integrating common core literacy standards with ngsss for the arts making learning meaningful and...

INTEGRATING COMMON CORE LITERACY STANDARDS WITH

NGSSS FOR THE ARTS

MAKING LEARNING MEANINGFUL AND ACCESSIBLE FOR ALL STUDENTS

BCI Florida Department of EducationBureau of Curriculum and Instruction

John J. LeTellier, Jr.Fine Arts Content Specialist

Overview of Presentation

1/9/13Florida Department of Education Bureau of Curriculum

and Instruction

Common Core and the Arts Curriculum Mapping in Layers

A model that can reduce the number of critical areas that become the focus of the course, while providing students with a set of very specific goals to master throughout the course.

Learning goals promote student ownership of their own achievement, teacher use of individual student data to guide instruction and ensures all students have learning gains.

Mini-Art Lesson (Learning Objective) within the context of Learning Goals and their Learning Progression Scales


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Common Core

1. What are the Common Core Standards and how are they integrated into NGSSS Arts courses?

Common Core Outline


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2. Common Core English Language Arts (ELA) and Literacy Standards

3. Roadmap and Labeling

4. Emphasis on Literacy

5.Mathematics

1. What are the Common Core Standards and how are they integrated into NGSSS Arts courses?


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The Common Core standards were created through a state-led effort coordinated by the National Governors Association (NGA) and the Council of Chief State School Officers (CCSSO). Common Core Standards are not national standards, however they have been adopted by 45 states and 3 territories according to the Common Core website http://www.corestandards.org/in-the-states#texas

The Common Core addresses what a student should know by the end of each grade level or banded level (i.e. 9/10) in both mathematics and English Language Arts.

Common Core Anchor standards address what a student should know in English Language Arts by the end of 12th grade.

Common Core standards do not replace the Next Generation Sunshine State Standards for the Arts. Rather, they are embedded within NGSSS arts courses and supplement arts standards. They do however replace NGSSS Mathematics and NGSSS English Language Arts Standards.

CCSS and other NGSSS are embedded within each course description. These standards/benchmarks must be addressed in the course along with the included NGSSS arts benchmarks. Common Core standards that have been placed in NGSSS Arts courses are ones that are a natural fit for the arts.

http://www.corestandards.org/in-the-states

Common Core Key Points


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There are no Common Core Arts Standards. Rather Common Core standards are embedded within each Arts course.

Collaboration and integration is essential in the implementation of Common Core All faculty in different content areas should collaborate with each

other to reinforce each other’s content areas where applicable (Arts Integration).

Scope and Sequence or Curriculum Maps for different content areas – Faculty should work together to align content.

Students should be working towards increased critical thinking skills as well as the ability to regularly perform self evaluation.

Collaboration should travel both ways – between Arts teachers and other content area teachers.

College and Career Ready – Common Core Standards were developed in collaboration with teachers, school administrators, and experts to provide a clear and consistent framework to prepare our children for college and the workforce.

2. Common Core ELA and Literacy Standards


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10 Anchor Standards in Reading and Writing both for ELA and Literacy standards

6 Anchor Standards in Speaking and Listening, and Language

Literacy standards K-5 – Because all subjects in Grades K-5 are often

taught by the same teacher, the ELA and Literacy standards are the same. On the following chart this is indicated by the vertical arrows →→ in grades K-5 for reading (blue background) and K-5 for writing (green background)

6-12 – Has a separate section for Literacy Standards

1. WHAT ARE THE COMMON CORE STANDARDS AND HOW ARE THEY INTEGRATED INTO NGSSS ARTS COURSES?3. ROADMAP AND LABELING ENGLISH LANGUAGE ARTS AND LITERACY STANDARDS

READING Strand WRITING StrandSPEAKING &

LISTENING Strand LANGUAGE Strand

10 Anchor Standardsfor College and Career Readiness

10 Anchor Standards

for College and Career Readiness

6 Anchor Standards

for CCR

6 Anchor Standards

for CCR

ELA Standards K-

12

ELA Standards K-

12

ELA Standards K-

12

Literacy

Standards 6-

12

ELA Standards K-

12

Literacy

Standards 6-

12

Literary Text

Hist. / S.S.

Sci. /

Tech Subj.

Inform.

Text

1K

2

3

4

5

6

7

8

9-1011-12

9-1011-12

6-8

9-10

11-12

6-8

11-12

1K

2

3

4

5

6

7

8

9-10

9-1011-12

6-8

1K

2

3

4

5

6

7

8

9-1011-12

1K

2

3

4

5

6

7

8

9-1011-12

K

1

2

3

4

5

9-1011-12

6

7

8

Found-

ational

Skills

1

2

3

4

5

K → → → → → → → → → → →→ → → → → → → → → → →

→ → → → → → → → → → →

→ → → → → → → → → → →

→ → → → → → → → → → →→ → → → → → → → → → →

→ → → → → →

→ → → → → →

→ → → → → →

→ → → → → →

→ → → → → →

→ → → → → →

RF

RL RI

RH

W WHST SL L

RST

Embedded English Language Arts vs. Literacy Standards


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English Language Arts Standards ELA Standards are embedded in some

courses - most notably theatre and K-5 arts courses.

Literacy in History/Social Studies, Science, and Technical Subjects (6th-12th grade only) In 6th – 12th grade most embedded Common

Core Standards will come from this section.

ELA Domain Labels


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RF – Reading Foundational RL – Reading Literature RI – Reading Informational Text RH – Reading History and Social Studies RST – Reading Science and Technical

Subjects W – Writing WHST – Writing Historical, Science and

Technical Subjects SL – Speaking and Listening L - Language

Tomato or Tomato…


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NGSSS Benchmarks Common Core Standards

The lowest level of granularity in the NGSSS is the Benchmark. In the Common Core the lowest level of granularity is the Standard.

3. Roadmap and Labeling


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Common Core Example Standard:

11th and 12th grade

Language Arts Common Core

Cluster 3Reading

Literature Standar

d 7

Where to find the Standards in the Common Core Document


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Main Website - http://www.corestandards.org/ ELA Standards -

http://www.corestandards.org/assets/CCSSI_ELA%20Standards.pdf

Pg. 38 of the ELA standards has the above example standard (LACC.1112.R.3.7). Under Grades 11-12 students (number 7), the standard says, “Analyze multiple interpretations of a story, drama, or poem (e.g., recorded or live production of a play or recorded novel or poetry), evaluating how each version interprets the source text. (Include at least one play by Shakespeare and one play by an American dramatist.)

LACC.1112.RL.3.7 is Florida’s way of labeling this standard.

http://www.corestandards.org/



Pg. 38 Common Core ELA (LACC.1112.RL.3.7)


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Analyze multiple interpretations of a story, drama, or poem (e.g., recorded or live production of a play or recorded novel or poetry), evaluating how each version interprets the source text. (Include at least one play by Shakespeare and one play by an American dramatist.)

Direct Page Numbers in Common Core Document


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Page 9: K-5 Standards for English Language Arts and Literacy in History/Social Studies, Science, and Technical Subjects.

Page 34: 6-12 Standards for English Language Arts Page 59: Title page for Standards for Literacy in

History/Social Studies, Science, and Technical Subjects

Page 61: 6-12 Reading Standards for Literacy in History/Social Studies

Page 62: 6-12 Reading Standards for Literacy in Science and Technical Subjects

Page 64: 6-12 Writing Standards for Literacy in History/social Studies, Science, and Technical Subjects

4. Emphasis on Literacy Skills


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Literacy is defined as both the ability to read and write to a competent level and knowledge of or competence in a subject or area of activity. Therefore emphasis upon literacy impacts upon the arts two-fold:

1. Students should be able to read and write competently in their grade level for any course including the arts.

2. Students should be competent in the skills required for each arts course.

Mathematics


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Applicable Math standards and practices are currently being evaluated for

inclusion.

Mathematical Practices


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MACC.K12.MP Mathematical Practices MACC.K12.MP.1 Make sense of problems and

persevere in solving them. MACC.K12.MP.2 Reason abstractly and

quantitatively. MACC.K12.MP.3 Construct viable arguments and

critique the reasoning of others. MACC.K12.MP.4 Model with Mathematics. MACC.K12.MP.5 Use appropriate tools strategically. MACC.K12.MP.6 Attend to precision. MACC.K12.MP.7 Look for and make use of

structure. MACC.K12.MP.8 Look for and express regularity in

repeated reasoning.


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Curriculum Mapping

What is a Curriculum Map?

A Curriculum Map is an academic plan which provides direction for the integration of Common Core with the Arts. It creates an overall plan of instruction for the year.

It should be created before any Lesson Objectives (Lesson Plans).


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To facilitate the understanding of a Curriculum Map using learning goals and progression scales, let’s take a look at an Arts Integration mini-lesson for Music Technology and Sound Engineering I – Course # 1304300 within the context of a Curriculum Map.

Remember Tomato or Tomato or…Tomato!


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Focused Units Grouping

Remember the tomato vs. tomato slide? In looking at curriculum mapping, there are some words that you might normally call something else. For example, what we are calling, “chunking” you might call, “grouping”. Also, the following is just one way in which you might approach curriculum mapping.

Chunking

Course Requirements and Standards

Curriculum Mapping in Layers

“Chunks” or Big Ideas (Create Learning Goals)Mapping Learning Goals

Progression Scales for Major Learning GoalsProgress Monitoring/Assessments


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1

Course Number: 1304300 Course Path: Section: Grades PreK to 12 Education Courses » Grade Group: Grades 9 to 12 and Adult Education Courses » Subject: Music » SubSubject: Music Technology » Course Title: Music Technology and Sound Engineering 1 Course Section: Grades PreK to 12 Education Courses Abbreviated Title: MUS TECH SOUN ENG 1 Number of Credits: 1 Course Length: Year Course Level: 2 Course Status: DRAFT - State Board approval pending Graduation Requirements: PF Course Description: Students explore the fundamental applications and tools of music technology and sound engineering. As they create and learn its terminology, students also learn the history and aesthetic development of technology used to capture, create, and distribute music. Public performances may serve as a resource for specific instructional goals. Students may be required to attend one or more performances outside the school day to support, extend, and assess learning in the classroom. CRITICAL THINKING and REFLECTION: Critical and creative thinking, self-expression, and communication with others are central to the arts. Cognition and reflection are required to appreciate, interpret, and create with artistic intent. MU.912.C.1.1 Apply listening strategies to promote appreciation and understanding of unfamiliar

musical works. Assessing our own and others’ artistic work, using critical-thinking, problem-solving, and decision-making skills, is central to artistic growth. MU.912.C.2.2 Evaluate performance quality in recorded and/or live performances. MU.912.C.2.3 Evaluate one's own or other's compositions and/or improvisations and generate

improvements independently or cooperatively. The processes of critiquing works of art lead to development of critical-thinking skills transferable to other contexts. MU.912.C.3.1 Make critical evaluations, based on exemplary models, of the quality and

effectiveness of performances and apply the criteria to personal development in music.

SKILLS, TECHNIQUES, and PROCESSES: Through dance, music, theatre, and visual art, students learn that beginners, amateurs, and professionals benefit from working to improve and maintain skills over time. The arts are inherently experiential and actively engage learners in the processes of creating, interpreting, and responding to art. MU.912.S.1.3 Arrange a musical work by manipulating two or more aspects of the composition. MU.912.S.1.5 Research and report on the impact of MIDI as an industry-standard protocol. MU.912.S.1.7 Combine and/or create virtual and audio instruments. MU.912.S.1.8 Record, mix, and edit a recorded performance. Through purposeful practice, artists learn to manage, master, and refine simple, then complex, skills and techniques. MU.912.S.3.4 Analyze and describe the effect of rehearsal sessions and/or strategies on refinement

of skills and techniques.


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In mapping, always begin with the course requirements defined by the standards in the course description. You can access these using CPALMS: www.cpalms.org

Course Requirements and Standards

http://www.cpalms.org/


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Common Core Standards

1

HISTORICAL and GLOBAL CONNECTIONS: Experiences in the arts foster understanding, acceptance, and enrichment among individuals, groups, and cultures from around the world and across time. The arts reflect and document cultural trends and historical events, and help explain how new directions in the arts have emerged. MU.912.H.2.4 Examine the effects of developing technology on composition, performance, and

acquisition of music. Connections among the arts and other disciplines strengthen learning and the ability to transfer knowledge and skills to and from other fields. MU.912.H.3.1 Apply knowledge of science, math, and music to demonstrate, through an acoustic or

digital performance medium, how sound production affects musical performance.

INNOVATION, TECHNOLOGY, and the FUTURE: Curiosity, creativity, and the challenges of artistic problems drive innovation and adaptation of new and emerging technologies. Creating, interpreting, and responding in the arts stimulate the imagination and encourage innovation and creative risk-taking. MU.912.F.1.2 Incorporate or adapt new, emerging, or previously unfamiliar technology to create an

innovative composition, music project, or related product. The 21st-century skills necessary for success as citizens, workers, and leaders in a global economy are embedded in the study of the arts. MU.912.F.3.2 Summarize copyright laws that govern printed, recorded, and on-line music to

promote legal and responsible use of intellectual property and technology.

Additional Required Benchmarks: LACC.910.SL.1 Comprehension and Collaboration LACC.910.SL.1.1 Initiate and participate effectively in a range of collaborative discussions (one-on-one, in

groups, and teacher-led) with diverse partners on grades 9–10 topics, texts, and issues, building on others’ ideas and expressing their own clearly and persuasively.

LACC.910.SL.2 Presentation of Knowledge and Ideas LACC.910.SL.2.4 Present information, findings, and supporting evidence clearly, concisely, and logically

such that listeners can follow the line of reasoning and the organization, development, substance, and style are appropriate to purpose, audience, and task.

LACC.910.L.1 Conventions of Standard English LACC.910.L.1.1 Demonstrate command of the conventions of standard English grammar and usage when

writing or speaking.

LACC.910.RST.2 Craft and Structure LACC.910.RST.2.4 Determine the meaning of symbols, key terms, and other domain- specific words and

phrases as they are used in a specific scientific or technical context relevant to grades 9–10 texts and topics.

LACC.910.RST.3 Integration of Knowledge and Ideas LACC.910.RST.3.7 Translate quantitative or technical information expressed in words in a text into visual

form (e.g., a table or chart) and translate information expressed visually or mathematically (e.g., in an equation) into words.

LACC.1112.WHST.3 Research to Build and Present Knowledge LACC.1112.WHST.3.9 Draw evidence from informational texts to support analysis, reflection, and research. DA.912.S.2.1 Sustain focused attention, respect, and discipline during class, rehearsal, and

performance.

Additional Proposed Standards


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Below are additional Common Core standards including Mathematical Practices for this course that will likely be included during the next State Board Course Description Adoption Cycle.

3

LACC.910.SL.1 Comprehension and Collaboration LACC.910.SL.1.2 Integrate multiple sources of information presented in diverse media or formats

(e.g., visually, quantitatively, orally) evaluating the credibility and accuracy of each source.

LACC.910.SL.1.3 Evaluate a speaker’s point of view, reasoning, and use of evidence and rhetoric, identifying any fallacious reasoning or exaggerated or distorted evidence.

MACC.912.A-CED.1 Create equations that describe numbers or relationships.

MACC.K12.MP Mathematical Practices MACC.K12.MP.5 Use appropriate tools strategically. MACC.K12.MP.6 Attend to precision. MACC.K12.MP.7 Look for and make use of structure.

* In addition, LACC.1112.WHST.3.9 is proposed to be changed to LACC.910.WHST.3.9 for this course.

What are Learning Goals?


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Next create learning goals. These can last for weeks, months or in the case of a few the entire year.Then “chunk” together the benchmarks and standards that are needed to accomplish each learning goal individually. This includes Arts benchmarks, Common Core standards and other NGSSS associated with the course.

“Chunks” or Big Ideas (Creation of Learning Goals)

What are Learning Goals?


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Learning goals, “Define what students should know and be able to do”.

Learning goals are those overarching concepts that need to be taught within a school year.

Learning goals target key learning at the unit or “big picture” level. Learning goals are not the same thing as daily or even weekly objectives. Goals most often represent a larger focus while objectives represent smaller, more specific learning that leads to the goal or goals.

Example Learning Goal 1 with Chunked Benchmarks and Standards


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Learning Goal 1- Students will understand through study and application, the basic acoustical principles that affect sound production. Learning Goal 1- Students will understand through study and application, the basic acoustical principles that affect sound production.

MU.912.C.1.1MU.912.C.3.1MU.912.S.3.4MU.912.H.3.1LACC.910.SL.1.1LACC.910.SL.1.2LACC.910.SL.2.4LACC.910.RST.2.4LACC.910.RST.3.7LACC.910.WHST.3.9MACC.912.A-CED.1MACC.K12.MP.5MACC.K12.MP.6MACC.K12.MP.7DA.912.S.2.1

Music Technology and Sound Engineering 1 - 1304300

LG 1 - ChunkLG 1 - Chunk

MU.912.C.1.1 LACC.910.SL.1.1

MU.912.C.2.2 LACC.910.SL.1.2

MU.912.C.3.1 LACC.910.RST.2.4

MU.912.S.1.8 LACC.910.RST.3.7

MU.912.S.3.4 LACC.910.RST.3.9

MU.912.H.2.4 MACC.912.A-CED.1

MU.912.F.1.2 MACC.K12.MP.5

DA.912.S.2.1 MACC.K12.MP.6

MACC.K12.MP.7

Learning Goal 2 – Through the analysis of informational texts, various audio recordings and empirical study, students will examine and understand the role of signal processors and appropriately use them in both the audio tracking and mixing chain.

Learning Goal 2 – Through the analysis of informational texts, various audio recordings and empirical study, students will examine and understand the role of signal processors and appropriately use them in both the audio tracking and mixing chain.

Example Learning Goal 2 with Chunked Benchmarks and Standards


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LG-2 ChunkLG-2 Chunk


ELA Standards

Algebra Cluster (Creating Equations)


Common Core

Learning Goal 2 Vs. 2a


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In the next slide, notice how the benchmarks and standards for 2a are the same as they are for learning goal 2. This is because those standards and benchmarks fit both goals. That will not always be the case. Remember, Benchmarks and Standards should always be chunked together according to the overarching concept of what you are teaching.

Example Learning Goal 2a with Chunked Benchmarks and Standards


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Learning Goal 2a – Through the analysis of informational texts, various audio recordings and empirical study, students will examine and understand the role of equalization and appropriately apply it in both the audio tracking and mixing chain.

Learning Goal 2a – Through the analysis of informational texts, various audio recordings and empirical study, students will examine and understand the role of equalization and appropriately apply it in both the audio tracking and mixing chain.


MU.912.C.1.1 LACC.910.SL.1.1

MU.912.C.2.2 LACC.910.SL.1.2

MU.912.C.3.1 LACC.910.RST.2.4

MU.912.S.1.8 LACC.910.RST.3.7

MU.912.S.3.4 LACC.910.RST.3.9

MU.912.H.2.4 MACC.912.A-CED.1

MU.912.F.1.2 MACC.K12.MP.5

DA.912.S.2.1 MACC.K12.MP.6

MACC.K12.MP.7

LG-2a ChunkLG-2a Chunk

MU.912.C.1.1 LACC.910.SL.1.1

MU.912.C.2.2 LACC.910.SL.1.2

MU.912.C.3.1 LACC.910.RST.2.4

MU.912.S.1.8 LACC.910.RST.3.7

MU.912.S.3.4 LACC.910.RST.3.9

MU.912.H.2.4 MACC.912.A-CED.1

MU.912.F.1.2 MACC.K12.MP.5

DA.912.S.2.1 MACC.K12.MP.6

MACC.K12.MP.7

ELA Standards

Algebra Cluster (Creating Equations)


Common Core

How To Map Learning Goals

After creating all of the learning goals for an individual course, you will need to create a plan (map) to cover the content.

When mapping the major learning goals be attentive to the order in which new concepts or skills should be introduced.

Estimate the amount of time that will be required for students to explore the big ideas in depth and master the concepts and skills.

The next slide shows a sample year-long map containing six learning goals for Music Technology and Sound Engineering I. An actual map for this course would contain more learning goals in order to cover all of the required content.

1/9/13

Florida Department of Education Bureau of Curriculum and Instruction

Mapping Learning Goals


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Example Learning Goals Map Across Quarters

Quarter 1Quarter 2 Quarter 3 Quarter 4

*Learning Goal 2 – Signal Processors

Goals can start at the same or different times and even overlap. Goals also will have varying lengths.

Learning Goal 1 – Basic Acoustical Principles

Learning Goal 2a Equalization

Learning Goal 2b Dynamic Range (Compression, Expansion, Limiting and Gating)

*Learning Goal 2 Notice that there are learning goals within learning goals in this particular case.

Learning Goal 2c Reverb and Delay

Learning Goal 2d Special Effects


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After creating our learning goals and map, we then need to create progression scales.

Scales provide a clear learning progression of what a student should understand or be able to do. The terms scale or rubric relate to the same concept: an explicit set of criteria used for assessing progress toward a learning goal. The progress points built into the scale are appropriately sequenced, usually based on a logical order or progression or ascending levels of difficulty. The points in the scale must directly support the learning goal.

The value of the scale is that students will evaluate their own progress.

Progression Scales for Major Learning Goals

Example Progression Scale for Learning Goal 2a


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4.0 Students understand the role of equalization and are able to apply it appropriately to individual tracks and full mixes as well as use it in creative and non-traditional fashions.

2.0 Students understand the basic principles of equalization and are able to appropriately accentuate or de-emphasize frequencies for individual instruments and understand the use of a graphic equalizer.

1.0 Students have limited understanding of equalization principles.

0.0 Even with assistance, students are unable to understand basic equalization principles.

3.0 Students understand and are able to appropriately apply different types of equalization as needed in the audio tracking and mixing chain to create a cohesive and tonally balanced mix.

Notice how 3.0 is identical to what is being asked with Learning Goal 2a. The learning goal is your target!

So…

Begin with the course descriptions. Create learning goals and “Chunk”

standards and benchmarks into critical areas or big ideas.

Make sure to integrate appropriate standards that logically fit across content areas.

Map out your learning goals for the duration of the course.


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Lesson Objectives


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We’ve covered how to create learning goals, chunking standards/benchmarks together, creating scales and mapping out learning goals.

Next we will see what it looks like to create a lesson objective.

We will start by explaining lesson objectives and then create an actual lesson that fits into one of our example learning goals.

Lesson Objectives (continued)


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Each learning goal contains lesson objectives (lesson plans) that will meet that specific goal.

Lesson objectives are more specific than learning goals.

Lesson objectives can be individual lessons or a set of lessons.

They are measurable and again should include what a student should know and be able to do.

As an important note – Lesson objectives should be created before working on a learning goal. However, not all of the lesson objectives need to be designed alongside the Curriculum Map at one time.


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The following slide shows 4 possible lesson objectives that can help students reach learning goal 2a’s target level. One of the objectives will be used for the mini-lesson. These are just examples. More objectives obviously would need to be created in order to be more comprehensive and include such topics as phasing and shelving.

Lesson Objective 1 – Through study and empirical evidence, students will learn what equalization is and how it affects the tone of individual instruments for tracking and mixing purposes. Through this study along with the Carnegie Hall frequency chart, students will create their own chart that shows ideal frequencies to boost or cut for individual instruments within a mix.

Lesson Objective 2 – Students will learn the difference between graphic and parametric equalizers including the process of adjusting the “Q” for each parametric band in relationship to the gain through the study of informational text and the collection of empirical evidence.

Lesson Objective 3 - Students will apply their knowledge of how each instrument fits within the broad frequency spectrum and learn how best to approach equalization to create “space” for each instrument within a mix. They then will manipulate the equalization frequencies in a pre-recorded eight track session to achieve tonal balance in the song (i.e. accentuating and de-emphasizing the appropriate frequencies for the bass guitar, electric piano and kick drum to achieve clarity and tonal balance in the bass spectrum) and create a finished two-track mix. Students will then compare and critique their final mixes with their classmates.

Lesson Objective 4 – Students will compare their final two-track mixes to a professionally recorded two-track mix and make necessary adjustments to match the tonal balance of the professional mix. They then will discuss the methods they used and the outcomes with their classmates.

Lesson Objective 2 – Students will learn the difference between graphic and parametric equalizers, including the process of adjusting the “Q” for each parametric band in relationship to the gain through the study of informational text and the collection of empirical evidence.

Sample Lesson Objectives to meet Learning Goal 2a


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**Lesson Objective 2 Lesson Objective 2 is the actual objective that we will use for our mini-lesson

Here is learning goal 2A as a reminder so you can see how the lesson objective we are using matches the goal:

Through the analysis of informational texts, various audio recordings and empirical study, students will examine and understand the role of equalization and appropriately apply it in both the audio tracking and mixing chain.


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~Music and Math Integration Lesson~ Parametric and

Graphic EQ

Objective: To learn the difference between parametric and graphic equalizers through the study of informational text and the collection of empirical evidence, and to understand the process of adjusting the “Q” of each parametric band in relationship to the gain.

Benchmarks, Standards and Math Practices Utilized for Lesson Objective 2


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Music Benchmarks

MU.912.C.1.1 Apply listening strategies to promote appreciation and understanding of unfamiliar musical works.

MU.912.C.2.2 Evaluate performance quality in recorded and/or live performances.

MU.912.C.3.1 Make critical evaluations, based on exemplary models, of the quality and effectiveness of performances and apply the criteria to personal development in music.

MU.912.S.1.8 Record, mix, and edit a recorded performance.

MU.912.S.3.4 Analyze and describe the effect of rehearsal sessions and/or strategies on refinement of skills and techniques.

MU.912.H.2.4 Examine the effects of developing technology on composition, performance, and acquisition of music.

MU.912.F.1.2 Incorporate or adapt new, emerging, or previously unfamiliar technology to create an innovative composition, music project, or related product.

Common Core

LACC.910.SL.1.1 Initiate and participate effectively in a range of collaborative discussions (one-on-one, in groups, and teacher- led) with diverse partners on grades 9–10 topics, texts, and issues, building on others’ ideas and expressing their own clearly and persuasively.

LACC.910.RST.2.4 Determine the meaning of symbols, key terms, and other domain- specific words and phrases as they are used in a specific scientific or technical context relevant to grades 9–10 texts and topics.

LACC.910.WHST.3.9 Draw evidence from informational texts to support analysis, reflection, and research.

MACC.912.A-CED.1 Create equations that describe numbers or relationships.

MACC.K12.MP.5 Use appropriate tools strategically.

MACC.K12.MP.6 Attend to precision.

MACC.K12.MP.7 Look for and make use of structure.

* Note that not all of the benchmarks/standards for learning goal 2a are present. For each objective, use only the benchmarks/standards that pertain to that objective. However, all benchmarks/standards should be addressed at some point within the teaching of the learning goal.

What is Equalization?


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Quoted from pg. 366 of the 5th edition of Modern Recording Techniques by David Miles Huber:

“The audio equalizer is a device or circuit that allows a recording, mix or audio engineer to control the relative amplitude of various frequencies within the audible bandwidth. Put another way, it lets you exercise tonal control over the harmonic or timbral content of a recorded sound.”

What is Equalization (continued)


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Equalization is more commonly addressed in the industry as “EQ”.

EQ is an important part of both tracking and mixing. With the help of EQ an engineer can tweak individual tracks as well as complete mixes to achieve a desired tonal balance.

EQ can also be used in non-traditional ways as an effect.

The frequencies on an EQ literally correspond to frequencies like that on a piano. So for instance, if you were to boost 440 Hz with a narrow Q on an EQ you would be accentuating the A above middle C.


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Graphic Equalization

Graphic Equalizer


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Graphic Equalizers are categorized by the amount of bands and the octave arrangement that they use. For instance you might hear a graphic equalizer being called a 30 band 1/3 octave equalizer. In this case there would be 30 control sliders that are literally spaced apart by 1/3 of an octave each (think piano octave).

Each band is a type of “filter”. That is it “filters” or modifies its own frequency range. By boosting or cutting the filter, the sound is outputted in a changed way.

Picture of a graphic equalizer


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Ashly GQX03102 stereo graphic EQ


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Parametric Equalization

Parametric EQ and Controls Explained


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A parametric equalizer is an equalizer which contains frequency controls that are both sweepable and that allow for the user to adjust the steepness or broadness of an EQ curve.

Controls Gain – The amount of boost or cut that will be

applied to strengthen or weaken the energy for the specified frequency range.

Frequency – The frequency that is to be selected. Q (Quality Factor or Quality of Resonance) – This

affects the bandwidth (The width of frequencies that will be affected along with the chosen center frequency).

Massenberg Parametric EQ


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George Massenberg invented the revolutionary Parametric EQ in 1972

Close up of Parametric EQ


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Gain

Frequency (Outer ring to be used with the inner ring of markings)

Q (Concentric knob to be used with outer ring of markings)

Finding Q – A little bit of important EQ Math!


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It is important to be able to determine what frequencies you are affecting with your use of the Q setting. The equation is both easy and useful.

Here is the formula we use to find Q: Q= f3/(f2-f1) whereas f2 is the upper frequency, f1 is the lower

frequency, and f3 is the center between f1 and f2.

Example: Find the extreme lower and extreme upper frequency that you

wish to affect (in this case let’s use 60 Hz and 120 Hz). Subtract the lower frequency from the upper frequency 120 Hz - 60 Hz=60 Divide the centre frequency (90hz) by the result (i.e. 90 Hz/60

Hz= 1.5) So in this example you would set the EQ frequency to 90 Hz

and use a Q of 1.5 to affect 60 Hz - 120 Hz with the gain.

Q in Practice


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In the following example, EQ is used to accentuate the attack of the kick drum. Click on the links below and listen to how different Q settings affect the sound. With a partner try to determine what frequency is being boosted, how many dB of boost is occurring and the Q that is being used. Kick No EQ Kick Lower Gain Wider Q Answer: (+9db at 3.3 kHz, Q of 1.3) Kick High Gain Narrow Q Answer: (+15db at 3.3 kHz, Q of 9)

In both examples, the attack of the kick is accentuated. Notice however with a narrower Q (9) it is necessary to boast the gain higher in order to achieve the desired result. Also, there is a substantial difference in the outcome. The very narrow Q results in a more “pinging” sound, whereas the wider Q results in a fuller sound. This is because with a broaded Q we of course are raising more of the frequency spectrum surrounding 3.3 kHz.

Graphic and Parametric EQ Exercise


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With a partner open the two-track stereo mix that you brought into class in your DAW editor. Load up both a parametric and graphic EQ into the plug-in slots for the stereo track.

Using your graphic EQ, increase the gain by +3dB for each of the following frequencies, first separately and then together (60 Hz, 200 Hz, 315 Hz, 800 Hz, 3 kHz, 6.5 kHz and 12 kHz).

Now do the same with the parametric EQ. Note any differences in your journal.

Next, note what settings on the parametric EQ are necessary to match the sound of the graphic EQ.

Finally, accentuate each frequency by 6dB, once with a wide Q and once with a narrow Q.

Write a summary of your findings. Make a note of positive and negative tonal changes that you notice with each frequency. What happens with the sound if you sweep the Q back and forth? How might you use a narrow Q differently from a wide Q when mixing? Make a note of which instruments/vocals are accentuated as you experiment and what changes you notice in the sound. Use words like, snap, sizzle, sibilance, thump, etc.

For the Algebra Teacher…


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If this lesson were coordinated with the algebra teacher, multiple concepts could be covered and reinforced by both the algebra and music teacher.

In an algebra class, more in-depth equations for bandwidth, cutoff frequencies, converting bandwidth to Q and converting Q to bandwidth could be studied as real-life practical applications. Creating equations, rearranging formulas, powers, roots and logarithms are all subjects that could be covered.


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Finally, Progress Monitoring involves the creation of formative and summative assessments to monitor students’ progress towards attaining mastery of each learning goal.

Progress Monitoring/Assessments

[email protected]

John J. LeTellier, Jr. – Fine Arts Content Specialist


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integrating common core literacy standards with ngsss for the arts making learning meaningful and...

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