long and short sounds in a work that has as many as 3 different durations.

CC: connects to rhythm in dance, rhythmic flow in speech, ratio in math, gross motor, fine motor, and locomotor development.

PC: reading left to right, tracking, making meaning from visual representation, understanding the flow and passage of time and relative pacing within a time frame.

8 5





PITCH:Understanding basic concepts of pitch and how they operate in a musical work.

Identify and make decisions about using pitched and non-pitched sounds.

• Making appropriate choices of instruments to: accompany a song. arrange a song. improvise a piece. compose a piece.• Identifying in a listening experience.

1, 2, 3, 4, 6, 7, 9

1, 2, 3, 4

Identify and perform high and low pitch (register). Singing, playing classroom instruments, moving, and using appropriate labels (high, low).

1, 2, 6, 9 1, 2, 3, 4

CC: Relates to science work on pitch. 8 5




MELODY:Understanding basic concepts of melody and how they operate in a musical work,

Identify contour & direction. • Gesture and/or whole body movements while singing or listening.• Reading and manipulating graphic representations of sound.• Singing and playing.

1, 2, 5, 6, 9

1, 3, 4

Internalize and perform a simple, authentic melody (short tonal song with simple intervallic structure and a limited range).

• Sing a simple melody accurately alone or as member of a group.• Play a simple melody on a pitched classroom instrument.

1, 2, 9 1, 4

Identify steps, skips (or leaps), and repeated tones. • Gesture and/or whole body movements while singing or listening.• Reading and manipulating graphic representations of sound.• Singing and playing.

1, 2, 5, 6, 9

1, 3, 4

CC: relate to contour in art and shape in dance, parallels to sentence structure, making meaning.

PC: reading left to right, tracking, making meaning from visual representation.

8 5





EXPRESSIVE QUALITIES:DYNAMICS, TEMPO,ARTICULATION

Recognize and understand how musicians use expressive qualities as tools for musical expression. Expressive tools include: Dynamics (loud and soft) Tempo (fast and slow) Articulation (smooth & choppy)

• Gesture and/or whole body movements while singing or listening.• Reading and manipulating graphic representations of sound.• Singing and playing.

1, 2, 5, 6, 9

1, 3, 4




TIMBRE:Understanding basic concepts of timbre and how it is used as a tool of expression.

Use their voices to produce a healthy sound throughout their vocal range.

• Making appropriate choices when singing.• Identifying in a listening experience.• Distinguish between singing and non-singing voices.• Identifying their own head [high, light] and chest [low, heavy] registers [voices]

1, 6, 7, 9 1, 3, 4

Use and group classroom instruments in ways that produce characteristically appropriate sounds

• Using appropriate mallets for percussion• Instrument choice in performing or creating • Identifying in a listening experience.

2, 3, 4, 6, 7, 9

1, 2, 3, 4

CC: connects to science work on sound 8 5


BY THE END OF SECOND GRADE…CONCEPTS In music of a variety of styles, genres, and cultural



HARMONY & TEXTURE

Maintain a simple ostinato against a melody. Singing and playing in ensemble with others. 1, 2, 9 1, 4

Students in second grade will have had many other experiences with texture and harmony, (in a musical context) but are not expected to show mastery of most aspects of these concepts at this point.

These experiences lay the groundwork for more complex work in future years, but student understanding of these concepts would not be assessed at this time.

1, 2, 3, 4, 6, 7, 8, 9

1, 2, 3, 4, 5

BY THE END OF SECOND GRADE…CONCEPTS In music of a variety of styles, genres, and cultural



FORM, METER, STYLE, AFFECT

Students in second grade will have had extensive experience with form, meter, style, and affective qualities of music (in a musical context) but are not expected to show mastery of these concepts at this point.

These experiences lay the groundwork for more complex work in future years, but student understanding of these concepts would not be assessed at this time.

1, 2, 3, 4, 6, 7, 8, 9

1, 2, 3, 4, 5


CURRICULUM FOR GENERAL MUSICGRADES 3 - 5

BY THE END OF FIFTH GRADE…CONCEPTS In music of a variety of styles, genres, and cultural




RHYTHM & METER:

Understanding how rhythm functions and how it may be used to create motion in music.

Understanding how meter functions and how it may be used to structure music.

Identify and use representations of rhythm (with 3 or more durations of sound, rests lasting a beat or longer).

• Reading, manipulating, and realizing graphic representations and/or simple notation.• Gesture and/or body movements while singing or listening.• Singing and playing in ensemble with others • Creating original music.• Identifying in a listening experience.

1, 2, 3, 4, 5, 6, 9

1, 2, 3, 4

Identify meter as groups of 2 and groups of 3. • Gesture and/or body movements while singing or listening.• Singing and playing in ensemble with others • Creating original music.• Identifying in a listening experience.

1, 2, 3, 4, 6, 9

1, 2, 3, 4

Distinguish between music that sounds metered and non-metered.

• Gesture and/or body movements while singing or listening.• Singing and playing in ensemble with others • Creating original music.• Identifying in a listening experience.

1, 2, 3, 4, 6, 9

1, 2, 3, 4

Maintain a part in a polyrhythmic work. Singing or playing in ensemble with others. 1, 2, 9 1, 4

CC: rhythm or word flow of poetry 8 5


BY THE END OF FIFTH GRADE…CONCEPTS In music of a variety of styles, genres, and cultural



MELODY & PITCH:

Understanding how pitch functions and how it operates in the context of melody.

Use contour & direction as a vehicle for expression. • Reading, manipulating, and realizing graphic representations of sound.• Singing and playing.• Creating original music.

1, 2, 3, 4, 5, 9

1, 2, 4

Internalize and perform authentic melodies from a variety of styles, genres, and cultural and historical contexts.

• Sing or play accurately alone or as member of a group.

1 2, 6, 9, 1, 2, 3, 4

Identify phrases and use phrasing as a vehicle for expression.

• Gesture and/or body movements while singing or listening.• Singing and playing in ensemble with others • Creating original music.• Identifying in a listening experience.

1, 2, 3, 4, 6, 9

1, 2, 3, 4

BY THE END OF FIFTH GRADE…CONCEPT In music of a variety of styles, genres, and cultural


StandardsMichigan Standard

s

HARMONY:

Understanding how harmony functions and how it may be used to create motion in music.

Identify and use tonal center (home tone, do, 1, tonic, resting tone).

• Gesture and/or body movements while singing or listening.

• Singing and playing.

• Creating original music.

• Identifying in a listening experience.

1, 2, 3, 4, 6, 9

1, 2, 3, 4

Differentiate among modalities (such as major and minor) and understand how they may be used as vehicles for expression.

Hear, identify and use tonic, dominant, and subdominant sonorities (I, V7, IV or home, away, and resting chords).

Learn the structure of a triad and begin to understand the relationship between melodies and chordal accompaniments.

• Making appropriate choices when planning accompaniments and accompanying singing.

1, 2, 7, 9 1, 3, 4

CC: interdependence in science and social studies. 8 5

BY THE END OF FIFTH GRADE…


CONCEPT In music of a variety of styles, genres, and cultural and historical contexts, students will be able to:

Students will demonstrate through: National Standard

s

Michigan Standards

TIMBRE:

Understanding how timbre functions and how it is used as a tool of expression.

Use their voices to produce a healthy sound throughout their vocal range as it changes and develops.

• Making stylistically appropriate choices when singing.• Identifying in a listening experience.• Identifying their own head [high, light] and chest [low, heavy] registers [voices]• Making an effort to blend with others when performing in an ensemble setting.

1, 6, 7, 9 1, 3, 4

Aurally and visually recognize and categorize instruments in common ensembles (e.g., band, orchestra, rock band, steel band, jazz trio, etc.)

• Identifying in a listening experience. 6, 9 3, 4

Use and describe timbre as a tool of expression. • Instrument choice in performing or creating • Identifying in a listening experience.

2, 3, 4, 6, 7, 9

1, 2, 3, 4

CC: connects to science work on sound. 8 5




EXPRESSIVE QUALITIES:DYNAMICS, TEMPO,ARTICULATION

Recognize and understand how musicians use a breadth of expressive qualities as tools for musical expression (e.g., forte, piano and gradations in between).

• Gesture and/or body movements while singing or listening.• Reading and manipulating graphic representations of sound.• Singing and playing.• Creating original music.• Identifying in a listening experience.

1, 2, 3, 4, 5, 6, 7, 9

1, 2, 3, 4

CC & PC: interpretation in language arts, dance, and drama. 8 5





FORM Recognize and understand how musicians use form as an organizational tool and as a vehicle for expression.

• Gesture and/or body movements while singing or listening.• Reading and manipulating graphic representations of sound.• Singing and playing.• Creating original music.• Identifying in a listening experience.

1, 2, 3, 4, 5, 6, 7, 9

1, 2, 3, 4

Recognize and use particular forms, e.g.: monothematic music, bi-thematic music, poly-thematic, introduction, bridge (transition), coda, theme and variation

• Creating original music.• Identifying in a listening experience.

3, 4, 6, 9 2, 3, 4

CC & PC: form in poetry, dance, visual art (architecture)




TEXTURE Recognize and understand how musicians use texture as an organizational tool and as a vehicle for expression.

• Gesture and/or body movements while singing or listening.• Singing and playing.• Improvising and composing original music.• Identifying in a listening experience.

1, 2, 3, 4, 5, 6, 7, 9

1, 2, 3, 4

Recognize and use particular textures, e.g.: Polyphony: round, canon, melody and melodic ostinato, partner song, countermelody Homophony: melody and accompaniment (chords, rhythmic ostinato, etc.) Monophony: solo (and ensemble)

• Singing and playing.• Reading and manipulating graphic representations of sound.• Improvising and composing original music.• Identifying in a listening experience.

1, 2, 3, 4, 5, 6, 7, 9

1, 2, 3, 4

CC: layers of life in forests, striation in geology. 8 5


BY THE END OF FIFTH GRADE…

CONCEPTS In music of a variety of styles, genres, and cultural and historical contexts, students will be able to:

Students will demonstrate through: National Standards

Michigan Standards

STYLE & GENRE

Understand the ways musical elements (dimensions) interact to produce style and genre.

• Describing (verbally, visually, kinesthetically) and/or comparing different musical works (experienced through listening or performing).• Performing in a stylistically appropriate manner (at a very basic level).

1, 2, 6, 7, 9 1, 3, 4

Develop understanding of how musicians use style and genre to produce a particular intended effect.

Begin to understand and recognize a variety of styles and genres and in appropriate cultural and historical contexts.

CC: interdependence in science and social studies; style in visual art, dance, drama, language arts.



StandardsMichiganStandards

AFFECT Understand the ways musical elements (dimensions) interact to elicit affective response in an audience.

• Describing (verbally, visually, kinesthetically) and/or comparing different musical works (experienced through listening or performing).• Interpreting music when performing and creating to produce a particular affective quality (at a very basic level).

1, 2, 3, 4, 6, 7, 9

1, 2, 3, 4

CC: affect in visual art, dance, drama, and language arts. 8 5


CURRICULUM FOR PERFORMANCE-BASED MUSIC CLASSESGRADES 4 (5 OR 6) - 8

In performance classes, the primary activity is performing. However, performing should be enhanced with listening and creating experiences, all three in the context of authentic music.

Authentic music is music that could be found outside the classroom in real world contexts (as opposed to music that is contrived for teaching purposes). Students should engage in the processes of listening, creating, and performing in ways that are most similar to the ways in which experienced musicians engage. Classroom activities should not be “exercises” that prepare students for “real” musical engagement.

The curriculum for a performance class is organized around music literature that embodies multiple musical dimensions. Therefore, music selected for study should be rich enough to provide opportunities for exploring multiple musical dimensions and what students learn in each experience is guided by the nature of the piece they are studying.

For the purposes of this document, “Basic Level” is for students who have completed only 1 (or 2) years of study in the ensemble setting. “Advanced Level” students would have completed 3 (4 or 5) years of study, having participated consistently throughout their (upper elementary and) middle school experience. It is assumed that Advanced Level students also have the skills and understandings expected of Basic Level students.

This document assumes that students have experienced the K-5 portion of this curriculum.


BY THE END OF EIGHTH GRADE…CONCEPTS: In music of a variety of styles, genres, and cultural



MELODY = PITCH + RHYTHM:

Understanding how pitch and rhythm function in the context of melody.

All

Stud

ents

Identify and use phrasing as a vehicle for expression and musical organization.

Singing or playing accurately alone or as member of a group.

1, 2, 9 1, 4

Realize (interpret, decode, make meaning of) and perform contour and direction in the context of a simple notated melodic line.

• Performing with musical sensitivity to phrase shape and duration. • Identifying phrases in the score.• Graphically representing phrases.

1, 5, 6, 7. 9

1, 3, 4

Reproduce melodic phrases by ear. Singing or playing accurately alone or as member of a group.

1, 2, 9 1, 4

Cho

ral

Basic: Realize and perform music that has basic rhythms in simple meters (2/4, 3/4, 4/4) and mostly stepwise motion in the context of a notated melodic line.

• Singing accurately alone or as member of a group.

• Sight-read melodies alone or as a member of group. (Melodies for sight-reading are usually simpler than music students are able to perform.)

1, 5, 9 1, 4

Advanced: Realize and perform music that has basic rhythms in simple and compound meter and increasingly complex intervallic relationships (including perfect 4ths, 5ths, and accidentals) in the context of a notated melodic line.

1, 5, 9 1, 4

Inst

rum

enta

l

Basic: Realize (interpret, decode, make meaning of) and perform basic rhythms in simple and compound meter in the context of a notated melodic line

• Playing accurately alone or as member of a group.

• Sight-read melodies alone or as a member of group. (Melodies for sight-reading are usually simpler than music students are able to perform. It is preferable for instrumental students to have some experience sight-singing as well.)

2, 5, 9 1, 4

Advanced: Realize (interpret, decode, make meaning of) and perform basic rhythms in simple and compound meter in the context of a notated melodic line.

2, 5, 9 1, 4

Use fingering charts to figure out how to play unfamiliar passages.

• Using information learned from the charts in performing.

2 1


BY THE END OF EIGHTH GRADE…CONCEPTS In music of a variety of styles, genres, and cultural


Standards

Michigan Standards

HARMONY & TEXTURE

Understanding how harmony and texture function and how they may be used to create motion and structure in music.

Understand how individual parts of a work relate to the whole in a variety of styles, genres, and cultural and historical contexts.

• Distinguishing the role of their individual part within the whole (e.g., melody, bass line, countermelody, accompanying part).• Maintaining an individual part in the context of the ensemble.• Performing in balance and blend with the rest of the ensemble.• Performing unison, two-part, three-part (or more in instrumental) music in both small and large ensemble settings.• Verbal or written reflection.• Identification in a listening experience (a recording or in their own performance).• Gesture or body motion.

1, 2, 6, 7, 9

1, 3, 4

Understand how tonal center and modality create key and operate in the musical works they are performing.

• Verbal description of what they hear and see in the score.• Creating original music (in a small group setting) in particular modalities and keys.• Verbally identify basic key signatures in the score (most basic to the instrument).

3, 4, 5, 6, 7, 9

2, 3, 4

Understand how harmonic motion and cadence function in musical works, including the ability to identify (by ear) some basic chord progressions.

• Verbal description of what they hear and see in the score.• Creating original music over simple chord progressions.• Identifying in a listening experience (a recording or in their own performance).• Making appropriate personal decisions about how to perform based on understanding of harmonic motion.

1, 2, 3, 4, 5, 6, 7, 9

1, 2, 3, 4



BY THE END OF EIGHTH GRADE…CONCEPTS In music of a variety of styles, genres, and cultural and

historical contexts, students will be able to:Students will demonstrate through: National

Standards

Michigan Standard

s

EXPRESSIVE QUALITIES:DYNAMICS, TEMPO, TIMBRE, ARTICULATION

Understanding how dynamics, tempo, timbre, and articulation may be used to interpret music for expression.

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Timbre: • Understand how to create a characteristic tone on their instruments or with their voices (i.e., performing with appropriate technique).

• Making appropriate musical decisions while singing, playing, or leading their peers within.

• Performing appropriately reflecting their understanding.

• Representing their understanding through graphic, verbal, and/or kinesthetic expression.

• Composing or improvising original music that reflects their understanding and performing with sensitivity as a member of the ensemble performing those works.

1, 2, 3, 4, 5, 6, 7, 9

1, 2, 3, 4

Dynamics:• Perform with attention to dynamic markings in the score.• Make decisions about using dynamics to shape music to make it expressive.• Understand how to use dynamics to achieve appropriate balance in an ensemble setting.

Tempo:• Perform with attention to tempo markings in the score.• Make decisions about using tempo to make music expressive.

Articulation:• Perform with attention to articulation marks in the score.• Use articulation as an expressive tool.• For singers, articulation often shows itself in diction. Students should know how to use proper diction to achieve an effective performance.

Listen reflectively (to their own performance, recordings of the ensemble’s performance, live performance of other ensembles, recorded ensembles) to begin to discriminate, critique, evaluate, problem solve, and use the information to improve future performance.CC & PC: interpretation in language arts, dance, and drama. 8 5


BY THE END OF EIGHTH GRADE…CONCEPT In music of a variety of styles, genres, and cultural


Standards

Michigan Standard

s

FORM Understand how form structures a work and how form influences interpretation.

• Verbally describing what they hear and see in the score.• Identifying in a listening experience (a recording or in their own performance).• Making appropriate personal decisions about how to perform based on understanding of form.• Creating original music with form as an organizer.

1, 2, 3, 4, 5, 6, 7, 9

1, 2, 3, 5

CC: form in poetry, dance, theatre, visual art, architecture. 8 5

BY THE END OF EIGHTH GRADE…CONCEPTS In music of a variety of styles, genres, and cultural


Standards

Michigan Standard

s

STYLE & GENRE

Understand the ways musical elements (dimensions) interact to produce style and genre. • Describing (verbally, visually, kinesthetically)

and/or comparing different musical works (experienced through listening or performing).

• Performing in a stylistically appropriate manner.

1, 2, 6, 7, 9

1, 3, 4


Understand and recognize a variety of styles and genres and in appropriate cultural and historical contexts.

CC: Style and genre in visual art, theatre, dance, language arts (produced by the ways the elements of those art forms are combined to produce a work of art).

8 5


BY THE END OF EIGHTH GRADE…CONCEPT In music of a variety of styles, genres, and cultural


Standards

MichiganStandards

AFFECT Understand the ways musical elements (dimensions) interact to elicit affective response.

• Describing (verbally, visually, kinesthetically) and/or comparing different musical works (experienced through listening or performing).• Interpreting music when performing and creating to produce a particular affective quality.

1, 2, 3, 4, 6, 7, 9

1, 2, 3, 4

PC & CC: Understand the ways elements (dimensions) within each of the other arts (visual art, language arts, dance, theatre) interact to elicit affective response.

8 5


CURRICULUM FOR PERFORMANCE-BASED MUSIC CLASSESGRADES 9 - 12

In performance classes, the primary activity is performing. However, performing should be enhanced with listening and creating experiences, all three in the context of authentic music.

Authentic music is music that could be found outside the classroom in real world contexts (as opposed to music that is contrived for teaching purposes). Students should engage in the processes of listening, creating, and performing in ways that are most similar to the ways in which experienced musicians engage. Classroom activities should not be “exercises” that prepare students for “real” musical engagement.

The curriculum for a performance class is organized around music literature that embodies multiple musical dimensions. Therefore, music selected for study should be rich enough to provide opportunities for exploring multiple musical dimensions and what students learn in each experience is guided by the nature of the piece they are studying.

For the purposes of this document, “Basic Level” is for students who have completed only 1 (or 2) years of study in the ensemble setting. “Advanced Level” students would have completed 4 years of study in high school and have the potential to pursue higher level, pre-professional study at the college level. It is assumed that Basic Level students also have the skills and understandings expected of Advanced Level students.

This document assumes that students have experienced the K-8 portion of this curriculum.


BY THE END OF TWELFTH GRADE…CONCEPTS: In increasingly more complex music of a variety of

styles, genres, and cultural and historical contexts, students will be able to:


Michigan Standards

MELODY, PITCH, RHYTHM,

Understanding how pitch and rhythm function in the context of melody.

All

Stud

ents

Identify and use phrasing as a vehicle for expression and musical organization.

Singing or playing accurately alone or as member of a group.

1, 2, 9 1, 4

Realize (interpret, decode, make meaning of) and perform contour and direction in the context of a simple notated melodic line.

• Performing with musical sensitivity to phrase shape and duration. • Identifying phrases in the score.• Graphically representing phrases.

1, 5, 6, 7, 9

1, 3, 4

Reproduce melodic phrases by ear. • Singing or playing accurately alone or as member of a group.

1, 2, 9 1, 4

Cho

ral

Basic: Realize and perform music that has basic rhythms in simple and compound meter and increasingly complex intervallic relationships (including perfect 4ths, 5ths, and accidentals) in the context of a notated melodic line.

• Singing accurately alone or as member of a group.

• Sight-read simple melodies alone or as a member of group. (Melodies for sight-reading are usually simpler than music students are able to perform.)

• Advanced: Notate a simple melody by ear.

1, 5, 9 1, 4

Advanced: Realize and perform music in any meter with increasingly complex intervallic relationships (all intervals within an octave, including accidentals in major and minor keys) in the context of a notated melodic line.

1, 5, 9 1, 4

Inst

rum

enta

l

Basic: Realize (interpret, decode, make meaning of) and perform rhythms with increasingly complex intervallic relationships in simple and compound meter in the context of a notated melodic line.

• Playing accurately alone or as member of a group.• Sight-read melodies alone or as a member of group. (Melodies for sight-reading are usually simpler than music students are able to perform. It is preferable for instrumental students to have some experience sight-singing as well.)

• Advanced: Notate a simple melody by ear.

2, 5, 9 1, 4

Advanced: Realize (interpret, decode, make meaning of) and perform complex rhythms with increasingly complex intervallic relationships in any meter in the context of a notated melodic line.

2, 5, 9 1, 4


BY THE END OF TWELFTH GRADE…CONCEPTS In increasingly more complex music of a

variety of styles, genres, and cultural and historical contexts, students will be able to:


Michigan Standards

HARMONY & TEXTURE

Understanding how harmony and texture function and how they may be used to create motion and structure in music.

Understand how individual parts of a work relate to the whole.

• Distinguishing the role of their individual part within the whole (e.g., melody, bass line, countermelody, accompanying part).• Maintaining an individual part in the context of the ensemble.• Performing in balance and blend with the rest of the ensemble.• Performing unison, two-part, three-part (or more in instrumental) music in both small and large ensemble settings.• Verbal or written reflection.• Identification in a listening experience (a recording or in their own performance).• Gesture or body motion.

1, 2, 6, 7, 9

1, 3, 4

Understand how tonal center and modality create key and operate in the musical works they are performing.

• Verbal description of what they hear and see in the score.• Creating original music (in a small group setting) in particular modalities and keys.• Verbally identify key signatures in the score.• Playing or singing in a variety of keys.

3, 4, 5, 6, 7, 9

2, 3, 4

Understand how harmonic motion and cadence function in musical works, including the ability to identify (by ear) chord progressions.

• Verbal description of what they hear and see in the score.• Creating original music over simple chord progressions.• Identifying in a listening experience (a recording or in their own performance).• Making appropriate personal decisions about how to perform based on understanding of harmonic motion.

1, 2, 3, 4, 5, 6, 7, 9

1, 2, 3, 4



BY THE END OF TWELFTH GRADE…CONCEPTS In increasingly more complex music of a variety of styles, genres,

and cultural and historical contexts, students will be able to:Students will demonstrate through:

National Standard

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Michigan Standard

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EXPRESSIVE QUALITIES:DYNAMICS, TEMPO, TIMBRE, ARTICULATION

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Timbre: • Consistently create a characteristic tone on their instruments or with their voices (i.e., performing with appropriate technique).

• Making appropriate musical decisions while singing, playing, or leading their peers.

• Performing appropriately reflecting their understanding.

• Representing their understanding through graphic, verbal, and/or kinesthetic expression.

• Composing or improvising original music that reflects their understanding and performing with sensitivity as a member of the ensemble performing those works.

1, 2, 3, 4, 5, 6, 7, 9

1, 2, 3, 4

Dynamics:• Perform with attention to dynamic markings in the score.• Make decisions about using dynamics to shape music to make it expressive.• Understand how to use dynamics to achieve appropriate balance in an ensemble setting.Tempo:• Perform with attention to tempo markings in the score.• Make decisions about using tempo to make music expressive.Articulation:• Perform with attention to articulation marks in the score.• Use articulation as an expressive tool.• For singers, articulation often shows itself in diction. Students should know how to use proper diction to achieve an effective performance.Demonstrate independence in their ability to make discriminating choices about how expressive qualities may be used to interpret music.Make decisions about performing with attention to text in a variety of language contexts.Listen reflectively (to their own performance, recordings of the ensemble’s performance, live performance of other ensembles, recorded ensembles) to discriminate, critique, evaluate, problem solve, and use the information to improve future performance.CC & PC: interpretation in language arts, dance, and drama. 8 5


BY THE END OF TWELFTH GRADE…CONCEPT In increasingly more complex music of a variety of



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Michigan Standard

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FORM Understand how form structures a work and how form influences interpretation.

• Verbal description of what they hear and see in the score.• Identifying in a listening experience (a recording or in their own performance).• Making appropriate personal decisions about how to perform based on understanding of form.• Creating original music with form as an organizer.

1, 2, 3, 4, 6, 7, 9

1, 2, 3, 4

CC: form in poetry, dance, theatre, visual art, architecture. 8 5

BY THE END OF TWELFTH GRADE…CONCEPTS In increasingly more complex music of a variety of



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Michigan Standard

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STYLE & GENRE

Understand the ways musical elements (dimensions) interact to produce style and genre.

• Describing (verbally, visually, kinesthetically) and/or comparing different musical works (experienced through listening or performing).• Performing in a stylistically appropriate manner.• Creating original music in a particular style or genre.

1, 2, 6, 7, 9

1, 3, 4


Understand and recognize a variety of styles and genres.

CC: Style and genre in visual art, theatre, dance, language arts (produced by the ways the elements of those art forms are combined to produce a work of art).

8 5


BY THE END OF TWELFTH GRADE…CONCEPT In increasingly more complex music of a variety of



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MichiganStandards

AFFECT Understand the ways musical elements (dimensions) interact to elicit affective response.

• Describing (verbally, visually, kinesthetically) and/or comparing different musical works (experienced through listening or performing).

• Interpreting music when performing and creating to produce a particular affective quality.

1, 2, 3, 4, 6, 7, 9

1, 2, 3, 4

Listen reflectively (to their own performance, recordings of the ensemble’s performance, live performance of other ensembles, recorded ensembles) to discriminate, critique, evaluate, problem solve, and use the information to improve future performance.

• Verbally describing the experience.

• Successfully implementing improvement in their performance, based on self-assessment.

Demonstrate independence in their ability to make discriminating choices about how they choose to interpret a piece of music.

Performing a work and then verbally commenting on the choices they made.

PC & CC: Understand the ways elements (dimensions) within each of the other arts (visual art, language arts, dance, theatre) interact to elicit affective response.

8 5


MUSIC CURRICULUM FOR NONTRADITIONAL MUSIC CLASSESGRADES 6 - 12

(For districts that are organized K-6, 7-8, 9-12, music for 6th graders might include elements of this secondary curriculum.)

Nontraditional music classes provide access to music learning without requiring prior musical experience or skills.

While performance process is likely to be part of most classes, public performance is not the primary goal and will not necessarily be required.

These classes are: organized around real world musical roles (such as audio engineering, music business, music technology, video

technology) cross-disciplinary in nature (sociological, historical, cultural) designed to enable (foster) meaningful connections to students’ lives.

Class content will be flexible, based on student interest.

Classes are open to all students, including those who already participate in traditional performance classes.

Students may elect to repeat courses at any time (not necessarily concurrently). Because students are working at their own levels of musical proficiency within the context of the group, repeated participation will enable deeper understanding through increasingly complex experiences.

Regardless of the specific nature of the course, students in all classes will work with core dimensions and meta-dimensions of music within a context appropriate for the focus of the class. In all classes, students will encounter exemplary music of a variety of styles, genres, and historical and cultural contexts and explore to the extent that it relates to the projects generated in the class.


Because students will be working with all aspects of music in a variety of contexts, making a variety of connections, their work in these courses will meet all of the Michigan and National Standards.

Other Sample Course Names:

Write your Own Rock Songs [Rap Songs, Film Music, etc.]Garage BandLearn to Play GuitarLearn to Play KeyboardAmerican Idol 101Musical Theatre WorkshopMusic in AdvertisingMusic BusinessRock Music 1950s to presentSound StudioMusic for DanceWorld MusicsMusic Technology


SAMPLE NONTRADITIONAL CLASS…“WRITE YOUR OWN FILM MUSIC”

Students in this class will create original film score music to serve as a soundtrack for video material. To accomplish this, students will:

Work at computer stations with keyboard synthesizers and appropriate software. Have access to a rich collection of audio recordings and DVDs to use as models and

resources (for research purposes, inquiry-based) Learn about how compositional techniques can be used to create moods and elicit

affective responses in audiences in relation to the visual image. Utilize analytical skills in analyzing visual and aural images in the context of plot,

character, development, setting, voice, etc. As an integral part of the process, be constantly involved in assessment and evaluation of

the product and process (from their perspective) and use these assessments to inform future decisions in their work.

Produce a DVD that may be shared with peers and/or interested others.

PROPOSALS

This music curriculum will enable students to meet the highest levels of state and national standards, and achieve the quality of excellence that the _______________ community has come to expect. In order to carry out this curriculum:

• We propose

(what you need to carry out this curriculum)


BASIC EQUIPMENT FOR ELEMENTARY GENERAL MUSIC CLASSROOMS

(list here)

and so on for all areas of curriculum.


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