INTERMEDIATE MUSIC

CURRICULUM AND TEACHING GUIDE

ACKNOWLEDGEMENTS

The Department of Education gratefully acknowledges the contribution of the two IntermediateMusic Working Groups (St. John's and Gander). Members are as follows:

Ki Adams, Chairperson Education Consultant - MusicDepartment of EducationSt. John's, Newfoundland

Sharmini Arulanadam Music SpecialistPersalvic Central HighAvalon North Integrated School BoardVictoria, Newfoundland

Barbara Barter Music SpecialistSt. John Central HighBurgeo Integrated School BoardBurgeo, Newfoundland

Sheila BrownMusic Program CoordinatorNova Consolidated School BoardGander, Newfoundland

Leslie K. CrossMusic SpecialistBishop's CollegeAvalon Consolidated School BoardSt. John's, Newfoundland

Jim Duff Music CoordinatorSt. John's R.C. School BoardSt. John's, Newfoundland

Carol E. HarrisEducation Consultant - MusicDepartment of EducationSt. John's, Newfoundland

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Beverly JonesMusic SpecialistGrand Falls AcademyExploits Valley Integrated School BoardGrand Falls, Newfoundland

Suzanne Pals Music SpecialistJane Collins AcademyNova Consolidated School BoardDover, Newfoundland

Douglas Vaughan Music SpecialistHoly Trinity High SchoolSt. John's R.C. School BoardTorbay, Newfoundland

Rhonda WicksMusic Program CoordinatorAvalon Consolidated School BoardSt. John's, Newfoundland

Dwight WinsorMusic SpecialistWindsor ElementaryPentecostal Assemblies School BoardWindsor, Newfoundland

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TABLE OF CONTENTS

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Philosophy for Intermediate Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Aims and General Objectives (Musical and Non-Musical) . . . . . . . . . . . . . . . . . . . . . . . . . 3

Music and the Development of the Adolescent . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

General Approaches to Music Education at the Intermediate Level . . . . . . . . . . . . . . . . . . 13

Concepts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Objectives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25Review of Objectives K-6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27Specific Objectives for Intermediate Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29Basic Music Skills Chart 7-9 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Lesson Planning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Instructional Procedures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39Rhythmic Exercises . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41Melodic Exercises . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43Melodic Dictation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47Sightsinging . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49Sound Before Symbol . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51Creative Skills: Improvisation and Composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57Improvising the Blues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65Listening . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69Nine Ways to Introduce New Songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81Thirty Ways to Practice a Song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85Part Singing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87Folk Song Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89Movement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93Using Resonator Bells . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119The Late Beginner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121Computer-based Technology

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Performance Strands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125Intermediate Instrumental Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129Intermediate Choral Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133Recorders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139Recorder Consort . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143Guitar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151

Evaluation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153

Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159

Appendices

Exploratory UnitsMusic in My Environment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A1History of the Orchestra . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . B1History of Notation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C1Afro-American Music: The Development of Jazz . . . . . . . . . . . . . . . . . . . . . . . . . . . . D1Newfoundland Folk Songs and Their Role in Society . . . . . . . . . . . . . . . . . . . . . . . . . E1

Black-Line MastersNewfoundland Folksongs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . F1Canons and Rounds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . G1

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PHILOSOPHY FOR INTERMEDIATE MUSIC

Music is an artistic expression of the human experience; it is a manifestation of the human spirit.Music appeals directly to our feelings, demanding a personal response, and helps us discoverdimensions of beauty. Music assists students in responding sensitively to their environment anddevelops an awareness of their cultural background. It is this contribution to student growth inaesthetic sensitivity that makes music, and other fine arts, an essential part of the intermediatecurriculum. As well, the study of music helps to develop specific areas of student cognition and,through movement and performance, psychomotor skills.

The intermediate music program is based on the developmental level of adolescents, asexpressed in social, physical, emotional, cognitive, and moral characteristics. It is designed for everystudent. Its purpose is to develop the whole child by using intellect, imagination, and sensitivity inexperiencing and interpreting music of Newfoundland, Canada, and other countries, as well as theart music of the world. Each student has abilities and skills, sensitivities and imaginative powersand, therefore, should experience success in responding to and creating music. Success in musicliteracy, as in other subjects, is the direct result of a well-sequenced program which builds uponprevious skills and knowledge.

Music belongs to everyone. It is the responsibility of educators to develop each student'spotential through direct contact with the elements of music. Music is unique in that it may beexperienced only as an aural art. The focal point of musical experience is music itself, as it is heardand performed.

AIMS

1. To develop aesthetic sensitivity in students through activities which provide direct contact withthe elements of music.

2. To provide meaningful and challenging musical experiences for students, regardless of thestudents' perceived talent or level of musical development.

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GENERAL OBJECTIVES

Musical

At the intermediate level, the music program will provide opportunities for students to:

1. explore the elements of rhythm, melody, harmony and form; and the expressive controls oftexture, timbre, dynamics, tempo, and articulation, through a variety of activities.

2. develop an understanding of the elements of music.

3. derive how the elements and expressive controls are combined in various styles of music.

4. apply understanding of music's elements by responding to directed listening, improvisation, andcomposition.

5. use musical skills for the purpose of self-expression.

6. develop powers of critical judgement.

7. develop an understanding of the process of aesthetic judgement which includes both objectiveand subjective evaluation.

Non-Musical

Through direct involvement with musical activities, students will have the opportunity to:

1. develop greater awareness of one's own emotions and the emotional response of others.

2. enhance self-esteem through one's own musical expression.

3. develop a tolerance towards the expression of others.

4. develop greater concentration and memory skills.

5. develop skills of physical coordination.

6. develop an awareness of one's culture and the culture of others.

7. develop the ability to cooperate and work with others in group activities/ performance.

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MUSIC AND THE DEVELOPMENT OF THEADOLESCENT

Music for Aesthetic Education

The major goal of a music program should be to awaken and develop aesthetic sensitivity instudents through direct contact with the very elements of music. The semantic meaning of "aestheticsensitivity" is response to that which displays or contains beauty. A deeper understanding of theaesthetic experience may be gained from these characteristics:

The aesthetic experience is valued, not for its practical benefits alone, but for the insight,satisfaction and enjoyment it provides. For example, to listen to music in an elevator orshopping mall is not to engage in an aesthetic act.

Both intellect (perception) and emotion (response) are involved in the aesthetic experience.

As the experience is personal, it varies in degree and intensity according to the individual'sperception and inclination.

The awareness of the aesthetic experience may not be immediate. The individual must put fortheffort. This is where the challenge lies for educators in the aesthetics.

Aesthetic experiences are not the prerogative of any age group, educational level or social/ethnicclass.

In music, we teach for aesthetic sensitivity by helping students become aware of the aestheticproperties, the elements of music. These elements are rhythm, melody, harmony, form, and theexpressive controls of timbre, dynamics, and tempo. Rather than explain by lecture, the teacher mustask questions such as:

Does the melody move by step, skip or repeated notes? Are any lines of this song the same? Why? Do you think we should play this softly? Loudly? Why? Which tempo (speed) do you prefer? Why? How can we perform this piece to express the mood of the poetry? Why? Students' answers should then be further explored; e.g., What would happen if all melody notes

moved by step?

Teachers should be constantly aware of a cycle of learning which includes perception, reaction,analysis (valuing) and which leads to a new and enhanced perception.

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Implications for Teaching Based on the Characteristics of Early Adolescents

Music, and the other fine arts, make an essential contribution to a child-centred program, suchas that advocated by the Department of Education's Junior High School Reorganization CommitteeReport. The characteristics and needs of early adolescents, as outlined in the Report, give cleardirections for course development. The characteristics find particular relevance in the content andmethod of an effective music program.

PhysicalThe well-planned music lesson includes a variety of activities. Listening and categorizing lead

to perception and its expression in active participation (movement, a performed phrase, the writtensymbol).

Rapid and varied physical changes can be skilfully accommodated in the music class. Thisaccommodation is both physical, as in the division of tasks among students, and emotional, as in theacceptance of each individual's contribution.

The study and performance of music focuses on physical awareness. Is our posture andbreathing suitable for singing/playing? Have we remembered to warm-up sufficiently? Whichcalisthenic exercises will we use today? How are our fine motor skills progressing? Is our playingimproving?

An important physical characteristic of adolescent boys is voice maturation. The most successfulapproach to the changing voice is to treat it as a fascinating physiological development which needsto be studied and recorded on an individual basis. The male voice is to be used, both in its treblerange, which often lasts until age 15, and as a developing tenor/baritone. The attitudes of young mentoward music are much more positive when the vocal phenomenon is treated as a natural step tomaturity.

CognitiveThe music program recognizes, and utilizes, the gradual move of students toward formal

capabilities but it is solidly based on concrete operations. Students must "experience" the musicitself (by clapping, singing, moving, indicating the theme or instruments when listening, etc.) inorder to form perceptions. There is also a strong emphasis on the precognition skills of directedlistening and on musical memory. The latter is based on the analysis and performance of like andunlike patterns (form).

Improvising and creating are essential components of the music program at all levels. Thedistinction between the two lies in the degree of restriction or rules imposed in the process. A simplerhythmic question and answer between teacher and student involves improvisation. Creativity iscalled for when the student sets his/her own guidelines (such as the number of measures, ABA form,meter) and then designs and performs the pattern. Both processes require structure and priorlearning. On the other hand, free movement to music is, as the name implies, not a creative act. Itis an exploratory act which may later lead to creativity.

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The K - VI music program contains many concepts, the realization of which requires a host ofstudent skills. The intermediate program consolidates and enriches students' learning. This does notmean that music studies, between the ages 12-15, should be approached on a "take it or leave it"basis. To the contrary, the intermediate level experience can be viewed through the arts. These arethe years to review and consolidate concepts while applying skills and knowledge to a growingnumber of musical forms.

EmotionalMusic studies should lead to emotional control as students discuss and respond to emotional

demands. Mood in music is treated both objectively and subjectively. What means does thecomposer use to express the mood of this selection? How would I alter this line in order to expressmore tension?

Each well-crafted musical phrase creates and releases tension. The cycle found in an excellentshort story (statement, tension, climax, and denouement) is repeated constantly in music. Studentsuse the basic elements of music to express such emotions as tranquillity, excitement, rage,spirituality.

One of the most important aspects of music in the intermediate grades is the possibility of musicpositively affecting an individual's self-esteem. By exercising one's emotions, responses, and skills,the student is encouraged to respect both his own contributions and those of others. Music is amedium whereby all students have the opportunity to experience success and self-fulfilment.

SocialWe are all familiar with the social maturity of excellent student performing groups. Here

directors and students of widely varying aptitudes and achievements cooperate as a team to attainthe common goal of beautiful music-making.

Less obvious, but equally important social gains are found in the classroom where studentsperform rhythms, melodic phrases, and coordination exercises. Little by little, students learn tovalue their own contributions and those of others. Music is one area in which group work is thenorm as classes are divided for the performance of beat and rhythm, rounds and canons, analysis andcomposition.

MoralArt is a human activity, having for its purpose the transmission to others of the highest and bestfeelings to which men have risen. Leo Tolstoy

Music studies deal with attitudes and choices and the expression of beauty. Students mustdiscriminate between quality and superficiality, both in the poetry of song and in musical content.In the music class, as in most classes, the search for values and meaning must be omnipresent. Forthe arts, the quest is simplified. It is the very nature of the discipline.

Implications

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At all levels of the music program, the method of teaching must match the developmentalcharacteristics of the student. This is particularly important during adolescent years when the studentundergoes rapid and dramatic growth. Teachers should make a special effort to adapt the teachingprocess to each learner. It is essential that the music class provide a positive experience for students.

The activities of music, appropriate for the intermediate years, include:

Singing Rhythmic/Choral Speaking Playing Moving - tapping, clapping, stepping, coordinating.... Listening Hand-signing Notating graphically Reading Writing Deriving Analyzing Improvising Composing Evaluating

Students must be exposed to an array of tasks from which they can reinforce learning begun atthe primary/elementary levels and develop new skills and greater awareness.

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GENERAL APPROACH TO MUSIC EDUCATIONAT THE INTERMEDIATE LEVEL

The major goal of music in the intermediate grades is to increase the sensitivity of all studentsto the power of music as an art. This aesthetic growth is only possible through direct experiencewith music as expressed in sound and movement. For this reason, it is important that the theory ofmusic be presented first as a listening and performing experience and, later, as a written exercise.Actual music making must have priority at all times, but always within the framework of a plannedand stated learning objective.

The music program at the intermediate level is designed to fulfil two major functions: to solidify the skills and concepts presented in the primary/elementary curricula. to enhance students' understanding of basic concepts through more advanced activities.

Activity ApproachMusical learning evolves from musical experience. Lois Choksy

All music instruction must involve experiencing the elements of music in as many different waysas possible. An activity/hands-on approach is essential. Adolescents can utilize boundless amountsof energy; the music teacher must find ways to direct this energy in a positive way. A wide varietyof activities and materials is necessary to maintain interest and concentration. The music programshould provide a positive experience for students as they find success through various activities.

Traditionally, music teachers have found it easier to cope with active adolescents and theirpotential for variable behaviour by adopting a lecture approach to instruction. This method has donea great deal of damage by destroying the joy and aesthetic experience of music for many students.It is imperative that music does not become just another academic discipline but retains its innatevitality and life through performance. Concepts and skills are drawn from and learned throughperformance, they should not be taught in isolation.

Music classes must always involve the making of music, i.e., the experience of music, rather thanthe acquisition of facts about music. In all general music classes, performance should be a part ofeach lesson. In the second and third levels (grades 8 and 9) when students are choosing music as anoption, it is recommended that participation in a performing group be required of all students enroledin the general music course.

Singing ApproachThe most obvious instrument to use for developing music concepts is the students' own voice.

Concepts learned through singing are internalized in a manner that makes it personal and lasting.Instruments are useful in reinforcing concepts, but priority should be given to class and individualsinging in each lesson. Students must know from the first day of school that they are expected to

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use their voices to sing. They will be challenged to sing if a worthwhile program is presented inwhich they are learning relevant and meaningful musical skills.

Learner-Based ApproachThe intermediate program must be learner-based, matching the teaching process to the students'

natural way of learning. Instruction should be dependent on the background and mastery level ofthe students. Some students will be able to go beyond the objectives established for a given yearand, in that case, the music teacher should develop such a program. Teachers must be prepared toadapt their teaching to the needs and learning style of each student.

Concepts and ObjectivesTeachers should study carefully the structure of this curriculum and teaching guide. It is not

merely a list of activities, procedures, or a glossary of things to do. The music teacher must clearlyunderstand the concepts to be derived and the objectives established for each level. Then s/he mustdecide which skills and procedures will be used to achieve an understanding of these concepts andskills.

In the intermediate grades, teaching must focus on guiding the student to learn. The intermediategrades are the years in which we assess the understanding of musical concepts. It is not enough forstudents to know terms and note values without really knowing what they mean or how to performthem. Mathematical calculations of note values in a theory book little to develop musical literacyand to encourage meaningful musical experiences.

PlanningLessons should be planned individually and specifically for each particular class. The teacher

must accept responsibility for developing his/her own program using the procedures and resourcessupplied and recommended.

Often the performance level of a student or class is far ahead of the students' understanding level.It is important to recognize this factor and begin bridging this gap. Students should reinforcereading/performance skills by actually performing on their own and not merely mimicking withoutunderstanding. What has been learned in the classroom must be transferred and synthesized into thechoral and instrumental performance domain.

The teacher must constantly be aware of the many psychological factors which have a bearingon the progress of a lesson. It is necessary to be sufficiently knowledgeable and flexible to adaptthe lesson or put it aside until another time when it can fit into the learning sequence.

Aural ApproachThe aim of aural training is to develop perception of the pitch (relative and absolute) of single

notes, melodies, intervals, and chords, and the duration of sound and silence in rhythmic patterns.Aural training also includes the identification of instrumental and vocal timbres, expressive controls,and compositional forms.

Aural skills involve "inner hearing", i.e., internalized or imagined patterns of sound and silence

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before they are articulated. Inner hearing is necessary for accurate rote and note singing, for goodinstrumental playing, and for many classroom activities (echo-clapping, rhythm and solfa canons,rondos, chains, and rhythmic/melodic dictation). Aural training should be an integral part of eachmusic activity. It enriches movement, singing, playing, and writing and is indispensable toimprovising and creating.

Selection of MusicIn presenting any music to a class, the teacher places an implied value on that music. Studentslearn first by imitation and example. If the music offered to them has intrinsic value, if it is fromthe heritage of good music, they will learn to value good music.

Lois Choksy (Teaching Music in the Twentieth Century)

The adolescent has developed a need and sensitivity for the best possible instructional material.Once they have mastered the material and have had a successful experience, the student retains avalue judgement and will ask that the material and/or activity be re-experienced. Our job as musiceducators is to lead students to discover new musical awareness and experiences, not to be satisfiedwith meeting them at the level of commercial popular music with which they are already familiar.

Exploratory UnitsThe Exploratory Units are designed to introduce students to some of the facts about music—the

"who, what, when, where, how" of music. They do not constitute the complete program but shouldcomplement the literacy/performance/skill building objectives of the curriculum. It is recommendedthat the Exploratory Units be spread over an extended period of time rather than covered in blocksof time.

Program RequirementsGeneral music is the trunk of a development program of music education, not just at a certainlevel, and various specialities (orchestra, chorus, band, recorder consort, etc.) and its branches.

James Mursell

A minimum allocation of three periods per six-day cycle is necessary for general music.General music includes music history, theory, directed listening and classroom performance, i.e.,sight-singing and rhythmic/melodic exercises, singing, and experimenting with electronic andenvironmental sounds.

Choral and instrumental performance may require additional time. If students come out of otherclasses for choir and band, it advantageous to schedule performance classes into irregular orstaggered slots/periods. This practice minimizes time lost from any one other subject area. At theintermediate level, it is imperative that performance be supplemented by classroom music, i.e., allperformance students should also take general music. The skills and cognitive areas of music,introduced in the general music class can find meaningful expression through the performancelaboratory setting.

The Department recommends that music be offered to all students in grade 7, fulfilling the

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requirements of two semesters (full year) of music as part of Category C Practical and Fine Arts inthe Junior High School Reorganization Committee Report. This course should not be semesterized,i.e, taught for one term only with 6 classes per cycle. Music learning involves the sequentialdevelopment of skills which enable the student to experience and respond to the elements of music.The practice of these skills cannot be interrupted by months, or years, without great waste ofteacher/learner effort.

In grades 8 and 9, it is recommended that the music program be developed around a particularperformance category and that the objectives be realized through that particular medium (choral,band, orchestra, guitar or recorder). These courses will be optional. It is important to note that studythrough musical performance must include musical knowledge and understanding as well as skilldevelopment. The courses should not be strictly performance courses in the traditional sense butserve as vehicles for achieving the stated objectives. The acquisition of performance skills will varyaccording to the medium employed and students' background experience.

The intermediate years are viewed as offering the opportunity to provide enrichment to the musicprogram, enrichment through an application of skills and knowledge in a horizontal plane.Additional repertoire study will constantly reinforce and review while providing new aestheticexperiences and awareness. Using basic skills in different situations will solidify the musicalknowledge and understanding and permit students to move beyond the technical and into theexpressive realm of music (aesthetic development).

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CONCEPTS

Musical concepts are broad, generalized statements of important ideas. They are statements ofthe ideas that are formed by students as a result of their musical experiences. Simply stated,concepts are what the student infers. A teacher cannot teach a concept; the teacher can only guideand pave the way for the inference to take place in the mind of the child. What happens in thelearner's mind is all important. Concepts must express ideas from the learner's aural and musicalexperience, not from a theoretical point of view. Skills and experiences lead the student into conceptformation. The "make conscious" step focuses on the student's making this crucial inference.

Skills are the observable behaviours; they are the musical experiences that provide the contentand context for the development of musical concepts. Skills will point to the concept eventually.Concepts emerge through proper questioning by the teacher and thinking by the student. Conceptsare not observable; however, they can be demonstrated through skills. In older students, conceptsmay also be verbalized.

The skill sequence should follow the order of learning for the child: listen, sing, derive, write,read, create/improvise, listen (analytically, expressively, sensitively). Skill activities should involvewriting, reading, singing, moving to music, improvisation, listening, inner hearing, part singing, andanalyzing form.

GENERAL CONCEPTS

1. Music is patterns of melody, rhythm, harmony, tempo/dynamics, and timbre combined to createrepetition, variation and contrast.

2. We use these patterns to create music and we respond emotionally and intellectually to ourperceptions and interpretations of these patterns of music.

DURATION

Beat Music often has an underlying, recurring beat.

Accent Beats may be accented or unaccented. Accented beats may occur at regularor irregular intervals.

Rhythm Sounds may be long or short.

Syncopation Rhythmic and melodic accents may or may not coincide with metric accents.

Rests Music moves in time in longer and shorter durations which are often grouped

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together and which are punctuated by silences.

Meter Meter is the organization and measurement of accented and unaccented beatsin groups. These groups may be composed of two beats, three beats, ormultiples or combinations of two's and three's.

Simple and Each beat may be divided into two, three or more subdivisions.Compound Meter

Polymeter Two or more different rhythms or meters may occur simultaneously.

MELODY

Sound Sounds are produced by vibration which may be regular or irregular. Regularvibrations have definite pitch.

Contour Successive pitches may move higher or lower or stay the same.

Phrases Successive pitches may be organized in patterns, which may be combined tocreate phrases and melodies.

Ostinato A repeated rhythmic, melodic, or harmonic pattern may serve as theaccompaniment to a musical work.

Interval The distance between two musical pitches is an interval. Each interval has adistinctive sound regardless of which pitch it is built on. Intervals may besounded simultaneously or successively.

Scales The pitches of which music is created may be organized in specific ascendingand descending patterns called scales.

Tonal Centre Many melodies tend to establish a feeling of tonal centre or a sense of finality.

HARMONY

Chords Three or more pitches sounding simultaneously constitute a chord.

Triad A given tone together with the 3rd and 5th above it constitutes a specific kindof chord called a triad.

A triad or other chord may be build on any degree of a scale.

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Additional thirds may be added to triads producing 7th, 9th, 11th, and 13thchords.

Any tone of a triad or other chord may be raised or lowered chromatically.

Chords may be built on intervals other than the 3rd or may be composed ofclusters or pitches or randomly related pitches.

Inversions Triads may appear in root position or inversions.

Tonality Certain harmonies and harmonic progressions tend to establish a feeling oftonal centre or tonic.

Cadence Certain chord progressions tend to establish a sense of finality or to punctuatethe flow of the music.

Modulation The tonal centres may change within a given piece of music.

Polytonality Two or more tonal centres may exist simultaneously.

Atonality The feeling of tonal centre may be weak or non-existent.

TEXTURE

Monophony A melodic line may exist without harmonic support.

Homophony A melody line may be supported by a harmonic accompaniment.

Polyphony A piece of music may be created by means of two or more musical lines whichexist simultaneously.

Canon A piece of music may be created by imitation of a melody by succeedingvoices at the same pitch level or at different pitch levels.

FORM

Repetition and Basic structural units such as motives, themes, phrases, periods, andContrast sections may recur (intact or modified) to provide unity in music. Contrasting

units may be used to provide variety.

Unifying and contrasting units may be combined in various ways to formlarger structural units.

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Motives Musical works often contain brief groupings of rhythmic or pitch patternscalled motives. These motives may function as identifiable elements inmusical compositions.

Themes Musical works often contain melodies, which may function as identifiablethemes.

Phrases and A melody may be composed of two or more periods (sentences), eachPeriods/ of which may be composed of two or more phrases.Sentences

Sections Musical works often contain identifiable sections, each of which is composedof two or more periods and which collectively help to define the form of thework.

Musical compositions may include introductions, codes and various types oftransitional sections.

Form and structure may be discerned at various levels within and betweenthemes, sections, and movements.

Most traditional musical forms are based on imitation or on repetition andcontrast. Music may also be through-composed, serial, or aleatoric.

Binary/Ternary Many smaller musical works are binary or ternary in form. Binary and ternarystructures are often incorporated in larger forms.

Musical compositions may be categorized not only by form but also on otherbases including medium (e.g., symphony, cantata), number of voices (e.g.,trio, quartet), compositional technique (e.g., fugue, serial), function (e.g.,prelude, intermezzo), genre (e.g., opera, mass).

TIMBRE

Tone Colour Sounds may differ in timbre.

Factors Affecting Differences in timbre are attributable to differences in overtoneTimbre structure.

Each sound source produces its own distinctive timbre depending on its size,shape and material.

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Tone quality is affected by a variety of factors relating to tone productionincluding, for example, embouchure in playing wind instruments, bowingtechnique for playing string instruments, and placement of vowels andconsonants when singing.

Timbre provides an important source of unity and variety in music and servesas an important function in defining musical form. It may also play animportant role in musical expression.

DYNAMICS

Dynamics Sounds may differ in loudness. Changes in dynamics may occur suddenly orgradually.

Factors Affecting Dynamics and dynamic potential are affected by the shape, size, andDynamics material of the sound source and by the method of tone production.

Use of Dynamics play an important role in musical expression, provide an Dynamicsimportant source of unity and variety, and help in defining musical form.

TEMPO

Tempo Music may move relatively fast or slow in tempo. Changes in tempo mayoccur suddenly or gradually.

Uses of Tempo Tempo plays an important role in musical expression, provides an importantsource of unity and variety, and helps in defining musical form.

Summarized from:

Edelstein, Stefan; Lois Choksy; Paul Lehman; Njall Sigurdsson; David Woods. CreatingCurriculum in Music. Reading, MA: Addison-Wesley Publishing Co., 1980.

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OBJECTIVES

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REVIEW OF K - 6 OBJECTIVES

The following objectives should be securely realized in students who have had a solid musicprogram in primary and elementary school. These objectives represent the total sequenced hierarchyof basic music skills listed in the provincial curriculum guide for primary and elementary levels.However, it is entirely possible that intermediate students have not internalized all these concepts.The intermediate music teacher must evaluate the musicianship of all students entering grade 7during the first month of school and begin working from that point upward in skill and conceptdevelopment, regardless of their level of competency. Always begin with the known and worktowards the unknown.

RHYTHM

aurally identify, read, and write the following rhythm patterns in various combinations (simpleand compound duple/triple meters).

conduct 2 3 4 meter.4 4 4

identify and read an anacrusis.

MELODY

notate, read and improvise m1 r1 d1 t l s f m r d t1 l1 s1 in the keys of F, G, C, D.

read all known songs in absolute note names.

identify and sing intervals of major/minor 2nds, major/minor 3rds, and perfect 5th.

identify and sing major, natural minor, and harmonic minor scales.

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HARMONY

sing do or la as drone accompaniment for song.

identify the accompanying tones (do-so/la-mi) and sing as accompaniment in two-chord songs.

construct triads on do and la and sing as an accompaniment to do- or la-pentatonic songs.

accompany two chord songs by singing the chords I and V (do-so or la-mi), using inversions forbetter voice leading.

identify the chord changes in three-chord songs and accompany three chord songs by singingthe roots of I-IV-V (do-fa-so) or i-iv-V (la-re-mi).

FORM

recognize same and different phrases of in songs.

recognize same, similar/different phrases in songs (variation).

recognize the form of a song in any combination of: A, Av, B, Bv, C.

recognize and use D.C. al Fine and D.S. al Fine.

identify rondo, theme and variations.

identify and improvise/compose songs in common song forms for AABA, AABB, ABAC.

MOVEMENT

singing games and play party games (line, circle, double circle).

square dancing (Virginia reel).

short improvised and choreographed motifs expressing known forms.

easy international dances (hora, troika, etc.).

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SPECIFIC OBJECTIVES FOR INTERMEDIATE MUSIC

Specific objectives are listed according to elements rather than by grade levels. In theintermediate grades, students are led to respond to music's elements at various depths ofunderstanding. The levels of ability necessary to comprehend a particular rhythm pattern mightinclude, at different times:

listening and maintaining the beat echo clapping reading from sight writing improvising variations composing a melodic line for rhythm

Rhythm patterns may be met, with minor variations, in different settings with distinct tempi,timbre, and expression.

At the intermediate level, students constantly apply their skills to become ever better musicians.Music permeates each aspect of their lives. They now begin to understand, by experiencing music'selements, how music is designed to express a broad spectrum of human emotions.

RHYTHM

keep the beat for simple songs and for recorded music in 2 3 6 meter.4 4 8

conduct meters of 2 4 3 6.4 4 4 8

identify aurally, read and write the following rhythm patterns, using rhythm duration syllables,in 2 3 4.

4 4 4

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identify aurally, read and write the following rhythm patterns, using rhythm duration syllables,in 6 meter.

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coordinate beat with rhythms.

coordinate 2 rhythms and expand to 3 and 4 rhythms.

play rhythm games and dances.

perform rhythm chains, rondos, and canons.

perform ostinati using and expand to longer and more difficult ostinati.

improvise 4-beat rhythms and expand to 8-beat rhythms.

write rhythms as dictated, extending the length and variety of patterns.

compose rhythm scores within the guidelines of meter, form, and specified rhythm patterns.

MELODY

sing, by rote, songs of limited range but with rhythmic interest.

sing and read songs of limited range and with basic rhythms. Expand as new notes and rhythmsare mastered.

read, notate and improvise using the following sequence of melodic groupings. Practice themelodic grouping in all possible patterns.

m r d

s m r d

l s m r d (do pentatonic scale)

l s m r d l1

l s m r d l1 s1

l s m r d l1 (la pentatonic scale)

d1 l s m r d

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s m r d l1 s1 (so pentatonic scale)

r1 d l s m r (re pentatonic scale)

l s f m r d

m r d t1 l1 s1

s f m r d t1 l1 s1

d1 t l s f m r d (diatonic major scale)

l s f m r d t1 l1 (diatonic minor scale)

l si f m r d t1 l1 (harmonic minor scale)

d1 ta l s f m r d (mixolydian mode)

l s fi m r d t1 l1 (dorian mode)

d di r ri m f fi s si l li t d1 (ascending chromatic scale)

d1 t ta l lo so sa f m ma r ra d (descending chromatic scale)

perform melodic canons, ostinati, chains, rondos.

take melodic dictation of 3 or 4 notes. Extend to 8 beats and then to 16 beats.

sing the scales listed above.

HARMONY

perform partner songs.

sing and play canons and rounds.

sing do-so and la-mi as accompaniments to simple two chord songs.

sing triads on do-so and la-mi as accompaniments to simple two chord songs.

sing roots and build triads on IV and VI as accompaniments in major and minor songs.

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identify and sing the following intervals:• major/minor 2nds and 3rds• perfect 4ths and 5ths• perfect unison and octave

sing in two and three independent parts.

FORM

derive the form in all musical works, beginning with simple exercises and folksongs andextending to art music and larger forms.

create rhythm and melodic exercises using common song forms.

create forms using classroom sound experiments.

analyze the form of each action song, game or dance.

EXPRESSION

experiment with musical discrimination in the use of various expressive controls:• dynamics• tempo• timbre

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BASIC MUSIC SKILLS CHART (7-9)

The following chart identifies the skills and concepts to be covered in each grade level. It shouldbe seen as a fluid chart, in that one should not present more material than the students are able tomaster and internalize.

If, for example, because of limited background, a grade 7 class is able to master only pentatonicmelodies with quarters, eighths, and sixteenths by the end of the year, one would simply start byadding new tones and new rhythms to their repertoire the next year. It is very important thatindividual students as well as the entire class be very secure in combining rhythms with pitchesbefore proceeding to new material.

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Grade 7 Grade 8 Grade 9

Rhythm Review the followingrhythm patterns:

Meters: 2 3 4 64 4 4 8

Equivalent rests

Add the followingrhythm patterns:

Meters:9 12 5 5 78 8 8 4 8

Equivalent rests

All rhythms includingtied notes

Meters: All simpleand com pound dupleand triple; combinedmeters; asymm etricmeters

Melody Review all melodicgroupings up todiatonic major andminor scales

Add:Harmonic minorMixolydian ModeDorian Mode

Add:Chromatic ScaleExtend melodicpatterns to encompassthe literature beingused.

Harmony Review:I-V root accompanimentI-V chord accompanimentI-IV-V root

accompaniment

Add:I-IV-V chord

accompaniment

Intervals:Major/minor 2ndsMajor/minor 3rdsPerfect 5th

Extend chordaccompanim ent toinclude II and VI

Aurally identifychords in art music

Intervals:Perfect 4thPerfect unisonPerfect octave

Extend knowledge of"theory" as necessary

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Grade 7 Grade 8 Grade 9

Listening(Form)

Review song form s,same/different/similar, D.C. al Fine,D.S. al Fine

Larger forms:• rondo• minuet and trio

Larger forms:• theme and variation

Larger forms:

fuguepassacaglia

Improvisation/Composition

Levels A, B, C, D(See pp. XXX)

Continuedevelopment ofimprovisation andcom position skills

Continuedevelopment ofimprovisation andcom position skills

Movement Singing Games International FolkDances

NewfoundlandDances

Folk Music North American andNewfoundland FolkSongs (Sing the Sea)

International folksongs to accompanyand relate to inter-national folk dances

Canadian folk songs(can be integratedwith social studies)

Exploratory Units • Music in our Environment• Development of

the Orchestra• Early Notation

Afro-American Jazz Newfoundland FolkSongs

Performance InstrumentalChoralGuitarRecorder

InstrumentalChoralGuitarRecorder

InstrumentalChoralGuitarRecorder

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LESSON PLANNING

It is important that the development of music concepts and skills come from a direct involvementwith music itself, through singing, listening, creating, moving, reading, writing, etc. Concepts,skills, and attitudes should result from the student's personal musical experiences and not from astudy of isolated facts or activities. Lessons at this level involve a more detailed study of musicalelements than at the elementary level, and a large portion of a lesson may be devoted to a specificconcept and/or skill. However, there still must be sufficient variety in the lesson to accomplish thefollowing:

student preparation for music learning, both mentally and physically interest stimulation creation of an atmosphere which maximizes the opportunity for success. reinforcement and review

Preparation

Preparation can be achieved through a number of quick activities in the first 5-10 minutes of theclass. Vocalizes, hand-signing, echo clapping, and reading exercises immediately settles the classand encourages students to concentrate, listen, and practice good posture and breathing. Materialcan be incorporated into these activities as preparation for what will follow later in the lesson. Forexample, students may echo clap rhythmic patterns which they will later read from a score; studentsmay sing from hand-signs a melody which they will later read from the staff for the listening lesson;students may sing a minor scale from the staff which will be sung in a folk song as part of a lessonon minor scales.

Stimulate Interest

It is important to analyze our musical reasons for introducing a new work. In what way are weattempting to increase students' awareness of their environment? Are we analyzing form? Are welistening for timbre, texture, and expressive devices? Teachers who are certain of the value of theirmusical objectives are apt to inspire students with similar enthusiasm.

Ensure Success

It is not easy for the music teacher to design tasks which will both challenge and reward students.The teacher must be familiar with the musical learning of each student, design a series of tasks fromeasy to difficult, and present assignments slowly enough so that each student will accomplish eachstep in the sequence of the task. As we are working simultaneously with different elements, the

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music teacher has an opportunity to design different levels of accomplishment for students ofvarying aptitudes. For example, while most students are exposed to multiple listenings of a phrasefor melodic dictation, gifted students may be asked to add expressive markings to their work or todevise another melody using the same rhythm.

Reinforcement and Review

Some time should be spent in each lesson to review and reinforce recent musical learnings.Many of the warm-up and preparation activities at the beginning of the lesson can also reinforce andreview material.

A most rewarding way to end a lesson, and also to review musical learnings, is with theperformance of a well-known canon, song or exercise. In this way students are provided theopportunity to experience and re-experience, and to accomplish our major goal - the developmentof aesthetic sensitivity.

An excellent sample lesson for intermediate students with a music literacy background may befound in Teaching Music in the Twentieth Century (Choksy, Abramson, Gillespie, Woods), pp. 267-274.

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