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Weingarten 1

Jennifer Weingarten

Music Education

April 13, 2015

High School 912

Music History

Monmouth University

Student Teaching

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Table of Contents:

Page 3 : Part 1 Contextual Factors

Page 8 : Part 2 Design for Instruction

Page 11 : Part 3 Analysis of Student Learning and Reflection

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Contextual Factors

Community

RumsonFair Haven High School is part of its own district, but has two Kindergarten

through eighth grade schools that come into the high school. Each K8 has an elementary and

middle school separation, but both are part of the same building. From the Rumson district, there

is DeanePorter Elementary and Forrestdale School (District Factor Group J). From the Fair

Haven district, there is Sickles Elementary and Knollwood School (District Factor Group I).

Fair Haven – Social, Economic, and Housing Characteristics

Fair Haven Boro, as of 2010, has a population of 6,108 people. The average household

family size is between three and four members. The school enrollment for students in preschool

through college or graduate school is at 100%. For educational attainment, the majority of the

population (73%) has either received a Bachelor’s degree or completed Graduate school. English

is the most common spoken language, with 94.4% of the population only speaking English.

Of the total population of 6,121, 71.5% are eligible for employment. Of the labor force

(66.1%), 62.8% are employed, and only 3.4% are unemployed. The average individual income is

$141,250, while the average household income is $168,875. However, the majority of the

individual population (29.8%) has an income of over $200,000, while the average household

(36%) brings in the same amount; over $200,000.

The total number of housing units in Fair Haven is 2,147, with 99.3% of them occupied.

Looking at the year the houses were built, the majority of them (30.3%) were built before

1930’s. There are 94.6% homes that are owned, while only 5.4% are rented. The average vehicle

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per home is two, which makes up 56.8% of the population. Of the total population (6,108),

47.4% are male, and 52.6% are female. Almost all of the population is white, representing 98.8%

of it. African Americans represent 2.1%, and Asian Americans represent 2.1% of the population.

Rumson – Social, Economic, and Housing Characteristics

Rumson Boro, as of 2010, has a population of 7,065 people. The average household

family size is between three and four members. The school enrollment for students in preschool

through college or graduate school is at 99.9%. For educational attainment, the majority of the

population (64.9%) has either received a Bachelor’s degree or completed Graduate school.

English is the most common spoken language, with 94.4% of the population only speaking

English.

Of the total population of 7,065, 74.9% are eligible for employment. Of the labor force

(59.1%), 55.3% are employed, and only 3.8% are unemployed. The average individual income is

$131,250, while the average household income is $168,158. However, the majority of the

individual population (36.1%) has an income of over $200,000, while the average household

(41%) brings in the same amount; over $200,000.

The total number of housing units in Rumson is 2,608, with 89% of them occupied.

Looking at the year the houses were built, the majority of them (25%) were built before 1930’s.

There are 88.3% homes that are owned, while 11.7% are rented. The average vehicle per home is

two, with 47% having two vehicles. 34.2% of the households have three or more vehicles. Of the

total population (7,065), 50.3% are male, and 49.7% are female. Almost all of the population is

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white, taking 98.8% of it. African Americans represent 0.5%, and Asian Americans represent

0.5% of the population.

District and School

RumsonFair Haven Regional High School’s mission statement is as follows: “The

mission of the RumsonFair Haven Regional High School District is to empower students to

realize their personal potential and fulfill their responsibilities as members of a moral democracy.

The learning community will achieve this mission through ongoing, honest selfreflection and

the practices of a commitment embedded in the RFH Philosophy Statement.” The high school is

District Factor Group J.

The school is home to 913 students, 99% of which speak English. Of the population,

94.3% are white students, 1.7% are Asian, 2.8% are Hispanic, 0.8% are Black, and 0.4% are

other races. Of those 913 students, 462 are male, and 452 are female. For the first time in three

years, males are the dominant gender in the school population. Within this student population,

there are 124 students that have disabilities and 5 students that are economically disadvantaged.

RumsonFair Haven Regional High School is a high academic performing school. For the

HSPA Language Arts test, 224 valid scores were recorded with a 99.5% pass rate. For the SAT

test, the percentage of students that scored above a 1550 was 76.7%. The high school’s

graduation rate is at an impressive 98%.

The school itself is 4 story building with a football stadium and numerous practice fields.

Out of the 897 students, 90% of them participate in one or more of the 34 extracurricular

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programs and/or the 25 athletic teams that are offered and available. Having a smaller number of

students, more staff members are available to help the students with academics. There are nine

students for every staff member, and 224 students per administrator. With this, the school

upholds the beliefs of academia and accomplishment, treasuring both the shared experience of

education as well as the individual journey of selfdiscovery. RumsonFair Haven is also a

National Blue Ribbon high school.

As part of their academics, there are over 130 courses through a total of eight

departments. They are distinguished for putting a prime emphasis on preparing for college. They

incorporate 44 advanced placement and honors courses that are offered in many subject areas

such as English, Social Studies, Science, Mathematics, World Languages, Music and Art.

Classroom Factors

The instructional time for each class is a 42 minute period. There are two classroom

environments, one is structured like an amphitheater, with a main level, and four levels rising

above it like platforms. This is so the instrumental ensembles can set up and see the conductor at

the front. There is a white board and projector at the front, along with a baby grand piano on

wheels. At the rear of the room there are instrument closets so the students can store their

instruments.

In the adjacent room, or classroom two, there are work tables in the center, with eight

work stations along the walls. At each of these stations, there is an HP computer with a MIDI

connection to a keyboard with drum pads on them, as well as a headphone amp that has multiple

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headphone jacks. On each computer, there is a program called Pro Tools that allows the students

to record, create, and mix audio tracks that are either entered in or recorded.

Connecting the two rooms are a practice room, where students are free to use to work on

their pieces, and the teachers office. There are countless resources available to the students, such

as textbooks, informational books, history books, computers, instruments, complete musical

scores, CD’s, recording equipment and the like.

During a typical six hour and fifty five minute school day, five hours and forty minutes of

that time is used for instruction. There are seven academic periods, in addition to a lunch and a

study hall, as well as after school periods. Instructional periods last forty two minutes, with a

four minute transition time between the periods.

In the Music Theory course, students learn what music is, how music works, the rules

music follows, and the history of music. Throughout the course, students are required to create

their own musical compositions based on what they have learned in class. For this, they use an

online music notation website. As they get deeper into part writing, live performances are

utilized to demonstrate successful writing. Music History is introduced as a way to relate what

they are learning technically with practical uses of it. Students are also required to complete

projects that relate Music to other content areas.

Student Characteristics – Whole Group, Sub Group, and Individual

The students participating in Music Theory consist of eleven freshman, five sophomores,

and four juniors. The gender distribution is maledominant, with sixteen males and four females.

Of the twenty students, there are six students with IEP’s.

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The subgroup being focused on consists of the students who excel in the class. These four

students can be relied on to complete their own work with very little assistance from the

instructor. They grasp each concept quickly and efficiently, which allows the instructor to assist

other students who are struggling. The instructor can also rely on these four students to help their

peers while the instructor is assisting other students.

The individual being focused on will be referred to as Student A. This student has an IEP,

struggles with content comprehension, and requires additional one on one instructional time.

This student also has focusing issues; however they are nondisruptive during instructional time.

Student A will ask questions, but only during a review session when many other topics need to

be covered as well. If the student remembers to come for extra time during lunch, they will

receive extra instructional time then.

Unit Goals

In this unit, students will be able to demonstrate a working understanding of how music

has progressed through time, as well as how past musical knowledge has influenced itself

throughout time. Students will also be able to demonstrate an understanding of the characteristics

during each musical era by listening to and identifying specific ideas, structures, and musical

styles. In addition to identifying styles and structures, students will compose short musical

excerpts utilizing the specifications of each era. Students will also be identifying the cultural

characteristics of each time period and mapping out relationships between the culture and the

musical trends.

Rationale

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Throughout the course of this unit, students will learn many realworld applications for

the information they are learning. The students will evaluate the relationship between culture,

social trends and music of the time period, examine the origins of music, music notation, and

musical forms, analyze the impact of technological developments on music, and apply reading

and writing to inquire, think critically, and apply history concepts to new situations.

For RumsonFair Haven Regional High School, the Board of Education requires specific

areas where knowledge is gained. These unit guidelines are located on the district’s Music

Theory curriculum packet. The areas that are captured in this unit are as follows:

Visual and Performing Arts 0.2: History of the Arts and Culture all students will understand the role, development, and the influence of the arts throughout history.

Technological Literacy 8.2: Technology Education, Engineering and Design all students will develop an understanding of the nature and impact of technology, engineering, technological design, and the designed world, as they relate to the individual, global society, and the environment.

21st Century Life and Career Skills: 9.1 21st Century Life and Career Skills all students will demonstrate the creative, critical thinking, collaboration, and problemsolving skills needed to function successfully as both global citizens and workers in diverse ethnic and organizational cultures.

In relation to the global standards, there are many that are incorporated and executed over the

span of this unit. The New Jersey Core Curriculum Content Standards (NJCCCS) that are

covered in this Music History unit are as follows:

1.1.12.B.1 Examine how aspects of meter, rhythm, tonality, intervals, chords, and harmonic progressions are organized and manipulated to establish unity and variety in genres of musical compositions

1.1.12.B.2 Synthesize knowledge of the elements of music in the deconstruction and performance of complex musical scores from diverse cultural contexts

1.2.12.A.1 Determine how dance, music theater, and visual art have influenced world cultures throughout history

1.2.12.A.2 Justify the impact of innovations in the arts on societal norms and habits of mind in various historical eras

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1.3.12B.1 Analyze compositions from different world cultures and genres with respect to technique, musicality, and stylistic nuance, and/or perform excerpts with technical accuracy, appropriate musicality, and the relevant stylistic nuance

1.3.12.B.4 Arrange simple pieces for voice or instrument using a variety of traditional and nontraditional sound sources or electronic media, and/or analyze prepared scores using music composition software.

Under the Common Core State Standards (CCSS) the standards that are incorporated are:

CCSS.ELALITERACY.RH.910.9 Compare and contrast treatments of the same topic in several primary and secondary sources

CCSS.ELALITERACY.RI.1112.3 Analyze a complex set of ideas or sequence of events and explain how specific individuals, ideas, or events interact and develop over the course of the text

CCSS.ELALITERACY.RI.1112.7 Integrate and evaluate multiple sources of information presented in different media or formats (e.g., visually, quantitatively) as well as in words in order to address a question or solve a problem.

All of the New Jersey Professional Standards for Teachers (NJPST) are incorporated into the

lesson as well as outside of the classroom environment. They are as follows:

Learner Development, Learning Differences, Learning Environments, Content Knowledge, Application of Content, Assessment, Planning for Instruction, Instructional Strategies, Professional Learning, Leadership and collaboration, and Ethical Practice.

For the Specialty Professional Association standards, or SPA, all of the standards are targeted

during this unit plan:

1. Singing, alone and with others, a varied repertoire of music, 2. Performing on instruments, alone and with others, a varied repertoire of music, 3. Improvising melodies, variations, and accompaniments, 4. Composing and arranging music within specific guidelines, 5. Reading and notating music, 6. Listening to, analyzing, and describing music, 7. Evaluating music and music performances, 8. Understanding relationships between music, the other arts, and disciplines outside the arts, and 9. Understanding music in relation to history and culture.

Learner Outcomes

The learner outcomes are as follows: Students will demonstrate their understanding by

appropriately using vocabulary terms to describe a musical selection, Students will demonstrate

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their understanding by composing a short piece using specific musical guidelines of the time,

Students will demonstrate their understanding by performing selected pieces from the era as a

group, Students will demonstrate their understanding by researching topics and relating the topic

to the content being learned.

Assessment Plan

The purpose of this unit is to teach Music Theory through Music History. The students

will understand the elements of each Era’s music by composing short pieces using the

characteristics and methods of each Era. The class will be given a Pre Test that will set up an

average knowledge base of what the students already know and don’t know yet.

Formative assessments will include a variety of projects and assignments. The students

will create mini musical compositions where the characteristics of the period will be followed

and utilized. A brief research topic will be given for students to find one or two facts about the

uses of chants for meditation or uses in specific cultures. Students will also be singing, as a

group, some musical selections relating to a certain time period. Another research assignment

will be on a single song. Here, the students will select a time period, one composer, and one song

from that composer. The students will need to give a brief overview of the composer and the

piece, giving information about the history of the piece, the style the composer used, as well as a

reason to why they chose the piece. The next research assignment will be finding two similarities

in the developments of Music and another field of study or content relate to each other during the

Romantic Era. During each lesson, the students will be listening to examples from the time

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period being taught. For these listening examples, the students will keep a listening log detailing

three areas: their expectations about what it will sound like, observations about the piece using

musical vocabulary, and then their own opinions about the piece. In addition, the students will be

sharing main ideas of each lesson to their parents. The parents will also be given a Pre Test

survey and a Post Test survey. If growth is shown, the students will receive extra credit points on

their final unit test.

Growth will be shown through the individual questions. Data will be collected with the

pretest to see where students already have prior knowledge, and where they do not. The data

being collected is simply the answers that were correct and the answers that were incorrect. Each

answer will be given a percentage of how many were correct. The same data will be collected on

the post test and will be compared to the pretest results.

The summative assessment will be the same test as the Pre Test. The students will not be

given the correct answers directly, but through the lecture they will learn the correct answers.

The format will be exactly the same, so each question can be analyzed for growth. Using the

same exact test will clearly show where knowledge growth occurred, and where it did not.

The alignment of the assessments with the learner outcomes are clear cut. Students will

demonstrate their understanding by appropriately using vocabulary terms to describe a musical

selection. This is relating to the Listening Logs that the students will be keeping. Students will

demonstrate their understanding by composing a short piece using specific musical guidelines of

the time. This will be used when the students compose a short work using the guidelines of each

era. Students will demonstrate their understanding by performing selected pieces from the era as

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a group. This will be for when the students demonstrate certain eraspecific selections. Students

will demonstrate their understanding by researching topics and relating the topic to the content

being learned. This applies to the research assignments outside of the classroom.

This plan incorporates varied instructional strategies and differentiated instruction by

having students composing individually, composing with a partner, researching concepts,

analyzing musical selections using musical vocabulary, and offering students an opportunity to

speak their own opinions about the musical excerpts being played during class.

This unit assessment plan will meet the needs of all learners through accommodations,

adaptations, and modifications by enabling students to ask questions, ask for extra help, and by

using multiple forms of instructional resources. These resources will include historical packets,

printed score packets, ‘Composers on Music’ packets, audio examples, visual representations,

hands on compositions, technological recording software, and live demonstrations.

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Appendix 1

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Anecdotal Records Music Theory

Whole Class

some participation majority offer opinions about other’s research topics half of class is uninvolved and silent half of class involved and very talkative review of basic music concepts explains an idea (interval magic number is 9) immediately ask how teacher got inversion of M7 (m2) after teacher just explained intervals, scales, chords, key signatures

Subgroup

very attentive music history unit brought up in class concerned with quizzes, tests, worksheets, projects, etc. respectful to other classmates easily distracted when asked about their topic, they talk about other research found after the paper was

written very enthusiastic about their research topic offers real life experiences in addition to another’s comment or topic can answer quickly to interval questions

Individual

previous day, given opportunity to retake a test they failed, decided not to take it said he messed up and accepts the consequence

decided will 5 minutes left in the period to retake it, but couldn’t finish

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seems uninvolved music history unit brought up in class offers an interesting fact about first instrument very enthusiastic to start learning about history easily side tracked while students sharing their Music and the Brain paper topics shares a lot about his paper very enthusiastic about what they learned through their research participates 200% more than in a normal learning environment

OVERVIEW

2013-14

1

74 RIDGE ROAD

25-4580-050

RUMSON, NJ 07760-1896MONMOUTHRUMSON-FAIR HAVEN REG

RUMSON-FAIR HAVEN REGIONAL HIGH SCHOOL

State of New Jersey

GRADE SPAN 09-12

Very High Performance is defined as being equal to or above the 80th percentile.High Performance is defined as being between the 60th and 79.9th percentiles.Average Performance is defined as being between the 40th and 59.9th percentiles.Lagging Performance is defined as being between the 20th and 39.9th percentiles.Significantly Lagging Performance is defined as being equal to or below the 19.9th percentile.

This school's academic performance is high when compared to schools across the state. Additionally, its academic performance lags in comparison to its peers. This school's college and career readiness is very high when compared to schools across the state. Additionally, its college and career readiness is high when compared to its peers. This school's graduation and post-secondary performance is very high when compared to schools across the state. Additionally, its graduation and post-secondary readiness is very high when compared to its peers.

Improvement Status

N/A

Rationale

N/A

Peer Schools are schools that have similar grade levels and students with similar demographic characteristics, such as the percentage of students qualifying for Free/Reduced Lunch, Limited English Proficiency programs or Special Education programs.

This school outperforms 71% of schools statewide as noted by its statewide percentile and 24% of schools educating students with similar demographic characteristics as noted in its peer school percentile in the performance area of Academic Achievement.Additionally, this school is meeting 100% of its performance targets in the area of Academic Achievement.

Academic Achievement

Academic Achievement measures the content knowledge students have in language arts literacy and math. For high schools, this includes measures of the school's proficiency rate on both the Language Arts Literacy and Math sections of the New Jersey High School Proficiency Assessment (HSPA). A proficiency rate is calculated by summing the count of students who scored either proficient or advanced proficient on the assessment and dividing by the count of valid test scores.

College and Career Readiness measures the degree to which students are demonstrating behaviors that are indicative of future attendance and/or success in college and careers. For high schools, this includes measures of participation in college readiness tests such as the SAT, ACT or PSAT and in rigorous coursework as defined by participation in AP or IB courses in English, math, social studies and science.

This school outperforms 83% of schools statewide as noted by its statewide percentile and 70% of schools educating students with similar demographic characteristics as noted in its peer school percentile in the performance area of College and Career Readiness. Additionally, this school is meeting 100% of its performance targets in the area of College and Career Readiness.

College and Career Readiness

This school outperforms 96% of schools statewide as noted by its statewide percentile and 92% of schools educating students with similar demographic characteristics as noted in its peer school percentile in the performance area of Graduation and Post-Secondary. Additionally, this school is meeting 100% of its performance targets in the area of Graduation and Post-Secondary.

Graduation and Post-Secondary

Graduation and Postsecondary measures the rate at which students who begin high school four years earlier graduate within four years. Also included is a measure of the rate at which students in a particular school drop out of school.

Academic Achievement

College & Career Readiness

24 71

100%

100%

70 83

9692

Percent of Targets Met

Graduation and Post-Secondary

Performance Areas Peer Percentile

100%

Statewide Percentile

1.00

DEMOGRAPHIC INFORMATION

2.00

2013-14

2

74 RIDGE ROAD

25-4580-050



State of New Jersey

GRADE SPAN 09-12

2013-14 Percent

German 0.3%

Spanish 0.2%

Russian 0.2%

Chinese 0.1%

French 0.1%

Language Diversity

This table presents the percentage of students who primarily speak each language in their home.

English 99.0%

2011-12 2012-13 2013-14

Total School Enrollment Trends

En

roll

men

t C

oun

t

0

200

400

600

800

1000

271

243

236

193

239

182229

255193

244

241

19412

11

10

09

Enrollment by Grade

This graph presents the count of students who were 'on roll' bygrade in October of each school year.

Total School Enrollment9092011-128972012-139132013-14

Note: "UG" represents the count of students who are 'on roll' in this school but who are educated in ungraded classrooms, meaning that the classrooms may contain students from multiple grade levels.

Twoor

More

0.8%

1.1%

2.8%

1.1%

White 94.2%

White

Black

Hispanic

Asian

American Indian

Pacific Islander

Two or More Races

Enrollment by Ethnic/Racial SubgroupThis graph presents the percentages of enrollment for eachsubgroup defined by the No Child Left Behind Act of 2001

2011-12 2012-13 2013-140

100

200

300

400

500

Male

Female

Enrollment by Gender

This graph presents the count of students by gender who were 'on roll' inOctober of each school year.

4632011-124412012-134522013-14

446456462

Male Female

DISABILITY ECONDIS LEP

Per

cen

t of

En

roll

men

t

0

2

4

6

8

10

12

14

16

0

14

110

13

0

16

0

2011-12

2012-13

2013-14

Enrollment Trends by Program Participation

Current Year Enrollment by Program Participation

Count of Students

% of Enrollment

2013-2014

Economically Disadvantaged Students

0

5

0.0%

0.5%

Students with Disability 13%120

Limited English Proficient Students

ACADEMIC ACHIEVEMENT

2013-14

3

74 RIDGE ROAD

25-4580-050



State of New Jersey

GRADE SPAN 09-12

Academic Achievement measures the content knowledge students have in Language Arts Literacy and Math. In high schools, this includes the outcomes of the New Jersey High School Proficiency Assessment (HSPA). The first column - Schoolwide Performance - in the table below includes measures of the total schoolwide proficiency rate in both Language Arts Literacy and Math across multiple administrations of the assessment. The second column - Peer School Percentile - indicates where the school's proficiency rate compares to its group of peer schools. For example, a school that has a peer school percentile of 65 has a proficiency rate that is higher than 65% of its peer schools. The third column - Statewide Percentile - indicates where the school's proficiency rate compares to schools across the state. For example, a school that has a statewide percentile of 30 has a proficiency rate that is higher than 30% of all schools with HSPA scores statewide. The last column - Percent of Targets Met - presents the percentage of progress targets met as defined by the NJDOE’s NCLB waiver.

The Summary row presents the averages of the peer school percentiles, the average of statewide percentiles and the percentage of statewide targets met.

93%

98%

7124

100%

100%

100%

6929

7319

Academic Achievement IndicatorsSchoolwide Performance

State Percentile

Percent of Targets Met

HSPA Math Proficiency and above

SUMMARY - Academic Achievement

Peer Percentile

HSPA Language Arts Proficiency and above

NCLB Progress Targets - Language Arts Literacy

This table presents the Progress Targets as uniquely calculated for each subgroup in each school under NJDOE’s NCLB waiver. The methodology - as defined by the United States Department of Education - is calculated so that each subgroup will halve the gap between their 2011 proficiency rate and 100% proficiency by 2017.

Schoolwide 90234 97.5

White 90218 97.8

Black - -

Hispanic - -

American Indian - -

Asian - -

Two or More Races - -

Students with Disability 8939 84.7

- -

- -

YES* = Met Progress Target (Confidence Interval Applied)

Data is presented for subgroups when the count is high enough under NCLB suppression rules.

Met Target?

TargetPass Rate

Subgroups

YES

YES

--

--

--

--

--

YES*

--

--

Total Valid Scores

Limited English Proficient StudentsEconomically Disadvantaged Students

2010-11 2011-12 2012-13 2013-140

20

40

60

80

100100

5148

59

3

50

2

4739

02

4652

Advanced Proficient Proficient

Partially Proficient

Proficiency Trends - Language Arts Literacy

This graph presents the percentage of students who scored in the Advanced Proficient, Proficient and Partially Proficient categories of the statewide Language Arts Literacy assessment over the prior four years.

ACADEMIC ACHIEVEMENT

2013-14

4

74 RIDGE ROAD

25-4580-050



State of New Jersey

GRADE SPAN 09-12

2010-11 2011-12 2012-13 2013-140

20

40

60

80

100100

4855

44

7

39

6

5853

23

4440

Advanced Proficient Proficient

Partially Proficient

Proficiency Trends - Math

This graph presents the percentage of students who scored in the Advanced Proficient, Proficient and Partially Proficient categories of the statewide Math assessment over the prior four years.

90234 92.7

90218 93.1

- -

- -

- -

- -

- -

71.639 56.4

- -

- -

NCLB Progress Targets - Math

This table presents the Progress Targets as uniquely calculated for each subgroup in each school under NJDOE’s NCLB waiver. The methodology - as defined by the United States Department of Education - is calculated so that each subgroup will halve the gap between their 2011 proficiency rate and 100% proficiency by 2017.

YES* = Met Progress Target(Confidence Interval Applied)Data is presented for subgroups when the count is high enough under NCLB suppression rules.

YES

YES

--

--

--

--

--

YES*

--

--

Target Pass RateSubgroups

Schoolwide

White

Black

Hispanic

American Indian

Asian

Two or More Races

Students with Disability

Met Target?

Total Valid Scores

Limited English Proficient StudentsEconomically Disadvantaged Students

Proficiency Trends - Biology

This graph presents the percentage of students who scored in the Advanced Proficient, Proficient, and Partially Proficient categories of the Biology Competency Test over the last two years.

Data is suppressed to protect the confidentiality of the students.

This table presents the percentage of students who scored in the Advanced Proficient, Proficient and Partially Proficient categories of the New Jersey Biology Competency Test (NJBCT) in the latest school year.

- --

- --

- --

- --

- --

- --

- --

- --

- --

- --

Proficiency Outcomes - Biology

Data is presented for subgroups when the count is high enough under NCLB suppression rules.

SubgroupsPartially Proficient

Schoolwide

White

Black

Hispanic

American Indian

Asian

Two or More Races



Economically Disdvantaged Students

Advanced Proficient

3.00

COLLEGE AND CAREER READINESS

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74 RIDGE ROAD

25-4580-050



State of New Jersey

GRADE SPAN 09-12

Students in high schools begin to demonstrate college readiness behaviors long before they actually graduate from high school. Among those behaviors are taking college entrance exams and challenging themselves with rigorous course work. The table below presents five such indicators: the percentage of students enrolled in the 12th grade who took the SAT or ACT, the percentage of 10th and 11th graders who took the PSAT, the percentage of students who scored above the SAT benchmark of 1550, the percentage of 11th and 12th graders who took at least one AP or IB test in English, math, social studies or science, and the percentage of those AP or IB tests that were scored a 3 or higher.

The first column - Schoolwide Performance - represents the outcomes for these particular inidcators in the school. The second column - Peer School Percentile - indicates how the school's performance compares to its group of peer schools. For example, a school whose peer school percentile is 65 in SAT participation has a higher SAT Participation than 65% of its peer group. The third column - Statewide Percentile - indicates how the school's performance compares to schools across the state. The fourth column - Statewide Target - provides the statewide targets for each of these indicators. The last column - Met Target? - indicates whether the School Performance met or exceeded the statewide target.

The Summary row presents the averages of the peer school percentiles, the average of statewide percentiles and the percentage of statewide targets met.

2010-11 2011-12 2012-13 2013-14

Year

Par

tici

pat

ion

Rat

e

0

20

40

60

80

100

9493 10095

Participation Trends - SAT TestingThis graph presents the participation rate in the SAT over the last four

years.

College Readiness Test Participation AP/IB Participation - 'Unique' StudentsThe first column of the table below presents the percentage of

students enrolled in the 12th grade who took the SAT or ACT and the percentage of students enrolled in 10th and 11th grade who took the PSAT. The second column provides the average across the school's peer group for these two metrics.

The table below presents the proportion of 'unique' students enrolled in at least 11th and 12th grade i.e, each student is counted once regardless of how many AP or IB courses he/she may take. The table also presents the proportion of how many 'unique' students took at least one AP or IB test to the school's enrollment in 11th and 12th grade.

Note: Students who are enrolled in AP/IB coursework or take AP/IB tests in grades other than 11th and 12th are included in the numerator of this calculation.

AP /IB Test ResultsThis table presents the percentage of all AP/IB tests taken by students enrolled in the school that were scored AP >= 3 and scored IB >= 4.

Participating in SAT

State Avg.

Participating in ACT

75.2%

70.2%

53.4%

85.2%

89.1%

76.2%

75.0%

34.2%

28.4%

18.9%

74.1%

72.4%

22.5%

90.1%

75.4%

85.1%

84.1%

72%

80%

60%

40%

35%

75%

70 83

99%

53%

85%

100%

95

80

8561

6587

9161

87

52

92%

Percent of Students Participating in SAT or ACT

Percent of Students Scoring Above 1550 on SAT

Met Target?

Peer Percentile


Schoolwide Performance

College and Career Readiness Indicators

Summary

2013-14 Percent of Students

One or More Test

SchoolState Avg.

2013-14 State Avg.

One or More Course93.8%

48.8%

54.6%

48.7%

40.2%92.2%

Percent of Students Taking at least one AP Test or IB Test in English, Math, Social Studies or SciencePercent of AP Tests >= 3 or IB Test >= 4 in English, Math, Social Studies or Science

Participating in PSAT or PLAN

Peer Avg.Peer Avg.

2013-14 Percent of Students Taking

SchoolPeer Avg.

Percent of AP Tests >= 3 or IB Test >= 4

Percent of Scores in AP >= 3 or IB >= 4 in English, Math, Social Studies or Science

YES

YES

YES

YES

YES

Percent of Students Participating in PSAT or PLAN

Statewide Target

School

At least one AP or IB Test in English, Math, Social Studies or Science


2013-14

6

74 RIDGE ROAD

25-4580-050



State of New Jersey

GRADE SPAN 09-12

2010-11 2011-12 2012-13 2013-14Year

% a

bov

e 15

50

0

20

40

60

80

100

71.977.4 76.769.9

PERCENT SAT ABOVE1550

SAT Benchmark TrendsThis chart presents the percentage of students who achieved a composite SAT score of 1550 or

higher over the past four years.

Scholastic Assessment Test (SAT) Results

This table presents the percentage of students who achieved a composite SAT score of 1550 or higher. The SAT benchmark score of 1550 (Critical Reading, Mathematics and Writing Score combined) indicates a 65 percent likelihood of achieveing a B- average or higher during the first year of college, which in turn has been found by the College Board's research to be indicative of a high likelihood of college success and completion.

Composite SAT ScoreThis chart presents the average composite SAT score from the

last academic year for students enrolled in this school as well as the average scores achieved in Critical Reading, Mathematics and Writing. The averages from this school’s peer group are also presented.

This chart presents the scores achieved in Critical Reading, Mathematics and Writing by the students at the 25th percentile, the 50th percentile and the 75th percentile of the school's distribution of SAT scores.

State Avg.

25th Percentile

71.9% 44.6%67.6%

1,692

553

572

567

496

521

497

1,5141,685

551

575

559

650

560

500490

550

620 630

570

510

2013-14 School

2013-14

Critical Reading

Mathematics

Writing

State Avg.

50th Percentile

75th Percentile

WritingCritical Reading2013-14

Peer Avg.School

Composite SAT Score

Peer Avg.

Percent of Students Scoring Above 1550 on SAT

Mathematics

AP/IB Courses Offered

This table presents the count of students enrolled in each AP/IB course offered in this school in the first column. The second column presents the count of tests taken in each AP/IB course. The numbers may not match as some students do not take the test in the same year as they take the course and some students may take the course without taking the test or vice versa.

7083

7375

6674

6465

5253

4952

4748

4041

2831

2829

2627

1920

1818

1111

68

66

34

AP/IB Course NameStudents Tested

AP Environmental Science

AP Psychology

AP Macroeconomics

AP English Language and Composition

AP English Literature and Composition

AP Human Geography

AP Calculus AB

AP World History

AP Spanish Language

AP Statistics

AP Physics B

AP Biology

AP Calculus BC

AP French Language

AP Music Theory

AP Chemistry

AP Studio Art-Drawing Portfolio

Students Enrolled


2013-14

7

74 RIDGE ROAD

25-4580-050



State of New Jersey

GRADE SPAN 09-12

The chart below contains the percentage of students who were enrolled in at least one Dance, Drama/Theater, Music or Visual Arts class in this school. The last row shows the percentage of students who were enrolled in any Visual and Performing Arts classes in the school.

Visual and Performing Arts

N/R - Data Not Reported

2.1%

3.9%

17.5%

31.1%

49.3%

N/R

6.8%

7.5%

43.3%

54.8%

Percent of Students Enrolled

Dance

Drama/Theater

Music

Visual Arts

Total: All Visual and Performing Arts

School State

Career in Technical Education Programs

The chart below contains percentage of students who were participants in an approved Career and Technical Education Program in this school as well as across the State of New Jersey.

N/R - Data Not Reported

0.5% 19.2%

State School Percent of Students Enrolled

Participating in CTE

4.00

GRADUATION AND POSTSECONDARY

2013-14

8

74 RIDGE ROAD

25-4580-050



State of New Jersey

GRADE SPAN 09-12

This section of the performance report presents data about graduation, dropout and post-secondary attendance. The graduation rate is calculated according to the NCLB Cohort methodology as required by the United States Department of Education. Dropout rates are calculated from student-level data submitted by districts for students officially classified as dropouts. The dropout rate is the count of students who dropout in an academic year divided by the school's total enrollment.

The first column - Schoolwide Performance - represents the outcomes for these particular indicators in this school. The second column - Peer School Percentile - indicates how the school’s performance compares to its group of peer schools. For example, a school whose peer percentile is 65 in Graduation Rate has a higher Graduation Rate than 65% of its peer group. The third column - Statewide Percentile - indicates how the school’s performance compares to schools across the state. The fourth column - Statewide Target - provides the statewide targets for each of these indicators. The Statewide Target for Graduation Rate was established pursuant to NJDOE’s NCLB Accountability Workbook. The last column - Met Target - indicates whether the School Performance met or exceeded the statewide target.

The Summary row presents the averages of the peer school percentile, the average of statewide percentile and the percentage of statewide targets met.

99% 78%

2%

9692

0 %

100%

91

100

84

100

Graduation & Post Secondary Indicators

Schoolwide Performance

Peer Percentile

Statewide Targets

Met Target

SUMMARY - Graduation & Post-Secondary

Overall Graduation Rate

Dropout Rate

YES

YES


Schoolwide 99% 78%

99%

-

-

-

-

-

-

95%

-

-

Graduation Rate by SubgroupThis table presents for all NCLB-identified subgroups the “4-

year Adjusted Graduation Rate.” This rate calculates the percentage of students who are awarded a regular, high school diploma within four years of becoming a first-time ninth grader. The rate is adjusted to account for students who ‘transfer-in’ and for students who are verified as ‘transfers-out'.

White

Black

Hispanic

American Indian

Asian

Native Hawaiian

Two or More Races




School State Target

Schoolwide 0% 2%

0%

-

-

-

-

-

-

0%

-

-

Dropout Rate by Subgroup

This table presents for all NCLB-identified subgroups the Dropout rate. This rate calculates the percentage of students who are classified as dropouts divided by the school's total enrollment and by each subgroup enrollment.

School State Target

White

Black

Hispanic

American Indian

Asian

Native Hawaiian

Two or More Races



Limited English Proficiency

GRADUATION AND POSTSECONDARY

2013-14

9

74 RIDGE ROAD

25-4580-050



State of New Jersey

GRADE SPAN 09-12

EXEMPT6.3

AHSA1.3

HSPA92.5

HSPA AHSA EXEMPT

Graduation Pathway Rates

This chart presents the percentage of high school graduates who graduated by passing both sections of the HSPA, who were exempt from passing the HSPA, or who demonstrated proficiency through an alternative pathway such as through the Alternative High School Assessment, achievement of the ‘Just Proficient Mean’ or an appeal process.

99% 99%

98%

99%

99%

Extended Year Graduation Rate

The chart below presents the 4-year and 5-year graduation rate for the prior school year’s cohort in addition to the 4-year graduation rate for last year’s cohort.

Class of 4-year Rate 5-year Rate

2012

2013

2014

This chart presents the enrollment rates of this school’s high school graduates, 16-months after high school graduation. The data is from the National Student Clearinghouse which reports that it collects student-level enrollment data from 95% of Institutions of Higher Education nationwide. The last columns indicate, for the schoolwide total and each subgroup, the percentage of postsecondary enrollees that were enrolled in either a 2 year or a 4 year institution.

Schoolwide 15.6% 84.4%92%

92.7% 16.3% 83.7%

- - -

- - -

- - -

- - -

- - -

- - -

93.3% 46.4% 53.6%

- - -

- - -

Postsecondary Enrollment Rates

Percent Enrolled

Percent in 2 Year

Percent in 4 Year

White

Black

Hispanic

Asian

American Indian

Native Hawaiian

Two or More Races




5.00

6.00

WITHIN SCHOOL ACHIEVEMENT GAP

2013-14

10

74 RIDGE ROAD

25-4580-050



State of New Jersey

GRADE SPAN 09-12

High School High School

This section of the performance report presents data about the achievement gap that exists within a school - as measured by the difference between the students’ scale scores at the 25th and 75th percentile in the school, the so-called Interquartile Range (IQR). Taken together with an understanding of the overall and average achievement levels in the school, the IQR furthers an understanding of the range of student outcomes that exist in a school. A school gap smaller than the state gap indicates that the school’s range of student outcomes is narrower than the state’s while a school gap larger than the state gap indicates that the school’s range of student outcomes is larger than the state’s.

HSPA Language Arts 25th %ile vs 75th%ile HSPA Math 25th %ile vs 75th%ileThis table presents the scale scores associated with students at the bottom (0th percentile), the 25th percentile, the 50th percentile, the 75th percentile and the top (99th percentile) of school's distribution.

This table presents the scale scores associated with students at the bottom (0th percentile), the 25th percentile, the 50th percentile, the 75th percentile and the top (99th percentile) of school's distribution.

16 3126 45

154

241

250

257

273 271

262

249

231

157

287

250

240

224

100

300

253

232

208

132

Percentile

0th

25th

50th

75th

99th

Percentile

0th

25th

50th

75th

99th

25th vs 75th Gap

Scaled Score Gap - State

State Scaled Score State Scaled Score

Scaled Score Gap - School

Scaled Score Gap - State

25th vs 75th Gap

Scaled Score Gap - School

School Scaled Score School Scaled Score

7.00

SCHOOL CLIMATE

2013-14

11

74 RIDGE ROAD

25-4580-050



State of New Jersey

GRADE SPAN 09-12

This table presents the amount of time that a typical student is engaged in instructional activities under the supervision of a certified teacher.

Length of School Day Instructional Time

Student Suspension Rate Student Expulsions

Student to Staff Ratio

This table presents the amount of time a school is in session for a typical student on a normal school day.

This table presents the percentage of students who were suspended one or more times during the school year.

This table presents the number of students who were expelled from the school and district during the school year.

This table presents the count of students per faculty member or administrator in the school. All staff are counted in full-time equivalents.

School

School

School

Faculty

Administrators

3.8%

11

269

0

5 Hrs. 40 Mins.

2 Hrs. 52 Mins.

6 Hrs. 55 Mins.2013-14

2013-14

2013-14

2013-14

2013-14

School

Full Time

Shared Time

School

12

This table presents the list of peer schools in alphabetical order by county name that was created specifically for this school (highlighted in yellow). Peer schools are drawn from across the state and represent schools that have similar grade configurations and that are educating students of similar demographic characteristics, as measured by enrollment in Free/Reduced Lunch Programs, Limited English Proficiency or Special Education Programs.

SCHOOL NAMEDISTRICT NAMECOUNTY NAMEFRPL LEP SpED

09-12BERGEN 0.6% 0.6% 15.7%

09-12BERGEN 0.5% 0.1% 12.2%

09-12BERGEN 1.5% 0.5% 14.0%

09-12BERGEN 1.6% 0.8% 20.5%

09-12BERGEN 1.2% 0.1% 14.9%

09-12BERGEN 2.8% 0.0% 16.8%

09-12BERGEN 1.2% 0.0% 16.8%

09-12BERGEN 0.4% 0.1% 11.0%

09-12BERGEN 1.1% 0.7% 13.0%

09-12BERGEN 0.7% 1.0% 14.2%

09-12BERGEN 2.6% 0.5% 10.1%

09-12CAMDEN 2.0% 0.1% 14.9%

07-12ESSEX 0.0% 0.2% 14.2%

09-12ESSEX 1.5% 0.3% 12.8%

09-12ESSEX 1.2% 0.7% 10.8%

09-12ESSEX 2.7% 0.2% 13.7%

09-12HUNTERDON 2.5% 0.2% 13.3%

09-12MERCER 2.5% 0.0% 9.1%

09-12MONMOUTH 0.5% 0.0% 12.8%

09-12MONMOUTH 2.9% 0.2% 13.7%

09-12MORRIS 1.9% 0.6% 12.6%

09-12MORRIS 1.3% 0.4% 12.0%

09-12MORRIS 0.7% 0.1% 15.5%

09-12MORRIS 2.2% 0.6% 14.0%

09-12MORRIS 1.2% 0.5% 15.2%

09-12MORRIS 0.8% 1.2% 14.9%

09-12SOMERSET 1.3% 0.3% 13.9%

09-12SOMERSET 3.1% 0.5% 15.5%

09-12SUSSEX 3.5% 0.2% 11.2%

09-12UNION 1.9% 0.3% 11.7%

09-12UNION 3.0% 0.2% 16.6%

25-4580-050RUMSON-FAIR HAVEN REGIONAL HIGH SCHOOLSCHOOL PEER GROUP

GRADESPAN

CDS CODE

GLEN ROCK HIGH SCHOOL

NORTHERN HIGHLANDS REGIONAL HIGH SCHOOLNORTHER VALLEY REG OLD TAPPEN HIGH SCHOONORTHERN VALLEY REGIONAL HIGH SCHOOL AT DEMARESTPASCACK HILLS HIGH SCHOOL

PASCACK VALLEY HIGH SCHOOL

INDIAN HILLS HIGH SCHOOL

RAMAPO HIGH SCHOOL

RIDGEWOOD HIGH SCHOOL

RIVER DELL REGIONAL HIGH SCHOOLRUTHERFORD HIGH SCHOOL

HADDONFIELD MEMORIAL HIGH SCHOOLGLEN RIDGE HIGH SCHOOL

LIVINGSTON HIGH SCHOOL

VERONA HIGH SCHOOL

WEST ESSEX HIGH SCHOOL

NORTH HUNTERDON HIGH SCHOOL

HOPEWELL VALLEY CENTRAL HIGH SCHOOLRUMSON-FAIR HAVEN REGIONAL HIGH SCHOOLSHORE REGIONAL HIGH SCHOOL

WHIPPANY PARK HIGH SCHOOL

KINNELON HIGH SCHOOL

MOUNTAIN LAKES HIGH SCHOOL

CHATHAM HIGH SCHOOL

WEST MORRIS CENTRAL HIGH SCHOOLWEST MORRIS MENDHAM HIGH SCHOOLRIDGE HIGH SCHOOL

WATCHUNG HILLS REGIONAL HIGH SCHOOLSPARTA HIGH SCHOOL

GOVERNOR LIVINGSTON HIGH SCHOOLWESTFIELD SENIOR HIGH SCHOOL

03-1760-050

03-3700-050

03-3710-060

03-3710-050

03-3960-040

03-3960-050

03-4300-030

03-4300-050

03-4390-050

03-4405-050

03-4600-050

07-1900-050

13-1750-050

13-2730-050

13-5370-050

13-5630-050

19-3660-050

21-2280-030

25-4580-050

25-4760-050

27-1990-070

27-2460-050

27-3460-050

27-0785-010

27-5660-030

27-5660-050

35-0350-050

35-5550-050

37-4960-050

39-0310-005

39-5730-050

GLEN ROCK BORO

NORTHERN HIGHLANDS REG

NORTHERN VALLEY REGIONALNORTHERN VALLEY REGIONALPASCACK VALLEY REGIONALPASCACK VALLEY REGIONALRAMAPO-INDIAN HILL REG

RAMAPO-INDIAN HILL REG

RIDGEWOOD VILLAGE

RIVER DELL REGIONAL

RUTHERFORD BORO

HADDONFIELD BORO

GLEN RIDGE BORO

LIVINGSTON TWP

VERONA BORO

WEST ESSEX REGIONAL

N HUNT/VOORHEES REGIONALHOPEWELL VALLEY REGIONALRUMSON-FAIR HAVEN REG

SHORE REGIONAL

HANOVER PARK REGIONAL

KINNELON BORO

MOUNTAIN LAKES BORO

SCH DIST OF THE CHATHAMSWEST MORRIS REGIONAL

WEST MORRIS REGIONAL

BERNARDS TWP

WATCHUNG HILLS REGIONALSPARTA TWP

BERKELEY HEIGHTS TWP

WESTFIELD TOWN

1

Rumson-Fair Haven Regional High School

Course: MUSIC THEORYStaff Writers: Bill GrilloSupervisor: Michel Salazar-LindenApproved: September 13, 2011

Section I: Course Description- Music Theory offers students the opportunity to explore music through higher -level listening and analysis techniques. The class will challenge students to broaden their musical perspective in the following ways:

Upon completion of the full year Music Theory course, students will be prepared to enter AP Music Theory or apply their new skills to other school related or personal music endeavors.

Section II: NJCCCS – The Music Theory curriculum is centered around the skill requirements presented within the 2009 New Jersey Core Curriculum Content Standards for the Visual and Performing Arts, 21st Century Career and Life Skills, and Technological Literacy. The following standards are addressed throughout the curriculum:

2009 NJCCCS – Visual and Performing Arts

2009 NJCCCS – Technological Literacy8.1 – Educational Technology – All students will use digital tools to access, manage, evaluate, and synthesize information in order to solve problems individually and collaboratively and to create and communicate knowledge.

8.2 – Technology Education, Engineering, and Design - All students will develop an understanding of the nature and impact of technology, engineering, technological design, and the designed world, as they relate to the individual, global

society, and the environment.

2009 NJCCCS – 21st Century Life and Career Skills

A strong focus on music reading, analysis, and interpretation skills through the study of musical text, repertoire, and music aesthetics.

The development of the students’ creative process in music composition.Ear training that focuses on intervallic, chord quality, form, mode, and style/genre recognition.Historical understanding of how musical construction and style has developed over the centuries.Career awareness and understanding of how music theory skills can be applicable to the real world.Expanding students’ musical palette by exposing them to music of all cultures and generations.

– The Creative Process – All students will demonstrate an understanding of the elements and principles that govern the creation of works of art in dance, music theatre, and visual art.

0.1

– History of the Arts and Culture – All students will understand the role, development, and the influence of the arts throughout history.

0.2

- Performance – All students will synthesize those skills, media, methods, and technologies appropriate to creating, performing, and/or presenting works of art in dance, music, theatre, and visual art.

0.3

– Aesthetic Responses and Critique Methodologies – All students will demonstrate and apply an understanding of arts, philosophies, judgment, and analysis to works of art in dance, music, theatre, and visual art.

0.4

2

9.1 – 21st Century Life and Career Skills – All students will demonstrate the creative, critical thinking, collaboration, and problem-solving skills needed to function successfully as both global citizens and workers in diverse ethnic and organizational cultures.

9.3 – Career Awareness, Exploration, and Preparation – All students will apply knowledge about and engage in the process of career awareness, exploration, and preparation in order to navigate the globally competitive work environment of the information age.

Section III: The National Standards for Music Education – Along with the NJCCS, the Music Theory curriculum will allow students to continue striving for excellence within the MENC (Music Educators National Conference) National Standards for Music Education. The following national standards present the central focus of the activities associated with this curriculum:

1. Singing, alone and with others, a varied repertoire of music. 2. Performing on instruments, alone and with others, a varied repertoire of music. 3. Improvising melodies, variations, and accompaniments. 4. Composing and arranging music within specified guidelines. 5. Reading and notating music. 6. Listening to, analyzing, and describing music. 7. Evaluating music and music performances. 8. Understanding relationships between music, the other arts, and disciplines outside the arts. 9. Understanding music in relation to history and culture.

For further clarification of all standards including the NJCCCS and the MENC National Standards for Music Education, refer to the following links:

Section IV: Unit Sequence – The Music Theory curriculum is divided into four primary units, each spanning an entire marking period. In each Music Theory unit, the students will be able to:

NJCCCS/Common Core State Standards http://www.state.nj.us/education/

http://www.corestandards.org/

2009 NJDE Core Curriculum Content Standards (Standards Search Criteria)http://www.njcccs.org/search.aspx [Select 21st Century Life and Career Skills and/or Technology]

MENC National Standards for Music Education

http://www.menc.org/resources/view/national-standards-for-music-education

Analyze and critique repertoire through effective and proper use of musical vocabulary.Synthesize concepts within hand written and technology based musical compositions.Synthesize concepts within a variety of music performance activities. Understand how music theory has developed throughout world history and cultures.

http://www.menc.org/resources/view/national-standards-for-music-education

http://www.state.nj.us/education/

http://www.njcccs.org/search.aspx

3

UNIT 1 – Music Listening, Pitch, and RhythmUNIT 2 – Introduction to Triads, Seventh Chords, and their Diatonic FunctionsUNIT 3 – Principles of Voice Leading, Part Writing, and Inverted Part WritingUNIT 4 – Introduction to Modulations, Borrowed Harmony, Musical Form, and Final Composition Portfolio

Section V: Texts and Instructional Resources:

Section VI: Grading Formula and Assessment Modes

Music Theory grading procedures are based on a percentage breakdown within the following areas:

Category %Class Participation 10%Homework/Class Work

15%

Ear Training Tests 20%Major Music Composition Projects

25%

Written Music Theory/History Tests

30%

Section VII: Quarterly Assessment

Students in Music Theory are subject to Quarterly Assessments at the conclusion of each marking period. The average of the four quarterly assessments will serve as the equivalent of a full quarter grade. The four quarterly assessments will measure student proficiency in both content-specific skills and course concentrations. The quarterly assessments for Music Theory will include various types of questioning including, but not limited to, construction and notation of pitches, rhythms, intervals, scales, chords, and harmonic progressions/analysis. Students will also have to associate musical vocabulary and historical information within multiple choice, matching, short answer, and/or critical thinking responses.

Section VIII: Curriculum Pacing Guide

The following guide is an overview of how concepts will flow throughout the weeks of each quarter. The effectiveness of this sequence is assessed upon completion of each quarter. These concepts and activities are expanded upon within the Unit Templates in section IX. Refer to section IX for descriptions, activities, assessments, and other information pertaining to the content specific details.

Tonal Harmony by Stefan Kostka Tonal Harmony WorkbookThe Concise History of Western Music by Barbara Russano HanningTeoria – Music Theory Web – Internet based music theory resource

4

Curriculum Pacing Guide

Content Area: Music

Course Title: Music Theory Grade Level: Grade 9-12

Unit I – Music Listening, Pitch, and Rhythm Concepts

W eek O neMusic listening and basic vocabulary associated with the description of musical works.

W eek TwoIntroduction to pitch and rhythm – Clefs, aspects of musical time, key signatures, time signatures, types of rhythms, and basic note reading.

W eek ThreeReading and performing musical and pitch and rhythm through singing, clapping, and piano performance.

W eek FourIntervals – Constructing and identifying through notation and ear training.

W eek Five Major and minor scales, scale degree names, basic solfeggio, and tonality.

W eek SixSolfeggio practice, continued music reading practice, and review of all theory concepts.

W eek SevenIntroduction to composition – The synthesis of rudimental elements into a musical work.

W eek EightContinued review, Composition #1-3

W eek NineComposit ion presentat ions and Quarter 1 Exam

Unit II – Introduction to Triads, Seventh Chords, and Diatonic Functions

W eek O neMajor, Minor, Augmented, and Diminished Triads

W eek TwoPractice Constructing and Identifying Major, Minor, Augmented, and Diminished Triads.

5

W eek ThreeDiatonic Harmony with Major and Minor Triads

W eek FourComposing melodies over diatonic harmonic progressions.

W eek Five Major, Dominant, and Minor Seventh Chords

W eek SixComposing melodies over diatonic harmonic progressions with seventh chords.

W eek SevenChord Inversions and Composing Melodic Bass Lines

W eek EightReview of all triad and seventh chord identification and construction skills

W eek NineComposit ion Presentat ions and Quarter 2 Exam

Unit III – Principles of Voice Leading, Root Position Part Writing, and Inverted Part Writing

W eek O neIntroduction to Four Part Textures – Harmonic Analysis and building chords in SATB Arrangements

W eek TwoRoot Position Part Writing – Bass a 4th and 5th Apart

W eek ThreeContinued practice in Root Position Part Writing

W eek FourRoot Position Part Writing – Bass a 3 and 6th Apart/2nd and 7th Apart

W eek Five Continued Practice of all Part Writing Techniques

W eek SixComposing in SATB Arrangements

W eek SevenMelodic embellishments – Non Chord Tones

W eek EightReview of all Part Writing Techniques, continued composition

W eek NineComposit ion Presentat ions and Quarter 3 Exam

6

Unit IV: Modulations, Borrowed Harmony, Musical Form, and Final Composition Portfolio

W eek O neChord Pluralities and Pivot Chords – Introduction Modulations

W eek TwoComposing using modulations in SATB ArrangementsModes – The seven basic modes

W eek ThreeMusical Form – Binary, Ternary, Fugues, and other common classical Forms

W eek FourReview of Modulations and Musical Form

W eek Five Final Portfolio Preparation – Expectations and Final Composition Requirements

W eek SixFinal Composition – Supplemental Concepts – Arranging for instruments and instrument transpositions

W eek SevenFinal Composition – Supplemental Concepts – Arranging for Percussion Ensemble

W eek EightFinal Composition – Supplemental Concepts – Arranging for Voice

W eek NineQuarterly Review and Portfolio Presentations

Date Created: June 16, 2011

Spanish I Instructional Team Members: Rachel Hoff and Michel Salazar-Linden

* While the curriculum sequence reflects a broad overview of concepts addressed during the weeks of the school year, the following skills are continuosly built and perfected throughout each quarter:

Ear Training – Intervals, Chord Qualities, Mode recognition, etc.-Dictation – Rhythmic and Melodic-Music Reading – Solfeggio and Piano Performance-Music Listening – Exposing students to varied repertoire from around the world.-

7

Section IX: Unit Templates

Introduction

This template is the product of an initiative led by the New Jersey Department of Education, Office of Academic Standards, in partnership with the New Jersey Association for Supervision and Curriculum Development (NJASCD) and the New Jersey Principals and Supervisors Association (NJPSA). The project was undertaken with the assistance of New Jersey content area supervisors, curriculum coordinators, and teachers during spring-summer 2009. The goal of the project was to design exemplar unit plans and accompanying lesson plans aligned with the 2009 Core Curriculum Content Standards that may be used by districts as models for the development of local curricula.

The Unit Overview Template, which follows, is a tool that can help districts define one unit plan of several that comprise a specific course in the curriculum for any content area. It is designed, once completed, to summarize the content and objectives for the unit, outline lessons and assessments that support the unit, and provide links to documents that facilitate delivery of the unit, such as student materials, background information, resources, and performance rubrics. To see how the units fit together in the design of a course, see the Curriculum Design Template included at the end of this document.

Seven content area Unit Overviews were created as part of the project to serve as exemplar unit plans that are aligned with the 2009 Core Curriculum Content Standards and that assist in achieving the goal of engaging students, fostering achievement, and cultivating 21st century global skills. The units stress the integration of 21st century themes and skills, global perspectives, technology, and cross-curricular connections.

We encourage districts to use the exemplars in conjunction with the curriculum development tools and templates that emanated from this project as models for teaching and learning based on the 2009 standards.

UNIT 1

Unit Overview TemplateContent Area: Music Theory

Music Philosophy – Understanding how music is perceived amongst the public and amongst famous composers.

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Technology Skills- Using Sibelius Notation Software and Pro Tools Audio Software-Career Awareness – Understanding what types of careers are associated with core music theory skills

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Unit Title: Unit 1 - Music Listening, Pitch, and Rhythm

Target Course/Grade Level: 9-12

Unit Summary Before students begin written theory, Unit 1 will begin with a chapter devoted entirely too intelligent music listening. Intelligent listening involves the ability to not only experience a certain emotional impact, but to describe the music in relation to its dynamic qualities, timbres, moods, and formative sections. Students will listen to a variety of musical selections and use classroom vocabulary to discuss and write about what they hear. Pitch and rhythm account for the two most basic musical building blocks. Written pitch tells a performer exactly what note to play on their instrument and rhythm tells them when to play it. Within this unit, students will understand how to read, analyze, and interpret pitch and rhythm with the over arching goal of composing consonant melodies. Specific educational tasks include reading pitches in treble and bass clefs, measuring musical intervals up to one octave, constructing major and minor scales, identifying key and time signatures, and understanding how beat and tempo guide our understanding of rhythmic values including whole notes, half notes, quarter notes, eighth notes, and the many subdivisions association with simple and compound musical meters. Besides written tasks, students will also be exposed to a variety of aural skills exercises, requiring them to use only their ears to identify major and minor intervals and different types of rhythmic structures. Career and technology standards will be addressed throughout each unit in Music Theory. Within Unit 1, students will discover different professions that use music theory as a primary knowledge base. Many of these careers involve music composition, arranging, and musicology. Students will utilize technology including notation, recording, and presentation software to explore the various tasks associated with these careers. At the conclusion of the unit, students will have gained an understanding of how to compose and interpret musical melody within a variety of keys. Student compositions will consist of melodies between four and eight bars in length and will vary in melodic and rhythmic contour based on that student’s individual creative experience.

Primary interdisciplinary connections:

World Cultures – Listening Response to world music styles using music vocabulary

21st Century ThemesGlobal AwarenessFinancial, Economic, Business, and Entrepreneurial Literacy

http://www.21stcenturyskills.org/index.php?option=com_content&task=view&id=57&Itemid=120

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Unit Rationale: Music listening skills are imperitive to the success of a musician or musical hobbyist. The ability to listen and critique musical compositions properly will help students enjoy music at a higher level throughout their adult lives.

The ability to distinguish between different pitch structures, key signatures, and intervolic relationships will allow the young composer to develop their own melodic personality. An understanding of how pitches present themselves in different clefs also creates a foundation for students to compose for different musical instruments that sound in a variety of registers. Training in rhythm and meter provides a melody with shape and provides the listener with a sense musical motion. A composer’s ability to keep a listener engaged through rhythmic variety is key in their creation of contemporary musical works.

Learning TargetsStandards:

1.1 The Creative Process All students will demonstrate an understanding of the elements and principles that govern the creation of works of art in dance, music, theatre, and visual art.1.2 History of the Arts and Culture All students will understand the role, development, and influence of the arts throughout history and across cultures.1.3 Performance All students will synthesize those skills, media, methods, and technologies appropriate to creating, performing, and/or presenting works of art in dance, music, theatre, and visual art.

1.4 Aesthetic Responses & Critique Methodologies All students will demonstrate and apply an understanding of arts philosophies, judgment, and analysis to works of art in dance, music, theatre, and visual art.8.1 Educational Technology All students will use digital tools to access, manage, evaluate, and synthesize information in order to solve problems individually and collaboratively and to create and communicate knowledge.8.2 Technology Education, Engineering, and Design All students will develop an understanding of the nature and impact of technology, engineering, technological design, and the designed world, as they relate to the individual, global society, and the environment.

9.1 21st-Century Life & Career Skills All students will demonstrate the creative, critical thinking, collaboration, and problem-solving skills needed to function successfully as both global citizens and workers in diverse ethnic and organizational cultures.9.3 Career Awareness, Exploration, and Preparation All students will apply knowledge about and engage in the process of career awareness, exploration, and preparation in order to navigate the globally competitive work environment of the information age.

Content Statements

Understanding nuanced stylistic differences among various genres of music is a component of musical fluency. Meter, rhythm, tonality, and harmonics are determining factors in the categorization of musical genres.

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CPI # Cumulative Progress Indicator (CPI)1.1.12.B.1 Examine how aspects of meter, rhythm, tonality, intervals, chords, and harmonic progressions are

organized and manipulated to establish unity and variety in genres of musical compositions.

1.3.12.B.1 Analyze compositions from different world cultures and genres with respect to technique, musicality, and stylistic nuance, and/or perform excerpts with technical accuracy, appropriate musicality, and the relevant stylistic nuance.

1.3.12.B.2 Analyze how the elements of music are manipulated in original or prepared musical scores.


1.4.12.A.2 Speculate on the artist’s intent, using discipline-specific arts terminology and citing embedded clues to substantiate the hypothesis.

8.1.12.A.1 Participate in online courses, learning communities, social networks, or virtual worlds and recognize them as resources for lifelong learning.

9.3.4.A.5 Locate career information using a variety of resources.

Unit Essential Questions Unit Enduring Understandings

Access to the arts has a positive influence on the quality of an individual’s lifelong learning, personal expression, and contributions to community and global citizenship.

The ability to read and interpret music impacts musical fluency.

Recognition of fundamental elements within various arts disciplines (dance, music, theatre, and visual art) is dependent on the ability to decipher cultural implications embedded in artworks.

Artistic styles, trends, movements, and historical responses to various genres of art evolve over time.

The use of technology and digital tools requires knowledge and appropriate use of operations and related applications

Career awareness includes an understanding of the world of work and the knowledge and skills needed for traditional and nontraditional jobs and careers.

How do the basic building blocks of music combine to create musical compositions?

How do different styles of music incorporate melody and rhythm to create and original musical genre?

What processes, both brain based and personal aesthetic responses, are involved when listening to music “intelligently?”

Basic understanding of meter construction, whole notes through sixteenth subdivisions, and groove concepts.

Basic understanding of key signatures, tonality, note reading in treble and bass clefs, and the elements of quality melodic construction.

Basic understanding of scale and interval construction, both major and minor.

Basic performance abilities in both the areas of pitch

https://www13.state.nj.us/NJCCCS/ContentAreaTableView_Visual.aspx


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Unit Learning TargetsStudents will ...

Evidence of LearningSummative Assessment (X days)

Equipment needed:

Teacher Resources:

Formative Assessments

and rhythm.A concept of how to listen to music with an open mind based on an intelligent process of critique and analysis.

Listen to a variety of musical styles across different genres so that they may analyze and critique a musical performance and/or composition.

Understand and analyze the elements governing musical rhythm including whole notes, half notes, quarter notes and eighth notes.

Perform rhythmic patterns in a variety of musical meters.Understand and analyze the elements governing musical pitch including natural, sharp, and flat notes.Perform melodic patterns in a variety of key signatures and tonalities. Compose short musical phrases to synthesize knowledge of melody and rhythm using Sibelius Notation Software.

Musical Pitch TestMusical Rhythm TestAural Quizes #1-4Career Quiz #1

Tonal Harmony Textbook-Piano-Sibelius Notation Software-CD Player and musical examples within different styles.-

Musictheory.net-Teoria.com-Tonal Harmony Teacher workbook-Rhythmic Etudes-Other text and visual recourses from the music library. -

Tonal Harmony Workbook Exercises Chapters 1 & 2

Melodic Compositions in Sibelius Notation Software

Rhythmic Compositions in Sibelius Notation Software

Music Listening Response Questions (Response to Repertoire)

Aural Skills ChallengesTeoria Theory ExercisesTeacher created HW and other activities

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UNIT 2


Unit Title: Unit 2 -Introduction to Triads, Seventh Chords, and their Diatonic Functions


Unit Summary Harmony is the third musical building block used to create musical works of all styles. Students will explore how to construct and notate three note chords (triads) as well as four note chords (seventh chords.) The goal of this unit is to show students how to apply their knowledge of melodic intervals to the notation of various chord structures, whether they be major, minor, diminished, half diminished, dominant, or augmented. Much of the unit will focus around the construction and identification of specific chord progressions. While there are many different types of chord progressions, students will explore diatonic harmonic practice; the natural progression of chords within major and minor key signatures. The class will learn how to place chords in root position and various inversions so they may compose a smoother harmonic motion. As in the previous unit, the class will spend a great deal of time training their ears to recognize typical chord progressions so that come time for composition, their ideas will flow from an aesthetic , not theoretical, point of view. Students will now have the tools to create more interesting compositions, in that they can combine their knowledge of melody, rhythm, and harmony. They will begin by using simple piano composition techniques with harmonies notated in the bass clef and melodies in the treble clef of a grand staff. The goal will be to gain an understanding of how melodies interweave in and out of different harmonies so that there is a logical, consonant overall composition. Part two of the career will focus on the study of well established, current composers, arrangers, and theorists. Students will discover how these jobs have changed since the times of Bach or Beethoven and they will understand how these individuals have molded their craft to fit modern society. Primary interdisciplinary connections:

21st Century Themes

Unit Rationale:

Math – Graphing Interval Relationships using Spread Sheets-

Global AwarenessFinancial, Economic, Business, and Entrepreneurial Literacy


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Composing with harmony is integral in understanding how music has evolved over the centuries. Contemporary composers understand how to use different harmonic practices to achieve a variety of musical goals. The study of diatonic, tonal, and a-tonal harmony will allow students the oppurtunity to compose in any musical style including, but not limited to baroque, classical, romantic, 20th century, jazz, and avante garde styles.

Learning TargetsStandards




Content Statements




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1.4.12.A.1 Use contextual clues to differentiate between unique and common properties and to discern the cultural implications of works of dance, music, theatre, and visual art.









What methods can we use to construct the different chord qualities?

Which previous skills are being used in the process of chord construction

What is Diatonic Harmony and how does it relate to tonal music?

What is the aesthetic affect of using triads vs. seventh chords in a musical composition?

Construction of all triads and seventh chords in all inversions and qualities

Understanding of how these chords relate in diatonic harmonic practice.

Understanding of how major and minor melodies are created over different types of chords and chord progressions.

Understand how to construct all forms and inversions of triads and seventh chordsExamine and analyze chords within diatonic functions.


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Equipment needed:

Teacher Resources:


UNIT 3


Unit Title: Unit 3 - Principles of Voice Leading, Root Position Part Writing, and Inverted Part Writing


Unit Summary Unit Three will have students focus their attention entirely on the process of voicing chords within an SATB arrangement. Western harmonic practice has a long standing tradition and foundation back in the

Listen to chord progressions within important repertoire and analyze using roman numerals.Create musical compositions using piano voicings and simple melodic structures.

Triad Analysis and Construction TestSeventh Chord Analysis and Construction TestAural Skills Quiz #5-8Career Quiz #2



Compositions using Diatonic Harmony and Piano Voicings using Sibelius notation software

Aural Skills Challenges Tonal Harmony Workbook exercises Chapter 3

Teoria Software Exercises

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baroque period. Johann Sebastian Bach used a series of specific guidelines to voice harmonic progressions amongst four separate parts. Students will begin by understanding the rules governing parallel motion and analyze SATB textures for instances in which these rules are present and even broken. Once students show that they understand how to analyze four part textures using a roman numeral analysis, they will begin to voice those chords and use a variety of voicing techniques based upon the movement of the bass notes. The goal is to create a smooth harmonic character that supports a melody but clearly outlines the movement of root position triads. Eventually, root position part becomes obsolete due to the student building their own creative spirit and a willingness to explore a variety of different bass lines. When the focus shifts to the bass line, a composer must begin to use inverted chords to give them more intervallic options in the bass voice. A strong knowledge of writing in four parts will allow students to begin to expand these ideas into compositions for instrumental quartets, vocal and instrument combos, or any combination of musical timbres. The final project within this unit will be to compose an original composition in four parts and expand this arrangement for an instrumental or vocal quartet of their choosing. Continued aural skills training is developed throughout the quarter as well as the third career unit which consists of a focused study of musicology and world music. Music is an international art form that has different communicative dialects. Students will explore these dialects as they relate to African Music, Cuban Music, Brazilian Music, and many others.


- World History and Cultures

21st Century Themes Global Awareness Financial, Economic, Business, and Entrepreneurial Literacy

Unit Rationale:

Voice leading is a foundational skill to arranging for various choral and instrumental textures. A composer must understand whether to apply closed or open harmonic structures based on the desired musical goal. The ability to voice lead properbly allows a composer to create musical arrangements that are pleasing to the ear. A focused career unit in the area of musicology and the study of other musical cultures will aides students in discovering different career paths not just in the United States, but around the world. While this unit will simply serve as an introduction, it can lead to developing an interest in world music that can transfer into post secondary study.


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Content Statements








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How does arranging in SATB format aid in the composition process of any style or genre?

What is the main goal of voice leading using the guidelines presented to you?

How do chord inversions help a composer create different bass lines?

How does the understanding of world music styles aid in choosing and discovering possible music career paths?

Clear understanding of voice leading rules and guidelines for the achievement of smooth voice leading practice.

The construction of triads and seventh chords in all inversions and how to voice lead them within an SATB arrangement.

Similarities and differences between the music of our own culture and musical styles around the world

Demonstrate an understanding of SATB arranging through practice and composition.Analyze harmony within an SATB arrangement.Begin to expand SATB and arrange for different instruments.Explore the musical styles of other cultures to understand the role of musicology in modern society.Continue to use music technology as an aid for composition.

Four Part Analysis test (includes identification of errors in voice leading and harmonic analysis)Musicology and World Music (Career Quiz #3)Four Part Writing Test #1Four Part Writing Test #2



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Equipment needed:

Teacher Resources:


UNIT 4


Unit Title: Intro to Modulations, Borrowed Harmony, Musical Form and Final Composition Portfolio


Unit Summary Modern music typically follows some diatonic trends, but also uses borrowed harmony to create more interesting, diverse chord progressions. With a strong foundation in key signatures and diatonic functions, students can begin to understand the concept of borrowing chords from closely related keys to either create a longer chord progression, or begin to modulate to a new key.

Throughout quarter four, students will revise compositions from the previous three quarters, as well as begin a series of new compositions to complete a composition portfolio. The contents of the portfolio should contain a variety of compositions including popular music selections, quartets for instrumental and/or vocals, as well as possible solo literature with composed accompaniment. Students will use a variety of compositional tools to complete this portfolio including but not limited sibelius notation software, pro tools audio recording software, and other digital or analog recording mediums. As a final component to the course’s career unit, students will understand how to copyright the material

Music Listening Quiz #9-12



Music Compositions in 4 Parts with counterpoint Aural Skills Challenges Tonal Harmony Workbook Assessments

Continued music listening responses

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in their portfolio if they so choose. We will look at the appropriate copyright forms to fill out, how the laws apply and protect musical composers, as well as how copyright differs for sound recordings and the compositions. To influence experimentation with form and concept, students will analyze a variety of musical works including selections from all of the major musical time periods, as well as 20th and 21st century works that use visual and/or literary themes (music set to a famous poem; music written in response to a visual piece of art; etc.) Students will discover how to compose with binary, terinary, rondo, fugue style, and other popular music forms.


21st Century Themes

Unit Rationale: Study in borrowed harmony and secondary functions acts as a transition into AP Theoy. Students who are recommended into the course will need a strong handle on this unit before they continue study at the AP level. A large part of the AP exam emphasizes harmonic analysis and understanding, much of which is non-diatonic in nature.

The final portfolio is a culmination of all concepts, units, career, and technology standards presented throught the year. Creating a body of work that demonstrates understanding across a variety of musical content areas will not only give the students confidence in their composing, but ultimately influence them to continue musical composition and analysis post Music Theory 1.



1.4 Aesthetic Responses & Critique Methodologies All students will demonstrate and apply an understanding of arts

Visual Art – Musical works composed in response to a visual work of art.-Literature – Musical works composed in response or in conjunction with different types of poetry. -History – Musical works composed in response to important historical events.-

Global Awareness-Financial, Economic, Business, and Entrepreneurial Literacy-


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philosophies, judgment, and analysis to works of art in dance, music, theatre, and visual art.8.1 Educational Technology All students will use digital tools to access, manage, evaluate, and synthesize information in order to solve problems individually and collaboratively and to create and communicate knowledge.

8.2 Technology Education, Engineering, and Design All students will develop an understanding of the nature and impact of technology, engineering, technological design, and the designed world, as they relate to the individual, global society, and the environment.9.1 21st-Century Life & Career Skills All students will demonstrate the creative, critical thinking, collaboration, and problem-solving skills needed to function successfully as both global citizens and workers in diverse ethnic and organizational cultures.9.3 Career Awareness, Exploration, and Preparation All students will apply knowledge about and engage in the process of career awareness, exploration, and preparation in order to navigate the globally competitive work environment of the information age.

Content Statements












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Evidence of LearningSummative Assessment (X days) –

Equipment needed:

Teacher Resources:

How does borrowed harmony function in relation to diatonic harmonic practice?

How does effective use of harmonic and metric modulation help the composer create a strong presence of form and structure?

Why is the presence of musical form important to the listener?

How can the absence of musical structure be an effective composition tool?

Identification and construction of non-diatonic chords

Identification and appropriate use of musical modulation

Identification and construction of musical works in their various forms

Construct, analyze, and apply borrowed harmony within a musical composition.Analyze and apply musical modulation, both harmonic and metric, to a musical composition.Identify musical forms through aural and visual recognition.Apply a variety of musical theory concepts to a final composition portfolio.

Borrowed Harmony Analysis QuizBorrowed Harmony Construction QuizFinal Composition Portfolio (2 Compositions must come from 4th quarter work)


Musictheory.net-Teoria.com-

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Section XII: Unit Reflection

The Music Theory Team must confer upon the completion of each instructional unit in the Music Theory curriculum and rate the degrees to which the instructional units meet performance criteria established by the New Jersey Department of Education using the Unit Reflection Form. Completed Unit Reflection Forms must be submitted to the Department Supervisor for approval upon completion of curriculum implementation with a complementing list of suggested modifications to the Spanish I Curriculum.

Lesson Activities: Strongly Moderately Weakly

Foster student use of technology as a tool to develop critical thinking, creativity and innovation skills;

Are challenging and require higher order thinking and problem solving skills;

Allow for student choice;

Provide scaffolding for acquiring targeted knowledge/skills;

Integrate global perspectives;

Integrate 21st century skills;

Provide opportunities for interdisciplinary connection and transfer of knowledge and skills;

Are varied to address different student learning styles and preferences;

Tonal Harmony Teacher workbook-Rhythmic Etudes-Other text and visual recourses from the music library. -

Tonal Harmony Workbook Exercises Composition Checkpoints (small assessments to

evaluate final portfolio progress)

Teacher created HW assignments

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Are differentiated based on student needs;

Are student-centered with teacher acting as a facilitator and co-learner during the teaching and learning process;

Provide means for students to demonstrate knowledge and skills and progress in meeting learning goals and objectives;

Provide opportunities for student reflection and self-assessment;

Provide data to inform and adjust instruction to better meet the varying needs of learners;

Part 2: Design for Instruction

Unit Title: Music Across the Eras

Number of Lessons: 11

Narrative:

Throughout the unit, students demonstrated their understanding by appropriately using

vocabulary terms to describe a musical selection, by composing a short piece using specific

musical guidelines of the time, by performing selected pieces from the era as a group, and by

researching topics and relating the topic to the content being learned.

Many standards were used in this Music History unit. From the New Jersey Core

Curriculum Content Standards (NJCCCS), and the Common Core State Standards (CCSS), these

standards were used during the unit:

i. 1.1.12.B.1 Examine how aspects of meter, rhythm, tonality, intervals, chords, and harmonic progressions are organized and manipulated to establish unity and variety in genres of musical compositions.

ii. 1.1.12.B.2 Synthesize knowledge of the elements of music in the deconstruction and performance of complex musical scores from diverse cultural contexts.

iii. 1.2.12.A.1 Determine how dance, music theater, and visual art have influenced world cultures throughout history.

iv. 1.2.12.A.2 Justify the impact of innovations in the arts on societal norms and habits of mind in various historical eras.

v. 1.3.12.B.1 Analyze compositions from different world cultures and genres with respect to technique, musicality, and stylistic nuance, and/or perform excerpts with technical accuracy, appropriate musicality, and the relevant stylistic nuance.

vi. 1.3.12.B.4 Arrange simple pieces for voice or instrument using a variety of traditional and nontraditional sound sources or electronic media, and/or analyze prepared scores using music composition software.

vii. CCSS.ELALITERACY.RH.910.9 Compare and contrast treatments of the same topic in several primary and secondary sources.

viii. CCSS.ELALITERACY.RI.1112.3 Analyze a complex set of ideas or sequence of events and explain how specific individuals, ideas, or events interact and develop over the course of the text.

ix. CCSS.ELALITERACY.RI.1112.7 Integrate and evaluate multiple sources of information presented in different media or formats (e.g., visually, quantitatively) as well as in words in order to address a question or solve a problem.

Procedural Description:

Class always started with a introduction of what will be covered that day in class. From

there, about fifteen to twenty minutes of lecture with terms, characteristics, and composers of

each era. From there, the students would be exposed to music of the era being taught through

listening examples. After each piece, students would be asked to describe the selection using

vocabulary that has been learned throughout each lesson. In addition to describing the music

with terms, the students would be asked their opinions of the pieces. After the listening

examples, students would either be assigned a composition assignment where they compose a

short musical piece using parameters of the era learned about, or have a short research project

where they have to research a composer from the era learned about, as well as a piece by that

composer. In addition to those two assignments, students were given listening homeworks where

they had to listen to a specific piece and explain the piece using musical terms.

Lesson Plans reflecting activities and materials:

The activities varied from lesson to lesson. However, each lesson had listening examples

where students offered an analytical description as well as their opinion of the pieces. From

there, students had some composition activities, where they composed a musical piece with

specifications of the specific era’s characteristics. When students were not composing, they were

completing a simple research paper where they wrote one paragraph about a composer of a

specific era, as well as a piece by that composer that they had to listen to. In addition to those

research topics, students also completed a listening homework where they had to describe a

specific piece and explain why it was music, as well as the use of chants for meditation or in a

specific culture.

Materials used included both in class and at home materials. In the classroom, students

took handwritten notes from an outline written on the board, as well as listening examples from

an online book and cd archive, as well as from youtube. For some lessons, a packet was given

out that included both textbook information and score examples of music listened to in class.

Students were always given an option on which composer they wanted to hear first. In addition

to audio examples, students used a free, online notation software to compose a short piece based

on the era’s specifications.

Differentiated instructional strategies

Students learn and perform well in many different ways. During this unit, students were

given many different opportunities to complete work, take notes, and give opinions. Students

were given composition homeworks, research homeworks, listening examples, realtime notes,

score examples, a choice of musical examples, as well as quizzes and review sheets.

Accomodations

In addition to basic lecture, students will watch a live demonstration, a recorded

demonstration, a hand out of the requirements, as well as one on one clarification throughout the

period to ensure comprehension.

Multiple Intelligence students and their learning styles are accommodated by

incorporating visuals, aural and audio examples, verbal explanations, live piano demonstrations,

as well as allowing students to work individually (solitary learner) or as a small group (social

learner) to complete the performance assignment.

Students with IEP’s will be given extra assistance during class activities. These students

will also receive help from their peers during instructional time.

Students that did not perform well on a quiz, homework assignment, review sheet, or did

not do an assignment, were given an opportunity to retake or make up the assignment.

For a retake of a quiz, students were given a word bank rather than having to fill out the

venn diagram quiz from memory.

Students who have no prior knowledge of musical characteristics in each era will be

given a specific, basic background both before and during the lesson to aid their comprehension

of the material covered in class.

Integration of technology

Technology was utilized in every lesson through listening examples and composition

exercises. Musical examples were played through a large monitor with professional grade

speakers. During the excerpt, a score of the piece would be a visual as the piece progressed. For

composition activities, students were given opportunities during class to use the Music Lab work

stations. The stations all have a computer with internet access and a keyboard hooked into the

computer. Students were able to play the piece on the keyboard and translate it into an online

notation software.

Information to families

An email was sent out to the students’ families that introduced the student teacher and the

unit being taught. It explained the teacher candidate’s educational background and qualifications,

as well as what they needed to accomplish. Parents and guardians were brought into the unit with

a brief introduction of what will be covered during class time. In the email home, a link was

provided to a Google Form with questions similar to the students’ final test. For the survey, the

students had to sit down and talk their parents through the correct answers. If twenty responses

were received, and produced an average above 80% correct, every student would get extra credit

points on their final test. This way, the parents were able to benefit their students grade, but not

hurt it in any way.

Parent Letter Dear Parents and Guardians,

My name is Jennifer Weingarten. I am from the Monmouth University Music Education program and am currently student teaching with Bill Grillo. As part of my Student Teaching responsibilities, I must teach an entire unit in Music Theory 1. I have created a unit that spans three weeks and explores the major musical eras from before 500AD through the 20th century.

During this unit, the students will be taking a Pre Test, which is not counted for an official grade, as well as small class assignments and a couple small research topics. The Pre Test is only used to measure the student knowledge growth over the unit, as well as what information to focus on more.

As part of the unit, the students will be asked to share information about what they learned in class with you. This will help the students understand each concept more fully by sharing the main ideas and teaching you about Music History.

I am asking that you sit down with your children and take this survey with them guiding you through the questions. While this survey will not be part of the students regular grade, it will count for extra credit points on the final unit test. If you follow the link below, you will be taken directly to the survey. https://docs.google.com/forms/d/1tUsFHX0bBMalr24qXawmIWwPRCyDmdZV_6Nk53cJg/viewform

If you have any questions or concerns about the unit, surveys, content, or myself feel free to email Bill.

Thank you for your time and participation, Jennifer Weingarten

https://docs.google.com/forms/d/1tUsFHX0bBMalr24--qXawmIWwPRCyDmdZV_6Nk53cJg/viewform

https://docs.google.com/forms/d/1tUsFHX0bBMalr24--qXawmIWwPRCyDmdZV_6Nk53cJg/viewform

Monmouth University

School of Education

Department of Curriculum and Instruction

Lesson Plan

Teacher Candidate’s Name: Jennifer Weingarten

Grade Level/ Subject: High School 912 Music Theory

Unit Title: Music History

Lesson Title: PreTest

Date: 27 February, 2015

Duration: 42 minutes

I. Enduring Understanding a. Evaluate the relationship between culture, social trends and music of the time period. b. Examine the origins of music, music notation, and musical forms. c. Analyze the impact of technological developments on music. d. Apply reading and writing to inquire, think critically, and apply history concepts to new

situations. II. Learner Outcomes a. Students will demonstrate their understanding by appropriately using vocabulary terms to

describe a musical selection. b. Students will demonstrate their understanding by composing a short piece using specific

musical guidelines of the time. c. Students will demonstrate their understanding by performing selected pieces from the era

as a group. III. Standards (NJCCCS, CCSS, NJPST, and SPA)

a. NJCCCS i. 1.1.12.B.1 Examine how aspects of meter, rhythm, tonality, intervals, chords, and

harmonic progressions are organized and manipulated to establish unity and variety in genres of musical compositions.




v. 1.3.12B.1 Analyze compositions from different world cultures and genres with respect to technique, musicality, and stylistic nuance, and/or perform excerpts with technical accuracy, appropriate musicality, and the relevant stylistic nuance.


b. CCSS i. CCSS.ELALITERACY.RH.910.9 Compare and contrast treatments of the

same topic in several primary and secondary sources. ii. CCSS.ELALITERACY.RI.1112.3 Analyze a complex set of ideas or sequence

of events and explain how specific individuals, ideas, or events interact and develop over the course of the text.

iii. CCSS.ELALITERACY.RI.1112.7 Integrate and evaluate multiple sources of information presented in different media or formats (e.g., visually, quantitatively) as well as in words in order to address a question or solve a problem.

c. NJPST i. Learner Development ii. Learning Differences iii. Learning Environments iv. Content Knowledge v. Application of Content vi. Assessment vii. Planning for Instruction viii. Instructional Strategies ix. Professional Learning x. Leadership and collaboration xi. Ethical Practice

d. SPA i. Singing, alone and with others, a varied repertoire of music.

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

iii. Improvising melodies, variations, and accompaniments.

iv. Composing and arranging music within specified guidelines.

v. Reading and notating music.

vi. Listening to, analyzing, and describing music.

vii. Evaluating music and music performances.

viii. Understanding relationships between music, the other arts, and disciplines

outside the arts.

ix. Understanding music in relation to history and culture.

IV. Essential Questions

a. How do music and history influence each other? b. How does culture affect music? c. How does one musical style influence another? d. What determines a style of music? e. Why should we respect music if we don’t like the way it sounds?

V. Procedures

a. Explain what the PreTest is i. to measure where their current knowledge is at ii. does not count as a grade

b. Distribute PreTest c. Students take PreTest d. Collect PreTest e. Record data

VI. Modifications/ Accommodations for Diverse Learners and Students with Special Needs:

a. In addition to basic lecture, students will watch a live demonstration, a recorded demonstration, a hand out of the requirements, as well as one on one clarification throughout the period to ensure comprehension.

b. Multiple Intelligence students and their learning styles are accommodated by incorporating visuals, aural and audio examples, verbal explanations, live piano demonstrations, as well as allowing students to work individually (solitary learner) or as a small group (social learner) to complete the performance assignment.

c. Students with IEP’s will be given extra assistance during class activities. These students will also receive help from their peers during instructional time.

VII. Materials/ Use of Instructional Technology

a. Music History PreTest

VIII. Reflections

The PreTest went well. The students were a little apprehensive about not knowing anything about certain questions, but they were assured that this test does not count as an official grade. Some students left answers blank, which was strongly advised against. While the blank answers may alter the validity of the data, it should not pose a huge impact on it.

Name:____________________________________________ Date:____________________

Music History Pretest 1.Put the following Musical Eras in order from earliest to latest.

A. _______ Baroque B. _______ Romantic C. _______ Ancient D. _______ Classical E. _______ Medieval F. _______ Atonal/Jazz/Electronic/Neoclassical G. _______ Renaissance

2. Put the following composers in order from earliest to latest.

A. _______ Giovanni Palestrina B. _______ Wolfgang Mozart C. _______ Aaron Copland D. _______ Antonio Vivaldi E. _______ Hildegard of Bingen F. _______ Claude Debussy G. _______ George Gershwin

3. _______ The earliest music was notated using this form:

A. Roman Numerals B. Greek Symbols C. Ancient Runes D. All of the above E. None of the above

4. _______ Ancient and Medieval music primarily used:

A. Vocals B. Modes C. Monophonic Texture D. All of the above E. None of the above

5. _______ Renaissance music was primarily: A. Polyphonic B. Vocals C. Monophonic D. Ensemble music

6. _______ In the Baroque era, these styles were introduced and expanded upon:

A. Concerto Grosso and Operas B. Symphonies and Motets C. Madrigals and Chants D. Minuets and Sonatas

7. _______ The Classical era was focused around:

A. Chromaticism B. Counterpoint C. Monophonic texture D. Structural clarity

8. _______ In the Romantic era, what became the main function of music?

A. Ornamentations B. Clear melodic line with accompaniment C. To express emotions D. Follow a strict musical layout

9. _______ What two styles of music did George Gershwin blend together?

A. Electronic and Baroque B. Jazz and Classical C. Vocal and Instrumental D. Atonal and polyphony

10. _______ In the experimental 20th century era, which style has the most impact on today’s music?

A. Electronic music B. Atonal music C. Jazz music D. Phase music

11. What are the 2 most important advancements in technology from the 20th century that have affected music in the 21st century? _________________________ and ___________________________

12. Match the “bridge” composers to the two eras they contributed to.

1. _______ William Byrd A. Romantic and 20th Century 2. _______ Claudio Monteverdi B. Renaissance and Baroque 3. _______ Carl Philipp Emanuel Bach C. Classical and Romantic 4. _______ Ludwig van Beethoven D. Medieval and Renaissance 5. _______ Claude Debussy E. Baroque and Classical

13. _______ Which movements create Sonata Form?

A. Beginning, Middle, End B. Exposition, Development, Recapitulation C. Example, Demonstration, Revisit D. Start, Center, Finish

14. _______ What is the definition of tonality?

A. Organization of pitches and harmonies that set up an overall feeling in a piece B. A set of conventional rules to follow C. Something established or preset by fate D. Relating to a piece composed for voice or instrument

15. _______ What is a modulation?

A. Composing of standard units or sections B. A manor of acting or doing something C. A change of keys in a piece D. A naturally occurring scale in a given key on a given note

16. What are the movements of a symphony? (Select all that apply)

A. Sonata Allegro B. Theme and Variations C. Sonata D. Minuet E. Rondo F. Quartet G. Concerto H. Continuo

17. Match the following instruments to the musical eras they were primarily used in. The eras can be used more than once.

1. _______ Pianoforte A. Ancient 2. _______ Woodwind Instruments B. Medieval 3. _______ Voice C. Renaissance 4. _______ Harpsichord D. Baroque 5. _______ String Instruments E. Classical 6. _______ Lute F. Romantic 7. _______ Brass Instruments G. 20th Century 8. _______ Organ H. All eras 9. _______ Piano 10. _______ Clavichord 11. _______ Percussion 12. _______ Synthesizers 13. _______ Keyboards

Monmouth University

School of Education


Lesson Plan




Lesson Title: Ancient and Medieval Eras

Date: 2 March, 2015






as a group. d. Students will demonstrate their understanding by researching topics and relating the topic

to the content being learned. III. Standards (NJCCCS, CCSS, NJPST, and SPA)

a. NJCCCS











c. NJPST i. Learner Development ii. Learning Differences iii. Learning Environments iv. Content Knowledge v. Application of Content vi. Assessment vii. Planning for Instruction viii. Instructional Strategies ix. Professional Learning

x. Leadership and collaboration xi. Ethical Practice









outside the arts.




V. Procedures

a. Do Now i. writing assignment expectations about music ii. ask what some students wrote

b. Give background information and history about Ancient music i. Give vocabulary terms ii. General characteristics

c. Play first notated piece of music once or twice i. Have students write observations using musical terms

d. Repeat ‘c’ for each musical excerpt e. Give background information and history about Medieval music

i. Give vocabulary terms

ii. General characteristics f. Repeat ‘c’ for each musical excerpt g. Have students sing a Gregorian chant piece together

i. parallel organum piece ii. half of class sings upper note iii. other half of class sings lower note iv. have each side sing their part separately v. have each side sing together.

h. Have students compose a short parallel organum piece i. Short research topic

i. Find 1 way that chant is used: 1. to relieve stress 2. in a specific culture

ii. Explain 2 ways it relieves stress OR explain 2 ways how or why certain cultures use chant

j. Closure i. Remind class to briefly discuss main ideas of the lessons to parents ii. Briefly introduce topic of discussion for the next class





d. Students with no prior knowledge of the era’s musical characteristics will be given a clear outline on the board to follow with support discussions and musical examples to put the characteristics into context.


a. Piano b. Score packet c. Informational packet d. “Music on Composers’ packet e. Audio/visual example f. White board

VIII. Reflections

a. This lesson had some good things, and a lot of things that needed improvement. The good parts of the lesson was when I asked the class questions about their opinions and thoughts. By asking the students questions, it incorporated them into the structure of the lesson and they were able to guide the lesson in the directions that they needed. However, it would have been more efficient if more lecture was given in the beginning and then start asking the students questions. This way students can use the background information to answer the questions. Another thing that could have been improved upon was the packets. While there was a lot of information and examples included, the organization could have been better. Something as simple as page numbers would have improved the efficiency of flipping back and forth between informational pages to scores. Also, if the correct scores were placed behind the respective informational pages, that would have also been better.The order of information given could have flowed better as well. While the important information was highlighted in the text, a written outline as well as a brief outline on the board would have helped the lesson flow much better.

b. When I redid the lesson, the students were able to withhold information much better than the first lesson. During this lesson, the flow of ideas were also much smoother and clearly followed a path. While this was also a shortened period, more was accomplished. Certain ideas and musical examples were still left out, but the main ideas were covered during the class period.

Monmouth University

School of Education


Lesson Plan




Lesson Title: Renaissance Era

Date: 4 March, 2015
















outside the arts.




V. Procedures

a. Review some main points of Ancient and Medieval that relate to the Renaissance b. Hand out Informational Packet, Score Packet, and “Composers on Music” Packet c. Give background information and history about Ancient music

i. Give vocabulary terms ii. General characteristics

d. Play first notated piece of music once or twice i. Have students write observations using musical terms

e. Repeat ‘d’ for each musical excerpt f. Composition activity teaches modern day cannon style

i. Create simple 2 bar melody in 3/4 time using ‘dance rhythms’ ii. Create 4 lines (S,A,T,B)style in all treble clef

1. set melody 1 or 2 beats behind the previous line to set up an imitative counterpoint style (called chansons)

2. have each line repeat for 8 measures 3. the end of the piece is when the first line ‘has no more music’

g. Demonstrations of students’ pieces

i. Have students as a class sing them OR have Student Teacher, Cooperating Teacher, and 2 instrumentalists come up and play examples live.

h. Closure i. Remind class to briefly discuss main ideas of the lessons to parents ii. Briefly introduce topic of discussion for the next class







a. Piano b. Historical Packet c. Score Packet d. “Composers on Music” Packet e. Audio/visual examples f. White board g. Instruments

VIII. Reflections

Overall, the lesson was alright. It was a very short period, so not all points were hit. I am still learning how to condense a lesson so only the major points are covered. I was able to review the lesson again the next day to emphasize the ideas that are most important. Learning how to condense a lesson will be the most helpful thing when there are shortened periods.

Monmouth University

School of Education


Lesson Plan




Lesson Title: Renaissance Era

Date: 6 March, 2015
















outside the arts.




V. Procedures

a. Review some main points of Ancient, Medieval, and Renaissance b. Assign two writing assignments

i. Compare your first expectations to your current thought about Ancient, Medieval, and Renaissance Music.

ii. Create a venn diagram comparing and contrasting characteristics of the Ancient, Medieval, and the Renaissance Era.

c. Listen to musical examples of each era during the writing assignment. d. Closure

i. Remind class to briefly discuss main ideas of the lessons to parents. ii. Briefly introduce topic of discussion for the next class.








VIII. Reflections

Students began working on their assignments and class management was not an issue. As the period progressed, the students became unfocused. This was most likely due to the fact that I was standing at the side of the room controlling the musical selections on the monitor. Many of the students answered the writing assignments with very little information. As the instructor, I should have given more specific directions before giving the assignment.

Monmouth University

School of Education


Lesson Plan




Lesson Title: Review: Ancient, Medieval, and Renaissance Eras

Date: 9 March, 2015








a. NJCCCS


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

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

iii. 3. Improvising melodies, variations, and accompaniments.

iv. 4. Composing and arranging music within specified guidelines.

v. 5. Reading and notating music.

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

vii. 7. Evaluating music and music performances.

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

outside the arts.

ix. 9. Understanding music in relation to history and culture.



V. Procedures

a. Listening activity i. Play 5 selections of songs from each era ii. Students will identify which era each selection is from

b. Create a venn diagram to compare and contrast all three eras i. Ancient ii. Medieval iii. Baroque

c. Diagram is filled in together as a class d. Review Ancient

i. vocabulary ii. characteristics

iii. composers e. Review Medieval

i. vocabulary ii. characteristics iii. composers

f. Review Renaissance i. vocabulary ii. characteristics iii. composers

g. Closure i. Remind class to briefly discuss main ideas of the lessons to parents ii. Remind students to study for the quiz iii. Go over when the next class will be, and what is due for that day iv. Briefly introduce topic of discussion for the next class







a. Piano b. Score packet c. Informational packet d. “Music on Composers’ packet

e. Audio/visual example f. White board

VIII. Reflections

This lesson really tied everything together for the first three musical eras. Before, students were just given information about each era, but didn’t fully understand the relationship that they have with each other.

Main ideas were posted in each era, as well as ideas that were shared between two or all of the eras. Instruments of the time were added in as well as composers, or lack of for each era, or between each era.

Classroom management was not a problem during this lesson. Getting the students to participate was the biggest problem. Being more enthusiastic and asking more questions would have helped this along.

Monmouth University

School of Education


Lesson Plan




Lesson Title: Quiz: Ancient, Medieval, and Renaissance Eras

Date: 12 March, 2015








a. NJCCCS


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

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

iii. 3. Improvising melodies, variations, and accompaniments.

iv. 4. Composing and arranging music within specified guidelines.

v. 5. Reading and notating music.

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

vii. 7. Evaluating music and music performances.

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

outside the arts.

ix. 9. Understanding music in relation to history and culture.



V. Procedures

a. Introduction of quiz i. fill in the spaces of venn diagram with the proper characteristics

b. Handout quiz i. students can take entire period to complete the quiz

c. Listening activity for students who finished early i. Identifying the era of the piece ii. Introducing the Baroque era music

d. Closure i. Remind class to briefly discuss main ideas of the lessons to parents ii. Go over when the next class will be, and what is due for that day

iii. Briefly introduce topic of discussion for the next class







a. Venn Diagram Era Quiz

VIII. Reflections

Many students found the quiz easier than expected. Those students scored very high on the quiz. The other portion of the class did not do as well as hoped. Many students are unable to pull information from their memory without a prompt.

A retake of the quiz will be given to all students who wish to retake the quiz. This time, students will be provided with a word bank and will have to match the terms, characteristics, instruments, and composers to each era or sharedera space.

Ancient Medieval

Renaissance

Medieval and RenaissanceAncient and

Renaissance

Ancient and Medieval

All 3 Eras

Extra Credit:What were the original trombones called?_________________

1. _______________

2. ___________________

3. __________________

4. ______________

1. _______

2. __________

1. _________

2._______

1.________________

2. ___________________

3. ___________________

4. ____________

1.________________ 2.________________

3.____________ 4._____________

1._______

2.__________

1._______

2.___________

Nam

e:_____________

Monmouth University

School of Education


Lesson Plan




Lesson Title: Baroque Era

Date: 5 March, 2015
















outside the arts.




V. Procedures

a. Review terms and ideas that relate and evolve from the Renaissance Era. b. Give background information and history about Baroque music (write information on

board) i. Give vocabulary terms ii. General characteristics


d. Repeat ‘c’ for each musical excerpt e. Composition activity: Compose a polyphonic or basso continuo piece teaches textures

i. write in fourpart style f. If some students complete composition assignment, have students and teachers perform

piece live for class. g. Closure

i. Finish for homework if not already complete ii. Remind class to briefly discuss main ideas of the lessons to parents iii. Briefly introduce topic of discussion for the next class








VIII. Reflections

This lesson was much smoother than the ones that preceded it. The class had an extended period due to PAARC testing, so a large amount of information was conveyed, as well as numerous listening examples. The lecture portion of the lesson, with visual aids on the board, was very easy to follow. There was a clear flow of ideas and concepts that students were able to follow and copy down. Writing things on the board as they were being talked about encouraged more students to take notes and participate in the lesson. Students may feel that if something is written on the board, it is more important than just being said by the instructor.

When the lesson transitioned over to the listening portion, management became a small issue with students becoming out of sight of the instructor. However, the composers and titles of

the selections were written on the board and discussed after words using terms that were just learned, as well as comparisons between the piece and pieces that came from another era. After each piece, the class would discuss their opinions and observations.

During the final thirty minutes of the period, the class was given a composition assignment and were able to work in pairs. The classroom management became a struggle, with students in multiple rooms, spread out, and many just not working. While the majority of the students were completing their compositions, many were just on their phones even after being told multiple times to put it away and complete their work. Constant circulating around the room would have helped the classroom management, but would not solve all of the issues. Perhaps deducting participation points for cellphone use or not completing their assignment would motivate them more to do what they are suppose to be doing during class time.

Monmouth University

School of Education


Lesson Plan




Lesson Title: Classical Era

















outside the arts.




V. Procedures

a. Review terms and ideas that relate and evolve in the Baroque Era b. Give background information and history about Classical music on board

i. Give vocabulary terms ii. General characteristics iii. Instruments iv. Composers


d. Repeat ‘c’ for each musical excerpt e. Composition activity (in pairs) teaches tonic to dominant relationship and modulation

i. Create a new Noteflight project ii. Sonata form (ABA’) iii. Each section 4 measures long iv. Tonic (major tonality), to dominant (major tonality), back to tonic (major tonality)

f. If some groups finish their compositions, have live demonstrations or playback of pieces g. Closure

i. Finish composition for homework if not already complete ii. Remind class to briefly discuss main ideas of the lessons to parents iii. Briefly introduce topic of discussion for the next class







a. Piano b. Historical Packet c. Score Packet d. “Composers on Music” Packet e. Audio/visual examples f. White board g. Noteflight

VIII. Reflections

As the lessons start progressing, they get smoother and more thought out, which benefits the students learning. The lectures are easy to follow due to writing topics, vocabulary, etc. on the board as they are talked about. Students ask what certain words mean and they are defined for them either by the instructor or other students. If there is a word that no one really knows, the instructor asks the class to guess at what it may mean by drawing from their prior knowledge of music and musical terms.

Students are becoming more focused during listening examples, and are incorporated into the listening process by voicing their opinions and observations about the pieces. Many of the students have heard the musical selections before and get excited that they know it.

Students brought up the film Amadeus when discussing Mozart. This was a great realization and link to previous experiences. The class and instructor had a long discussion about Mozart, his rival Salieri and their compositions. The students were very motivated to learn more.

Monmouth University

School of Education


Lesson Plan




Lesson Title: Romantic Era





















d. SPA

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








outside the arts.




V. Procedures

a. Review terms and ideas that relate, evolve, and change in the Romantic Era b. Give background information and history about Romantic music

i. Give vocabulary terms ii. General characteristics iii. Forms of Romantic Music


d. Repeat ‘c’ for each musical excerpt e. Research assignment one

i. Research one composer from the Romantic Era ii. Research that composer’s works iii. Write a paragraph about each (one for composer, one for piece)

f. Research assignment two

i. Find 2 ways in which the musical development of the Romantic Era relates to another field (like science, math, art, theater, literature, etc.)

g. Closure i. Finish for homework if not already complete ii. Remind class to briefly discuss main ideas of the lessons to parents iii. Briefly introduce topic of discussion for the next class







a. Piano b. Historical Packet c. Score Packet d. “Composers on Music” Packet e. Audio/visual examples f. White board g. Noteflight

VIII. Reflections

The students became even more involved with this lesson. They are finding that they know more about this era than any other era they learned about in this unit. Many of the musical selections have been heard numerous times in films, video game soundtracks, commercials, etc.

Again, writing everything on the board as it is talked about helps students follow the flow of the lecture as well as copy everything down and not worry about missing any information.

A unique listening activity was used during this lesson that the students enjoyed. A piece was played and the students were not given a title. Rather, they had to listen to the piece and share what image came to mind during the piece. The piece, Sunken Cathedral by Claude Debussy gave the students a varying amount of images, none of which were related to water in any way. Each students’ image was complete different from the next.

Monmouth University

School of Education


Lesson Plan




Lesson Title: 20th Century Era: Part 1

















outside the arts.




V. Procedures

a. Review terms and ideas that relate, evolve, and change in the 20th Century Era b. Give background information and history about 20th Century music

i. Give vocabulary terms ii. General characteristics iii. Forms of 20th Century Music Minimalism, Atonal/12tone, Serialism, Chance,

and Phase c. Play first notated piece of music once or twice

i. Have students write observations using musical terms d. Repeat ‘c’ for each musical excerpt e. Composition activity (in pairs) teaches Pro Tools and MIDI recording

i. Students create a new Pro Tools session ii. Decide on a genre:

1. Minimalist 2. Atonal/ 12tone 3. Serialism 4. Chance

iii. Use in the composition: 1. Any kind of keyboard sound (mandatory) 2. Any kind of string or bass sound (optional)

iv. Must be at least 8 measures long v. Overview of piece

1. What style 2. Why you chose that style 3. What the song means to you

f. If some groups finish their compositions, have playback of pieces g. Closure

i. Finish during another class period if not already completed ii. Remind class to briefly discuss main ideas of the lessons to parents iii. Briefly introduce topic of discussion for the next class






a. Pro Tools b. Computer Labs c. Historical Packet d. Score Packet e. “Composers on Music” Packet f. Audio/visual examples g. White board

VIII. Reflections

Students became unfocused at points and needed to be brought back into the lesson many times. The lesson itself still flowed nicely. Students chose which composer they wanted to hear first, which gave them the wheel to steer the lesson a little bit.

When musical selections were played, the class got chatty again. The music was very different from anything they have ever heard, and they strongly disliked how they sounded. This made them very eager to voice their opinions about the pieces, many of which did so out of turn.

To refocus them, a homework assignment was given for them to begin in class. This quickly quieted the room and motivated the students to work.

Monmouth University

School of Education


Lesson Plan




Lesson Title: 20th Century Era: Part 2

















outside the arts.




V. Procedures

a. Review terms and ideas of the experimental composers b. Give background information and history about other 20th Century music

i. Give vocabulary terms ii. General characteristics iii. Forms of 20th Century Music Jazz, Neoclassicism, and Rock ‘N Roll

c. Play first notated piece of music once or twice i. Have students write observations or discuss piece using musical terms

d. Repeat ‘c’ for each musical excerpt e. Research activity

i. Choose a jazz artist or Neoclassical artist ii. Choose a piece by that artist iii. Write one paragraph about the artist

1. Birth 2. Death 3. Brief overview of life 4. Life works/ what they’re known for

iv. Write one paragraph about the piece 1. why you chose it 2. what message did the artist want to convey 3. what message do you get from it

f. Closure i. Finish during another class period if not already completed ii. Remind class to briefly discuss main ideas of the lessons to parents iii. Briefly introduce topic of discussion for the next class





d. Students who have no prior knowledge of musical characteristics in each era will be given a specific, basic background both before and during the lesson to aid their comprehension of the material covered in class.


a. Audio/visual examples b. White board

VIII. Reflections

Students were very focused during the lesson. There was a lot of participation during this lesson as students were more familiar with the music in this era. Again, students chose the composer they wanted to listen to first, which allowed them to steer the lesson and discussion.

The students asked many questions and expressed their own knowledge of the songs being played in relation to where they heard them played. More students chose to do the composer and musical work assignment with this era than any other era covered in class.

Monmouth University

School of Education


Lesson Plan




Lesson Title: Final Review

















outside the arts.




V. Procedures

a. Go over the review packet that was handed out a few days before. b. All the answers were previously written on the board, so every student was able to check

and correct their own answers. c. Answer any format questions about the test.





d. Students who are slow with comprehension were able to catch up by having all the answers on the board, and are able to copy down all of the correct answers.


a. Music History Review Packet

VIII. Reflections

Students participated a lot offering their answers to the review questions. All the answers were written on the board, so students who had to correct any answers and needed to catch up were able to do so without interjecting with a “What was the answer to number 4” question.

Students asked detailed questions about what the format of the test would be like. At the end of the review, they all felt comfortable about what would be on the test and how it was set up. They were also very excited about the additional extra credit listening that would be on the test.

Name:__________________________________________

Music History Review Packet Ancient

1. Define ethos: _______________________________________________________________________________________ 2. They believed that music (intervals, rhythms, etc.) was related to____________________________. 3. How much musical notation was there in the Ancient Era?

a. None b. Very little c. Some d. A lot

4. There were composers for every piece of music composed. a. True b. False

5. Please name the two main types of musical works and performances during this era: a. ___________________ b. ___________________


1. The text setting that was using during both these eras was: a. Syllabic b. Neumonic c. Melismatic

2. The texture that was used during both these eras was: a. Monophonic b. Heterophonic c. Homophonic d. Polyphonic

3. Performances were mainly improvised. a. True b. False

4. These eras used these intervals and scales/modes: a. 3rds, 6ths, and modes b. 4ths, 5ths, and Major/minor scales c. 3rds, 6ths, and Major/minor scales d. 4ths, 5ths, and modes

Medieval 1. The texture used during this era was:

a. Monophonic b. Heterophonic c. Homophonic d. Polyphonic

2. What genre of music did this era use? a. Sacred b. Secular

3. Rhythmic notation began in this era. a. True b. False

4. The text settings that were used during this era were: a. Syllabic b. Neumonic c. Melismatic d. Both b and c

Ancient and Renaissance

1. Which genre of music was primarily used in these eras? a. Sacred b. Secular

2. These two concepts were strongly linked: a. ____________________________ b. ____________________________

Medieval and Renaissance

1. The texture that was primarily used during these eras was: a. Monophonic b. Heterophonic c. Homophonic d. Polyphonic

2. This form of musical composition started during these eras: a. 1 part vocal writing b. 2 part vocal writing c. 3 part vocal writing d. 4 part vocal writing

3. Musical notation did not exist in these eras. a. True b. False

4. Harmonies were used during these eras. a. True b. False

Renaissance 1. This era used these intervals and scales/modes:

a. 3rds, 6ths, and modes b. 4ths, 5ths, and Major/minor scales c. 3rds, 6ths, and Major/minor scales d. 4ths, 5ths, and modes

2. Both vocal and instrumental music was composed. a. True b. False

3. Music was only copied by hand because there was no printing yet. a. True b. False

4. Musicians were beginning to train in the art of music and musical performances. a. True b. False

5. Performances were still improvised. a. True b. False

Baroque 1. What 3 instrumental families began developing?

a. ____________________________ b. ____________________________ c. ____________________________

2. What were the two main genres of the Baroque era? a. Opera and Orchestral b. Orchestral and Chamber c. Opera and Chamber d. Vocal and Orchestral

3. Vocal vibrato (where the voice oscillates or wavers) was very important. a. True b. False

4. Dance music was important in the Baroque Era. a. True b. False

5. The textures used in this era were mainly: a. Polyphonic and Homophonic b. Polyphonic and Monophonic c. Monophonic and Heterophonic d. Heterophonic and Polyphonic

6. What term is used for a constant keyboard part? (Now figured bass in music theory). a. Continuous b. Continue c. Basso continuo d. Contour

7. What large orchestral work begins developing during this era? a. Sonata b. Minuet c. Symphony d. Fugue

Classical

1. Structural clarity was not important during this era. a. True b. False

2. Orchestras began growing in size during this era. a. True b. False

3. Operas switched from mainly solo singers to what? a. All instrumental b. Dances c. Dramatic narratives d. Dramatic performances

4. What instrument was developed that allowed keyboard players to use dynamics? a. ______________________________________

5. What does Sonata Form consist of? a. Beginning, Middle, End b. Exposition, Development, Recapitulation c. Example, Demonstration, Revisit d. Start, Center, Finish

Romantic 1. What are the 6 main characteristics that Romantic composers followed?

a. _________________________________ b. _________________________________ c. _________________________________ d. _________________________________ e. _________________________________ f. _________________________________

2. What is the difference between the idealist and the realist musical perspectives? a. idealist:____________________________________________________________________________ b. realist:_____________________________________________________________________________

3. What was the main purpose of the Romantic’s music? a. Express ideas b. Convey political messages c. Evoke emotion d. Follow strict tempos

4. What does rubato mean? ___________________________________________________________________ 5. The main instrument of this era was:

a. Clarinet b. Piano c. Violin d. Guitar

20th Century - Experimental

1. Briefly define the 5 genres of the experimental music a. Minimalism:________________________________________________________________________________ b. Atonal/12-tone:____________________________________________________________________________ c. Serialism:___________________________________________________________________________________ d. Chance:_____________________________________________________________________________________ e. Phase:_______________________________________________________________________________________

2. Minimalist music is very complex. a. True b. False

3. Atonal music does not have a tonal center. a. True b. False

4. Serialism has many repeated patterns. a. True b. False

5. Chance music is guided by strict decisions. a. True b. False

6. Phase music has what 3 characteristics? a. ____________________________________________________________ b. ____________________________________________________________ c. ____________________________________________________________

7. What was the term given to these composers? a. Average-Guard b. Avant-Garde c. After-Garbage d. Avenue-Garage

Monmouth University

School of Education


Lesson Plan




Lesson Title: Final Test

















outside the arts.




V. Procedures

a. Hand out the test and word bank. b. Explain each section of the test and word bank. c. At the end of the period, play the extra credit listening examples.





d. Students with IEP’s, in addition to all of the students, were given word banks for the fill in the blank questions.


a. Music History Test b. Music History Test Word Bank

VIII. Reflections

Many students were able to complete the test within the class period. The subgroup focused on during my unit all completed the test in less than thirty minutes. The individual focused on, as well as four other students needed to come in during their lunch and/or their study hall periods to complete the test.

The students enjoyed the extra credit listening portion of the test. With eight era options and eight listening examples, students had the opportunity to earn four extra points. While only about four students got all eight correct, every student was able to earn a few extra points.

Name:__________________________________________

Music History Test Ancient

1. What do the Greeks call a way of being or a person’s character? ______________________________ 2. How much musical notation was there in the Ancient Era?

a. Some b. None c. Very little d. A lot

3. There were no documented composers during this time. a. True b. False

4. Please name the two main types of musical works and performances during this era: a. ___________________ b. ___________________


1. The texture that was used during both these eras was: a. Monophonic b. Heterophonic c. Homophonic d. Polyphonic

2. Performances were mainly improvised. a. True b. False

3. These eras used these intervals and scales/modes: a. 3rds, 6ths, and Major/minor scales b. 4ths, 5ths, and modes c. 4ths, 5ths, and Major/minor scales d. 3rds, 6ths, and modes

Medieval 1. The texture used during this era was:

a. Monophonic b. Heterophonic c. Homophonic d. Polyphonic

2. What genre of music did this era use? a. Sacred b. Secular

3. Rhythmic notation began in this era. a. True b. False

Ancient and Renaissance 1. Which genre of music was primarily used in these eras?

a. Sacred b. Secular

2. These two concepts were strongly linked: a. ____________________________ b. ____________________________

Medieval and Renaissance

1. This form of musical composition started during these eras: a. 2 part vocal writing b. 2 part instrumental writing c. 4 part vocal writing d. 4 part instrumental writing

2. Musical notation did not exist in these eras. a. True b. False

3. Harmonies were not used during these eras. a. True b. False

Renaissance 1. This era used these intervals and scales/modes:

a. 3rds, 6ths, and Major/minor scales b. 4ths, 5ths, and Major/minor scales c. 3rds, 6ths, and modes d. 4ths, 5ths, and modes

2. Music was more accessible due to the printing press. a. True b. False

3. Musicians were beginning to train in the art of music and musical performances. a. True b. False

4. Performances were no longer improvised. a. True b. False

Baroque 1. What were the two main genres of the Baroque era?

a. Opera and Orchestral b. Vocal and Orchestral c. Opera and Chamber d. Orchestral and Chamber

2. Dance music was not important in the Baroque Era. a. True b. False

3. What term is used for a constant keyboard part? (Now figured bass in music theory). a. Basso continuo b. Continue c. Continuous d. Contour

4. What large orchestral work begins developing during this era? a. Sonata b. Minuet c. Symphony d. Fugue

Classical

1. Structural clarity was very important during this era. a. True b. False

2. Orchestras began growing in size during this era. a. True b. False

3. Operas switched from mainly solo singers to what? a. All instrumental b. Dramatic narratives c. Dances d. Dramatic performances

4. What instrument was developed that allowed keyboard players to use dynamics? a. ______________________________________

5. What does Sonata Form consist of? a. Beginning, Middle, End b. Start, Center, Finish c. Example, Demonstration, Revisit d. Exposition, Development, Recapitulation

Romantic 1. Out of the 6 main characteristics that Romantic composers followed, name 3:

a. _________________________________ b. _________________________________ c. _________________________________

2. What is the difference between the idealist and the realist musical perspectives? a. idealist:____________________________________________________________________________ b. realist:_____________________________________________________________________________

3. What was the main purpose of the Romantic’s music? a. Evoke emotion b. Convey political messages c. Express ideas d. Follow strict tempos

4. What does rubato mean? _____________________________________________________________ 5. The main instrument of this era was:

a. Clarinet b. Guitar c. Violin d. Piano

20th Century - Experimental

1. Briefly define 2 of the 5 genres of experimental music: a. Minimalism:____________________________________________________________________________ b. Atonal/12-tone:________________________________________________________________________ c. Serialism:_______________________________________________________________________________ d. Chance:_________________________________________________________________________________ e. Phase:___________________________________________________________________________________

2. Minimalist music is very simple. a. True b. False

3. Atonal music does not have a set key signature. a. True b. False

4. Serialism has no repeated patterns. a. True b. False

5. Chance music is guided by random decisions. a. True b. False

6. Phase music has what 3 characteristics? a. ____________________________________________________________ b. ____________________________________________________________ c. ____________________________________________________________

7. What was the term given to these composers? a. Avant-Garde b. Average-Guard c. After-Garbage d. Avenue-Garage

20th Century Jazz and American 1. Name 3 of the 7 main components of jazz music:

a. _________________________ b. _________________________ c. _________________________

2. Which cultural traditions are present in jazz music? a. Asian American b. African American c. Native American d. Indian American

3. Please fill in the map of how jazz spread:

4. Blues and ragtime gave way to jazz music through blues scales and complex syncopations. a. True b. False

5. Jazz is considered one of America’s original art forms. a. True b. False

6. George Gershwin blended what two styles of music together? a. Electronic and Baroque b. Jazz and Classical c. Vocal and Instrumental d. Atonal and polyphony

Musical Era Timeline Please put the eras in order from first (1) to last (7).

1. _______ Classical 2. _______ Ancient 3. _______ Romantic 4. _______ Baroque 5. _______ Renaissance 6. _______ 20th Century 7. _______ Medieval

Bridge Composers Please match the composers to the two eras that the “bridged” together.

1. _______ Medieval and Renaissance A. Ludwig von Beethoven 2. _______ Renaissance and Baroque B. Claudio Monteverdi 3. _______ Baroque and Classical C. William Byrd 4. _______ Classical and Romantic D. Carl Philipp Emanuel Bach 5. _______ Romantic and 20th Century E. Claude Debussy

Composer Matching Please match the era to the composers in that era. Each era can be used more than once.

1. _______ Frederic Chopin A. Ancient 2. _______ Johann Sebastian Bach B. Medieval 3. _______ Hildegarde von Bingen C. Renaissance 4. _______ Wolfgang Amadeus Mozart D. Baroque 5. _______ No composers E. Classical 6. _______ Philip Glass F. Romantic 7. _______ Antonio Vivaldi G. 20th Century Experimental 8. _______ Guillaume de Machaut H. 20th Century Jazz and American 9. _______ Giovanni Palestrina 10. _______ Aaron Copland 11. _______ Antonio Salieri 12. _______ Louis Armstrong 13. _______ John Cage 14. _______ Peter Ilyich Tchaikovsky

Music Composition : Era Specific Composition

Teacher Name: Ms. Weingarten All compositions are out of 5 points 1 point for completing the assignment, and additional

points for quality and content. Student Name: ________________________________________

CATEGORY 4 3 2 1

Music Score Music Score is very neat and all required elements are included: Song Title, Composer Name, Instrument, Clef Sign, Time Signature, Key Signature, and Copyright.

Music score is neat. Two or less of the required elements are missing from the musical score.

Music score is legible. Three to four of the required elements are mising from the musical score.

Music Score is illegible and many of the required musical score elements are missing.

Music Notation All notes are written neatly using proper barline placement.

Most notes are written clearly using the proper barline placement.

Notes are written clearly, but barline placement is often incorrect.

Notes are written in a sloppy and illegible manner. Barline placement is not correct. Needs to be resubmitted.

Characteristics All characteristics of the era are met: texture, harmonics, text setting (if applicable), and format.

Most of the era\'s characteristics are met.

Some of the era\'s characteristics are met.

Very few or none of the characteristics are met.

Length Composition is 8 measures or longer.

Composition is less than 8 measures (7 measures).



Research Report : Era Composer and Musical Work

Teacher Name: Ms. Weingarten Out of 5 points 1 point for completing assignment, additional points added for content

and construction Student Name: ________________________________________

CATEGORY 4 3 2 1

Amount of Information

All topics are addressed and all questions answered with at least 1 paragraph for each topic.

All topics are addressed and most questions answered with at least 3 sentences about each.

All topics are addressed, and most questions answered with 1 sentence about each.

One or more topics were not addressed.

Quality of Information

Information clearly relates to the main topic. It includes several supporting details and/or examples.

Information clearly relates to the main topic. It provides 12 supporting details and/or examples.

Information clearly relates to the main topic. No details and/or examples are given.

Information has little or nothing to do with the main topic.

Paragraph Construction

All paragraphs include introductory sentence, explanations or details, and concluding sentence.

Most paragraphs include introductory sentence, explanations or details, and concluding sentence.

Paragraphs included related information but were typically not constructed well.

Paragraphing structure was not clear and sentences were not typically related within the paragraphs.

Music HistoryPre-Test

* Erforderlich

1. Reorder the f ollowing Musical Eras f rom earliest to latest. *Baroque, Romantic , Ancient, Classical, Medieval, Atonal/Jazz/Electronic/Neoclassical, Renaissance

2. Reorder the f ollowing Composers f rom earliest to latest. *Giovanni Palestrina, Wolfgang Mozart, Aaron Copland, Antonio Vivaldi, Hildegard of Bingen, ClaudeDebussy, George Gershwin

3. The earliest music was notated using this f orm: *

Roman Numerals

Greek Symbols

Ancient Runes

All of the above

None of the Above

4. Ancient and Medieval music primarily used: *

Vocals

Modes

Monophonic Texture

All of the above

None of the above

5. Renaissance music was primarily: *

Polyphonic

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Vocals

Monophonic

Ensemble music

6. In the Baroque Era, these styles were introduced and expanded upon: *

Concerto Grosso and Operas

Symphonies and Motets

Madrigals and Chants

Minuets and Sonatas

7. The Classical Era was f ocused around: *

Chromaticism

Counterpoint

Monophonic texture

Structural clarity

8. In the Romantic era, what became the main f unction of music? *

Ornamentations

Clear melodic line with accompaniment

To express emotions

Follow a strict musical layout

9. What two styles of music did George Gershwin blend together? *

Electronic and Baroque

Jazz and Classical

Vocal and Instrumental

Atonal and polyphony

10. In the experimental 20th century era, which style has the most impact on today' smusic? *

Electronic music

Atonal music

Jazz music

Phase music

11. What are the 2 most important advancements in technology f rom the 20th centurythat have af f ected music in the 21st century? *

Bereitgestellt von

12. Which movements create Sonata Form? *

Beginning, Middle, End

Exposition, Development, Recapitulation

Example, Demonstration, Revisit

Start, Center, Finish

13. What is the def init ion of tonality? *

Organization of pitches and harmonics that set up an overall feeling in a piece

A set of conventional rules to follow

Something established or preset by fate

Relating to a piece composed for voice or instrument

14. What is a modulation? *

Composing of standard units or sections

A manor of acting or doing something

A change of keys in a piece

A naturally occurring scale, in a given key, on a given note

15. What are the movements of a symphony? *Select any that apply

Sonata Allegro

Theme and Variations

Sonata

Minuet

Rondo

Quartet

Concerto

Continuo

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Part 3: Analysis of Student Learning and Reflection

Analysis: Pretest and Posttest

Whole Group

The student’s prior knowledge is very limited, but not completely unknowing. As an

average, only about 38.7% of the Pretest was answerable for them. For the Final test, the class

average was 84.5%, which doubled the original test scores. The most basic question that the

students had to complete was to order the Musical Eras in order from which came first to which

came last. On the Pretest, four out of twenty students were able to list them in perfect order and

five students mixing up only two out of the seven eras. On the final test, eighteen out of twenty

students were able to list the eras in order, with two students mixing up two or three eras.

Subgroup

The subgroup focused on all excel in the classroom. However, these were the students

that did not participate in class discussions as often as others. On the Pretest, the five students

scored an average of 44.1%, which is slightly above the class average. For the Final test, these

five students scored an average of 95.9%, which is well above the class average. If these five

students were subtracted from the class average, the Pretest average would be 36.9%, and the

Final test average would be 80.1%. Neither of these scores change drastically if the five students

in the subgroup were excluded.

Individual

The individual focused on, or Student A, is classified with an IEP. Student A has

attention and focusing issues, along with a need for a word bank on fill in the blank quizzes and

tests. This student showed a large improvement from the start of the third quarter until now with

classroom behaviors, assignment completion, and quiz and test grades. This student participated

all throughout the unit, giving most of the opinions and analyses during the class lectures and

listening examples. For the first fill in the blank quiz given, the student left the majority of it

blank. Many of the other students in the class did not do as well as they could have either. A

retake was given with a word bank, but the student still left most of it blank, and gave up trying

halfway through. I encouraged them to just take guesses and still hand it in as it could only help

them and not hurt their grade. They did a little better on the retake, but not as well as hoped.

This student did not do any assignments during the unit. Only after both myself and the

cooperating teacher encouraged him and the entire class to hand in any assignment they have not

handed in for less credit, did this student hand in all the assignments. Student A was also given

extra assignments to help raise their grade.

On the Pretest and Posttest, this student showed a large improvement of knowledge.

Their Pretest score was very low at 18%, while their Final test shot up to a 64.2%. While the

final grade is not the highest, the amount of growth this student has shown is what teaching is all

about. This student would not have scored a 64.2% at all if I had not encouraged them to fill

everything on the test in, to leave nothing blank, and to retry the extra credit listening examples.

By showing them that I cared about how they performed on this test, they became more vocal

during class time than they already were, and started to complete every assignment in class.

Analysis: Other Assessments

Whole Group

The whole class found the three short research and writing topics very simple to

complete. Many students completed the assignments properly, with one paragraph introducing a

composer of a specific musical era, and the other paragraph describing a piece that the composer

had composed. The easiest writing assignment the students completed was a listening assignment

where they wrote one paragraph about it. The piece, John Cage’s 4:33, was completely silent

with only environmental noises heard. Some students started talking about harmonies and

rhythms, which showed that they did not listen and watch the performance of the piece.

Many students found the two composition assignments were more difficult to complete.

More time was given for these assignments to be completed. However, after the students were

able to work together in small groups, the assignment was much easier with more students

making harmonic and rhythmic decisions for the piece.

SubGroup

All the members of the subgroup completed the assignments on time with a large

amount of detail put into them. They thoroughly enjoyed the pieces they selected and shared a

connection with them as well.

The five students in the subgroup also enjoyed the composition assignments. They were

all very eager to compose their own pieces, given the specific guidelines of the era in which they

learned about. These students were able to complete these assignments before other students

because some of them had musical training and could play instruments.

Individual

Student A did not complete any assignment on the due date. At the end of the unit, this

student realized that completing some of the assignments would benefit their grade, and

completed all of the short research and writing assignments.

Student A completed all the three of the composition assignments. This is most likely

because they were able to work with partners for all of the projects. However, this student did

put in suggestions and choices to the compositions during class time given to work on them.

Reflection

Results

The small assignments given during the unit helped bring students grades up by giving

them multiple opportunities for grades. They also helped with the students’ knowledge of the

information because they had to use characteristics and vocabulary terms that were specific to

certain musical eras.

The composition assignments could have been more defined and had more specific

guidelines to them. For some of them, the students could have used more time to complete them

during class time to use the computers and music lab workstations. However, the students were

able to apply the musical characteristics discussed in lectures and demonstrated through listening

examples into simple compositions.

The Pretest could have been better in terms of questions asked and how they were asked.

Many of the questions accomplished the goal of being broad, but targeted to a certain era, which

was the purpose of the Pretest. However, some questions seemed rather irrelevant when the

actual unit was being taught.

The review packet and writing all the answers on the board for students to check their

work was one of the best aspects of this unit. The review packet covered everything that was

discussed and effectively prepared students for the final test. While it may have seemed weighed

down with a lot of information, it created a detailed outline of the unit and everything that was

taught, and gives students a great resource for possible future learning.

The final test was also a high point in the assignment category. The eras were clearly

divided with specific questions, which gave students a great reference point to draw the

information from. If the questions were just asked in a random order, many students may not

have been able to separate the timeline of events in their mind and effectively complete the test.

The extra credit portion at the end of the test was one of the favorite things on the test, for both

student and student teacher. After each lecture, there would be listening examples of eraspecific

music. For extra credit, music was played from each era, only out of chronological order. If the

students were able to identify the order of the eras, they would receive half a point for each

correct answer. They had eight examples played, each worth half a point with a total of four

points possible.

Changes

I would make many changes to how the unit was taught, especially at the beginning.

Handing out large packets filled with tons of information was too much for the students to

handle, and barely any of the students took notes. Creating a detailed outline for myself to follow

helped with keeping the flow of the lesson on track and the students able to follow along. Adding

realtime notes on the board also helped with students staying on track and encouraged the

majority of them to take more notes during the lecture.

For most of the unit, I would choose which listening example was played when. Towards

the end of the unit, I started asking the class which composer they wanted to hear from first. This

allowed them to steer the lesson and discussion a little bit, which engaged the entire class even

more than just having a discussion after the piece.

After the listening examples, I would change the types of questions I asked from “What

was your opinion?” and “What did you think about?” to more specific questions like “What was

the texture?” or “What kind of meter was used?”. This would encourage a more analytical

approach to listening rather than only opinion based questioning and answering.

Professional Teaching Standards and Dispositions

Disposition 2.ii.3 from standard two of learning differences where the teacher makes

learners feel valued and helps them learn to value each other is something that always needs to

be improved upon and has room to grow. Every school year, the dynamic of the classroom

changes, and adjustments need to be made to fulfill this disposition, so changing your approach

is improvement.

Disposition 10.iii.5 from standard ten of leadership and collaboration where the teacher

embraces the challenge of continuous improvement and change is a major area for my

selfimprovement. Always remembering that there will be a continuous flow of information,

technology, and teaching strategies that are being created or improved upon is important because

I need to change with the times; I can’t remain stagnant in the time that I started teaching and

never improve. The challenge here is finding out what is changing and what needs to be

improved upon. This is where reflective practices come into play. No lesson will ever be perfect,

and having the ability to know what succeeded and what didn’t is the most important thing for

this disposition.

49 points 85 points 5 points 5 points 40 points 40 points 5 points 10 points 10 points

Student Numbe Focus Group Pretest Grade Posttest Grade Research Assignment 1 Research Assignment 2 Quiz Quiz Retake Listening Assignment Composition 1 Composition 2

Student 1 Whole group 44.9% 74.1% 0 5 60.0% 65.0% 5 7 7



Student 4 Whole group 38.7% 71.1% 2.5 5 30.0% 45.0% 5 8 10


Student 6 Whole group 48.9% 102.0% 5 5 105.0% - 5 10 10

Student 7 Sub-group 48.9% 94.7% 5 5 95.0% - 5 10 9.5


Student 9 Sub-group 32.7% 94.7% 5 5 90.0% - 5 10 10


Student 11 Individual 18.0% 62.4% 0 5 20.0% 25.0% 0 8 7



Student 14 Sub-group 53.1% 90.0% 5 5 65.0% 65.0% 5 7 10

Student 15 Whole group 32.6% 100.0% 4 4.5 105.0% - 5 8 10





Student 20 Whole group 16.3% 61.2% 0 0 25% 45.0% 0 9 10

Class Average 38.7% 84.5% 3.0 4.6 73.6% 55.0% 4.0 7.6 8.1

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