Music 8 to 10 (1995)

MUSIC 8 TO 10Integrated Resource Package 1995

IRP 018

Province ofBritish ColumbiaMinistry ofEducation

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This IRP was revised in April 2011 to remove references to the 1995 Graduation Program. (page 2)

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TABLE OF CONTENTS

PREFACE: USING THIS INTEGRATED RESOURCE PACKAGE

Preface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . III

INTRODUCTION TO MUSIC 8 TO 10

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1Rationale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1Curriculum Organizers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2Instructional Strategies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Assessment and Evaluation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Learning Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

THE MUSIC 8 TO 10 CURRICULUM

Grade 8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8Grade 9 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22Grade 10 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

MUSIC 8 TO 10 APPENDICES

Appendix A: Prescribed Learning Outcomes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A-3Appendix B: Learning Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . B- 3Appendix C: Cross-Curricular Outlines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C-3Appendix D: Assessment and Evaluation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . D-3Appendix E: Acknowledgments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . E- 3Appendix F: Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . F- 3Appendix G: Planning Your Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . G-3

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Implementation of Music 8 to 10 willbegin in October 1996. This IntegratedResource Package (IRP) provides some

of the basic information that teachers willrequire to implement the curriculum. Theinformation contained in this IRP is alsoavailable through the Internet. Contact theMinistry of Education’s home page:http://www.educ.gov.bc.ca/

THE INTRODUCTION

The Introduction provides general informa-tion about Music 8 to 10, including specialfeatures and requirements. It also provides arationale for the subject—why music istaught in BC schools—and an explanation ofthe curriculum organizers.

THE MUSIC 8 TO 10 CURRICULUM

The provincially prescribed curriculum forMusic 8 to 10 is structured in terms of cur-riculum organizers. The main body of this IRPconsists of four columns of information foreach organizer. These columns describe:

• provincially prescribed learning outcomestatements for Music 8 to 10

• suggested instructional strategies forachieving the outcomes

• suggested assessment strategies for deter-mining how well students are achievingthe outcomes

• provincially recommended learningresources

Prescribed Learning Outcomes

Prescribed Learning outcome statements arecontent standards for the provincial educa-tion system. Learning outcomes set out theknowledge, enduring ideas, issues, concepts,skills, and attitudes for each subject. They arestatements of what students are expected toknow and do in each grade. Learning out-

comes are clearly stated and expressed inmeasurable terms. All learning outcomescomplete this stem: “It is expected thatstudents will. . . . “ Outcome statements havebeen written to enable teachers to use theirexperience and professional judgment whenplanning and evaluating. The outcomes arebenchmarks that will permit the use ofcriterion-referenced performance standards.It is expected that actual student perfor-mance will vary. Evaluation, reporting, andstudent placement with respect to theseoutcomes depends on the professionaljudgment of teachers, guided by provincialpolicy.

Suggested Instructional Strategies

Instruction involves the selection of tech-niques, activities, and methods that can beused to meet diverse student needs and todeliver the prescribed curriculum. Teachersare free to adapt the suggested instructionalstrategies or substitute others that they thinkwill enable their students to achieve theprescribed outcomes. These strategies havebeen developed by specialist and generalistteachers to assist their colleagues; they aresuggestions only.

Suggested Assessment Strategies

The assessment strategies suggest a varietyof ways to gather information about studentperformance. Some assessment strategiesrelate to specific activities; others are general.These strategies have been developed byspecialist and generalist teachers to assisttheir colleagues; they are suggestions only.

Provincially Recommended LearningResources

Provincially recommended learningresources are materials that have been

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reviewed and evaluated by British Columbiateachers in collaboration with the Ministry ofEducation using a stringent set of criteria.They are typically materials suitable forstudent use, but they may also includeinformation primarily intended for teachers.Teachers and school districts are encouragedto select those resources that they find mostrelevant and useful for their students, and tosupplement these with locally approvedmaterials and resources (such as locallyavailable guest artists, performances, orstudios). The recommended resources listed inthe main body of this IRP are those that havea comprehensive coverage of significantportions of the curriculum, or those thatprovide a unique support to a specific seg-ment of the curriculum. Appendix B containsa complete listing of provincially recom-mended learning resources to support thiscurriculum.

THE APPENDICES

A series of appendices provides additionalinformation about the curriculum, andfurther support for the teacher:

• Appendix A contains a listing of the pre-scribed learning outcomes for the curricu-lum arranged by curriculum organizerand by grade.

• Appendix B contains a comprehensivelisting of the provincially recommendedlearning resources for this curriculum. Asnew resources are evaluated, this appen-dix will be updated.

• Appendix C outlines the cross-curricularscreens used to ensure that concerns suchas equity, access, and the inclusion ofspecific topics are addressed by all compo-nents of the IRP.

• Appendix D contains assistance for teach-ers related to provincial evaluation andreporting policy. Curriculum outcomeshave been used as the source for examplesof criterion-referenced evaluations.

• Appendix E acknowledges the manypeople and organizations that have beeninvolved in the development of this IRP.

• Appendix F contains a glossary of termsspecific to the music curriculum.

• Appendix G contains various consider-ations for planning a music program.

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SUGGESTED INSTRUCTIONAL STRATEGIESPRESCRIBED LEARNING OUTCOMES

the

SUGGESTED ASSESSMENT STRATEGIES RECOMMENDED LEARNING RESOURCESSuggested AssessmentStrategies

The SuggestedAssessment Strategies

offer a wide range ofdifferent assessmentapproaches useful in

evaluating the PrescribedLearning Outcomes.

Teachers should considerthese as examples they

might modify to suit theirown needs and theinstructional goals.

Suggested InstructionalStrategies

The SuggestedInstructional Strategiescolumn of this IRPsuggests a variety ofinstructional approachesthat include group work,problem solving, and theuse of technology. Teachersshould consider these asexamples that they mightmodify to suit thedevelopmental levels oftheir students.

Recommended LearningResources

The RecommendedLearning Resourcescomponent of this IRP is acompilation of provinciallyrecommended resourcesthat support the PrescribedLearning Outcomes. Acomplete list including ashort description of theresource, its media type,and distributor areincluded in Appendix B ofthis IRP.

Prescribed LearningOutcomes

The Prescribed LearningOutcomes column of this

IRP lists the specificlearning outcomes for

each curriculummorganizer or sub-

organizer. These aid theteacher in day-to-day

planning.

Grade Curriculum Organizer

Teachers support the learning of rhythm in musicby giving feedback to students as they performand participate in class activities and byresponding to their written work.

• Students name the metre or metre changes asthey listen to recorded or performed musicalpieces. Look for students’ abilities to useappropriate vocabulary to describe rhythmicpatterns and metre.

• Assign small groups or partners to develop aseries of complex rhythm activities for others toperform. Look for use of correct rhythmic termsand, as students perform the rhythm activities,look for accuracy in reading.

• Using prepared sheets, students write countingfor music passages in a space below the notes.Have them date their work and keep it in aportfolio. From time to time, have them lookback to assess their growth in understandingrhythm and beat.

• Divide the class into groups. Make each groupresponsible for developing and conducting amusical quiz that tests other students’knowledge of rhythm or rhythmic terms. Notethe extent to which the quizzes accuratelyreflect rhythm skills and language.

Print Material

• Can You Canon• Music For All: Teaching Music to People With Special

Needs• Using Sound• We Will Sing

Video

• Joy Of Singing• Latin Nights• Mariposa: Under A Stormy Sky• Music• Music Maestro Series• Orchestra!• Silver Burdett Ginn Music Magic Video Library• Something Within Me

Multimedia

• Exploring the Music of the World• First Assignments• Investigating Musical Styles• The Music Connection• Susan Hammond’s Classical Kids: The Classroom

Collection

Software

• Becoming a Computer Musician• Finale: The Art Of Music Notation• Musicware Piano

It is expected that students will create, listen to, andperform music, demonstrating understanding ofexpressive and physical properties of rhythm.

It is expected that students will:

• create, notate, and perform rhythms in a variety ofmetres

• analyse rhythmic choices in performing andlistening repertoire

• use appropriate music terminology to describerhythm and metre

• In groups, students develop an ostinato rhythmic pattern:each student then takes a turn improvising on therhythmic pattern, while the rest of the group maintainsthe ostinato. The group then performs for the rest of theclass.

• Teacher demonstrates or plays recordings of rhythmicpatterns that can be performed in different ways (e.g.,eighth notes in 6/8, swung and straight eighth notes in 2/4, 3/4). Students compare written and recorded examples.After practice, one student selects and performs arhythmic pattern, then the rest of the class identifies howthe student performed the selection (e.g., swing orstraight).

• Compose variations on a well-known melody, changingthe rhythm only.

• Students write and perform rhythmic compositions todemonstrate given metres, using only one or two pitches.In groups, students create a multi-track rhythmiccomposition (each student records her or his rhythmicpattern as a track on a sequencer).

• Teacher demonstrates the differences between a variety ofdissimilar metres. Students listen to and identify musicselections that use these metres, counting and tapping onthe first beat while the music is being performed. Afterlistening to a variety of compositions from a range ofhistorical and cultural contexts, students compare andcontrast the use of metre.

• As a class, explore methods of describing rhythms (e.g.,note-length names, syllables). Students then developmultimedia dictionaries of rhythm vocabulary taken fromthe repertoire and include this in their portfolios.

• Identify examples of rhythm in the natural or fabricatedworld, and create rhythmic sequences based on thesepatterns using body percussion, instruments, orsynthesizers. In groups, perform and discuss thesecompositions.

GRADE 8 • Structure (Elements of Rhythm)

GRADE 8 • Structure (Elements of Rhythm)Grade Curriculum Organizer

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The development of this IntegratedResource Package has been guided bythe principles of learning:

• Learning requires the active participationof the student.

• People learn in a variety of ways and atdifferent rates.

• Learning is both an individual and agroup process.

To ensure that they receive a broad educationprogram, all students must take the fine artsat all levels. In each of grades 8, 9 and 10,students are required to take one or more ofthe fine arts subjects: dance, drama, music, orvisual arts.

Music courses offered to satisfy the fine artsrequirement at grades 8, 9 and 10 will belabelled as:

• Music 8• Music 9• Music 10

These courses could be further designatedaccording to the specific focus ormethodology of the course (e.g., Music 9:Concert Band, Music 9: Jazz Choir, Music 9:Multimedia Music)

Schools are encouraged to provide opportu-nities for students to take more than onemusic course (or other fine arts course) at agiven grade level. All courses must addressall of the learning outcomes for their desig-nated grade level.

RATIONALE

Music education enables students to interactwith sound, simultaneously engaging mind,body, and spirit. Through creating, perform-ing, and listening to music, students experi-ence the ways in which music evokes andconveys thoughts, images, and feelings.

Music education makes a valuable andunique contribution to students’ intellectualgrowth, and integrates intellectual andemotional development. Shared experiencesin music significantly contribute to thedevelopment of a healthier society throughactivities that respect and reflect the diver-sity of human experiences.

Music education enables all learners toexplore, create, perceive, and communicatethoughts, images, and feelings throughmusic. These experiences are unique andessential, and make a significant contributionto learners’ lifelong development as edu-cated citizens.

Music education, as envisioned in thiscurriculum, contributes to the intellectual,aesthetic, human, social, and career develop-ment of the educated citizen by providinglearners with opportunities to:

• develop competency in problem solving,critical thinking, and decision makingthrough experiences with music

• develop literacy in music, includingfamiliarity with the conventions of writtenmusic

• investigate and experience emergingtechnologies that find application in music

• connect knowledge gained through experi-ence in music with other aspects of theirlives

• use expressive skills gained in music toconvey meaning in other aspects of theirlives

• demonstrate understanding and apprecia-tion of artistic and aesthetic expression

• develop independence, self-motivation,and positive self-image through experi-ences with music

• practise co-operation in social interactionsinvolved in the creation, exploration, andexpression of music

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• accept and respect the ideas of others byworking together to create, explore, andexpress through music

• explore, create, and interpret self- andworld awareness through the study ofmusic and music traditions of worldcultures

• develop discipline and confidence throughexperiences that demand focussed andsustained practice

• appreciate the role of music in society• contribute to society through music-

related pursuits and careers

Music is a required area of learning in theprimary years. Music experiences in theprimary years acknowledge, respect, andfurther develop the expressive experienceyoung children bring to the school environ-ment. From an early age, children’s expres-sive play includes movement, music, anddramatic play, all of which are significant inthe development of body, mind, and spirit.Play is central and natural to children’slearning. As children move through theprimary years, they acquire music knowl-edge, skills, and attitudes through play.Music experienced in the context of playsimultaneously engages the various senses.This results in a balanced and integrateddevelopment of children’s innate musicpotential.

All four of the fine arts (dance, drama,music, visual arts) are required areas ofstudy through grade 6. In grades 7 to 10,students are required to choose one or moreof the four fine arts areas of study (music,dance, drama, and visual arts). Music experi-ences in the intermediate years continue toexpand the music knowledge, skills, andattitudes gained through ongoing activeparticipation. As learners move through theintermediate years, they develop musicliteracy and use it to extend skills in creating,

listening, and performing. The increasingdevelopment of competence is gainedthrough activities that require practice andthe use of these skills. Learners use anincreasing variety of contexts and media inthe expression of an expanding range ofthoughts, images, and feelings. The develop-ment of music skills in the intermediateyears is addressed through a range of op-tions, which may include vocal, instrumen-tal, and general music programs.

In the graduation years, every student isrequired to take two credits in fine arts. Ingrade 11 and 12 music courses, studentsconsolidate and further expand their musicknowledge, skills, and attitudes that areapplicable to many other aspects of lifelonglearning and the world of work. Such learn-ing opportunities enable students to partici-pate in the music life of the community.

CURRICULUM ORGANIZERS

The prescribed learning outcomes in themusic curriculum are grouped by thefollowing three curriculum organizers:

• Structure- Elements of Rhythm- Elements of Melody- Elements of Expression (including

harmony, texture, dynamics, tempo,timbre, and articulation)

- Form and the Principles of Design• Thoughts, Images, and Feelings• Context

- Self and Community- Historical and Cultural

Structure

Within the Structure organizer, the learningoutcomes are grouped as follows:

• Elements of Rhythm

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• Elements of Melody• Elements of Expression• Form and the Principles of Design

When focussing on structure, studentscreate, listen to, and perform music, demon-strating understanding of the expressive andphysical properties of rhythm, melody,harmony, texture, dynamics, tempo, timbre,and articulation. Sounds make music whenthey are shaped into larger structures orforms according to the principles of design:unity, variety, repetition, emphasis, andpattern. Familiarity with these principles andwith common forms is essential to makingand understanding the structure of musicand its relationship to other art forms.

Thoughts, Images, and Feelings

Music expresses thoughts, images, andfeelings. It is through expressing and evok-ing thoughts, images, and feelings that musicis given meaning. By learning to understandand appreciate this aspect of music, studentsmake meaning from the structure of music.

Context

Within the Context curriculum organizer, thelearning outcomes are grouped as follows:

• Self and Community• Historical and Cultural

Music contributes to the development of selfwithin community. Students should haveopportunities to participate in and develop asense of community and their place in itthrough music experiences. Within thiscontext, community is not regarded solely asa place. A sense of community arises asmeaning is derived from interaction withothers. Giving and receiving are integral tothe transformation and balance ofcommunity.

Learning within the context of self andcommunity includes opportunities to:

• participate in the various roles found inmusic activities (e.g., solo and accompani-ment, ensemble member, leader, follower)

• respect, encourage, support, and honourthe contributions of self and others inmusic activities

• share music in various settings with otherclasses, the whole school, and the localcommunity as performer, participant, andaudience

Music is created, communicated, perceived,and responded to in historical and culturalcontexts. Through the study of these con-texts, students experience and value therichness and diversity of the human spirit,resulting in a sense of self-worth and con-nectedness to other human beings through-out the world.

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MUSIC 8 TO 10 CURRICULUM ORGANIZERS

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INSTRUCTIONAL STRATEGIES

Instructional strategies have been includedfor each curriculum organizer and gradelevel. These strategies are suggestions only,designed to provide guidance for generalistand specialist teachers planning instructionto meet the prescribed learning outcomes.The strategies may be either teacher directedor student directed, or both. It should benoted that there is not necessarily a one-to-one relationship between learning outcomesand instructional strategies, nor is thisorganization intended to prescribe a linearmeans of course delivery; it is expected thatteachers will adapt, modify, combine, andorganize instructional strategies as necessaryto meet the needs of students and to respondto local requirements.

ASSESSMENT AND EVALUATION

Assessment is the systematic process ofgathering information about students’learning in order to describe what theyknow, are able to do, and are working to-ward. From the evidence and informationcollected in assessments, teachers describeeach student’s learning and performance.They use this information to provide stu-dents with ongoing feedback, plan furtherinstructional and learning activities, setsubsequent learning goals, and determineareas requiring diagnostic teaching andintervention.

Teachers determine the purpose, aspects, orattributes of learning on which to focus theassessment. They also decide when to collectthe evidence and the assessment methods,tools, or techniques most appropriate to use.Assessment focusses on the critical or signifi-cant aspects of the learning students will beasked to demonstrate. Students benefit whenthey clearly understand the learning goalsand learning expectations.

Appendix D includes a more detailed discus-sion of assessment and evaluation. Theprovincial reference sets can also help teach-ers assess the skills that students acquireacross curricular areas.

The reference sets include:

• Evaluating Reading Across Curriculum(RB 0034)

• Evaluating Writing Across Curriculum(RB 0020 & RB 0021)

• Evaluating Problem Solving Across Curricu-lum (RB 0053)

• Evaluating Group Communication SkillsAcross Curriculum (RB 0051)

• Evaluating Mathematical Development AcrossCurriculum (RB 0052)

A series of assessment handbooks has alsobeen developed to provide guidance forteachers as they explore and expand theirassessment repertoires.

• Performance Assessment (XX0246)• Portfolio Assessment (XX0247)• Student-Centred Conferencing (XX0248)• Student Self-Assessment (XX0249)

LEARNING RESOURCES

The Ministry of Education promotes theestablishment of a resource-rich learningenvironment through the evaluation ofeducationally appropriate materials in avariety of media and formats. These include,but are not limited to, materials in print,video, and software formats, as well ascombinations of these formats intended foruse by teachers and students. Resources thatsupport provincial curricula are identifiedthrough an evaluation process in whichpractising teachers act as evaluators. Re-sources not on the provincially recom-mended list must be evaluated through alocal board-approved process. It is expectedthat teachers will select resources from those

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that meet the provincial criteria and that suittheir particular pedagogical needs andaudiences.

The use of learning resources involves theteacher as a facilitator of learning. However,students may be expected to have somechoice in materials for specific purposes suchas independent reading or research. Teachersare expected to use a variety of resources tosupport learning outcomes at any particularlevel. A multimedia approach is encouraged.

Some selected resources have been identifiedto support cross-curricular integration. Theministry also considers special needs audi-ences in the evaluation and annotation oflearning resources. As well, special formatversions of some selected resources (Brailleand taped-book formats) are available.

Learning resources for use in British Colum-bia schools fall into one of three categories:

• provincially recommended materials• provincially authorized materials• locally evaluated materials.

All learning resources used in schools musthave either recommended or authorized desig-nation or be approved through districtevaluation and approval policies.

Provincially Recommended Materials

Materials evaluated through the provincialevaluation process, approved throughminister’s order, and purchased usingtargeted learning resource funds are catego-rized as recommended materials. These re-sources are listed in the print and CD-ROMversions of the Catalogue of Learning Re-sources.

Provincially Authorized Materials

Materials selected prior to 1989 by curricu-lum committees and purchased through theCredit Allocation Plan are categorized asauthorized materials. These resources arelisted in the print and CD-ROM versions ofthe Catalogue of Learning Resources.

Locally Evaluated Materials

These are materials evaluated through local(district and school) evaluation processesand approved for use according to districtpolicy.

THE MUSIC 8 TO 10CURRICULUM

PRESCRIBED LEARNING OUTCOMES SUGGESTED INSTRUCTIONAL STRATEGIES

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It is expected that students will create, listen to,and perform music, demonstrating understand-ing of expressive and physical properties ofrhythm.


• create, notate, and perform rhythms in avariety of metres


• use appropriate music terminology todescribe rhythm and metre

• In groups, students develop an ostinato rhythmicpattern. Each student then takes a turn improvis-ing on the rhythmic pattern, while the rest of thegroup maintains the ostinato. The group thenperforms for the rest of the class.

• Teacher demonstrates or plays recordings ofrhythmic patterns that can be performed indifferent ways (e.g., eighth notes in , swung andstraight eighth notes in , ). Students comparewritten and recorded examples. After practice,one student selects and performs a rhythmicpattern, then the rest of the class identifies howthe student performed the selection (e.g., swingor straight).

• Compose variations on a well-known melody,changing the rhythm only.

• Students write and perform rhythmic composi-tions to demonstrate given metres, using only oneor two pitches. In groups, students create a multi-track rhythmic composition (each student recordsa rhythmic pattern as a track on a sequencer).

• Teacher demonstrates the differences between avariety of dissimilar metres. Students listen toand identify music selections that use thesemetres, counting and tapping on the first beatwhile the music is being performed. Afterlistening to a variety of compositions from arange of historical and cultural contexts, studentscompare and contrast the use of metre.

• As a class, explore methods of describingrhythms (e.g., note-length names, syllables).Students then develop multimedia dictionaries ofrhythm vocabulary taken from the repertoire andinclude this in their portfolios.

• Identify examples of rhythm in the natural orfabricated world, and create rhythmic sequencesbased on these patterns using body percussion,instruments, or synthesizers. In groups, performand discuss these compositions.

RECOMMENDED LEARNING RESOURCESSUGGESTED ASSESSMENT STRATEGIES

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Teachers support the learning of rhythm in music bygiving feedback to students as they perform andparticipate in class activities and by responding totheir written work.• Students name the metre or metre changes as

they listen to recorded or performed musicalpieces. Look for students’ abilities to use appro-priate vocabulary to describe rhythmic patternsand metre.

• Assign small groups or partners to develop aseries of complex rhythm activities for others toperform. Look for use of correct rhythmic termsand, as students perform the rhythm activities,look for accuracy in reading.

• Using prepared sheets, students write countingfor music passages in a space below the notes.Have them date their work and keep it in aportfolio. From time to time, have them look backto assess their growth in understanding rhythmand beat.

• Divide the class into groups. Make each groupresponsible for developing and conducting amusical quiz that tests other students’ knowledgeof rhythm or rhythmic terms. Note the extent towhich the quizzes accurately reflect rhythm skillsand language.

Print Material

• Can You Canon• Music For All: Teaching Music to People With

Special Needs• Using Sound• We Will Sing

Video

• Joy Of Singing• Latin Nights• Mariposa: Under A Stormy Sky• Music• Music Maestro Series• Orchestra!• Silver Burdett Ginn Music Magic Video

Library• Something Within Me

Multimedia

• Exploring the Music of the World• First Assignments• Investigating Musical Styles• The Music Connection• Susan Hammond’s Classical Kids: The

Classroom Collection

Software



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It is expected that students will create, listen to,and perform music, demonstrating understand-ing of expressive and physical properties ofmelody.


• create, notate, and perform melodic patterns• apply an understanding of melodic direction

and contour to expressive phrasing• identify tonal centres in a variety of melodies• use appropriate music terminology to

describe melody

• Students listen to a variety of melodies and graph thecontour and effect on expression. Discuss the purposebehind each melody. (e.g., Was it designed to portray aparticular mood? To suit certain lyrics?)

• Listen to examples of music that tell stories anddiscuss how the melody achieved the desired effects.Students create and perform melodic sequences toportray aspects and structures of a story (e.g., charac-ters, plot, theme, setting, conflict). Use melodicdirection and contour as well as elements of expres-sion to demonstrate moods or changes of scene.

• Teacher presents examples of scales with an explana-tion of their structures (e.g., major—TTSTTTS; naturalminor—TSTTSTT). Students write and performexamples of scales. Starting on a given note studentsperform melodic patterns (e.g., broken and runningthirds, arpeggios) based on these scales.

• Students create and perform melodic variations of aknown melody (e.g., pop tune, commercial jingle).Discuss the strategies used to alter the melody.

• In pairs, students practise question-and-answermelody techniques to describe, through music, a giventopic or thing (e.g., a sport, a mathematics test,babysitting). As a class, students discuss and justifytheir melodic choices.

• Students examine a piece of written or recorded musicto identify scale fragments and patterns.

• Teacher introduces the concept of in tune and usesmedia (e.g., oscilloscope, video, computer, electronictuner) to demonstrate visual representation of pitchand other properties of sound. Students discuss thepros and cons of various methods to tune an ensemble(e.g., with an oscilloscope, norm based on a sectionleader). Discuss other methods to identify pitch (e.g.,by touching instruments, speakers, or voice boxes tofeel the vibrations).

GRADE 8 • Structure (Elements of Melody)


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• As students analyse each other’s original compo-sitions for the use of melody, ask them:- Which scales were used to create different

styles of melodies (e.g., the use of modes tocreate Spanish, Asian, and blues soundingmelodies)?

- How effectively was the scale used to createdifferent styles of melodies? (e.g., How did themusic make you feel? What does the musicmake you think about?)

• Ask students to reflect on their composing intheir journals. Provide a guide to prompt them,such as: What really worked for me was____________. When I ____________, I wonderedif ____________. Next time I will ____________.Review their work and look for evidence of theirunderstanding of composing melodic lines.

• Have students perform their original melodiccompositions for the class. Ask questions to see ifthey are making connections between variousscales learned in class and melodic lines used incompositions. Look for evidence of innovativeattempts to create melody.

• Have students assess their own melodic composi-tions. To what extent do they:- analyse melodic contour?- describe thoughts, images, and feelings evoked

by the music?- use specific examples from the composition to

support their statements?• Observe students tune their instruments with

mechanical tuning devices, both by watching thescope and by listening to the in-tune sound. Thenhave students reflect on the tuning of theirinstruments using the following prompts:- I found it easy to _____________.- I had some trouble when ____________ but I

solved it by ______________.

Print Material



Video



Multimedia



Software




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• Students listen to music examples representingvarious elements of expression, identify thecharacteristics of each, and describe in their ownwords (e.g., texture: thick or thin, light or dark).Teacher presents standard music terminology foreach element of expression. As a class, studentsclassify their descriptions into the traditionalterms.

• Students identify elements of expression inexamples of music created by a variety of soundsources (including acoustic, electronic, andenvironmental) and from a variety of cultural andhistorical contexts. These sounds could bemeasured through the use of an oscilloscope,computer, or ADSR synthesizer. Students createand perform compositions to represent particularelements of expression, and describe the intentand effect of their selections.

• Create and perform variations of a knownmelody by altering the elements of expression.Discuss the effects of these alterations (e.g.,change of mood, change of climax).

• Students explore harmony through studyingtriads and using the degrees of the scale. Studentsthen write and perform examples of triads.

• Invite local community musicians and privateteachers to make guest appearances in the class todemonstrate a range of the elements ofexpression.

• Students practise maintaining independent partsthrough the performance of a round, first inunison, then in parts with various groupings.

• Create a soundscape to a short video (selected byteacher or student) using a variety of timbres,rhythms, and other elements of expression. Selector invent a notation system for the soundscapeand create a score.

GRADE 8 • Structure (Elements of Expression)

It is expected that students will create, listen to,and perform music, demonstrating understand-ing of expressive and physical properties ofharmony, texture, dynamics, tempo, timbre, andarticulation.


• read and maintain a part within complextextures and harmonies

• apply an increasing range of tempos, dynam-ics, articulation, and timbres in classroomrepertoire

• analyse the use of the elements of expressionin performing and listening repertoire

• describe the elements of expression usingappropriate music terminology

• describe the elements of expression in termsof the physical properties of sound


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• Have students create compositions from a knownor original melody to demonstrate their under-standing of one element of expression. Ask themto decide what mood they would like to create, tomake instrumental or vocal choices based onthose ideas, and to chart the flow of their compo-sitions on paper. Examine the plan and recordevidence that the combinations demonstrate anunderstanding of the chosen element.

• Play a recording for the class. Have studentswork in groups to represent elements of musicusing movement or visual art. After they performtheir representation, conduct group reflectionsessions. Observe and note evidence that they candescribe the elements of music. Ask them todiscuss and develop a group response to ques-tions such as:- What instrument created the first sound you

danced to? (timbres)- Why did you choose to move more quickly

when you heard the violin playing? (tempo)- How does the movement or image you chose

represent the sound?• Perform a sequence of notes and ask students

how they would change it to serve as backgroundfor a murder mystery, a love story, or a children’sstory about a bumble bee. Listen for evidence ofunderstanding and for correct use of language totalk about articulation in music.

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• Create and perform a composition or soundscapethat has a definite form (e.g., ABA) reflected inrhythm, melody, and the elements of expression.

• Create a composition demonstrating the prin-ciples of design using pre-recorded musicmaterial (e.g., MIDI sequences).

• Listen to a range of compositions, and compareand contrast use of form. Chart or graph the formof one composition.

• Create a composition using a variety of soundsources (e.g., acoustic, electronic, environmental),demonstrating each of the principles of design.

• Students listen to recorded examples of differentforms of like music (e.g., blues—12-bar, 8-bar, 16-bar; pop—verse-chorus, verse-chorus-bridge).Students learn to perform a standard form (e.g.,12-bar blues pattern).

• Brainstorm examples of the principles of designfrom other fine arts subjects and discuss theirrelationship to music. Create non-musicalrepresentations (e.g., narrative, poetry, dance,drawing, sculpture, dramatization) of a musicalform.

• Listen to music examples and analyse the use ofthe principles of design as applied to each of theelements of rhythm, melody, and expression.

• Develop personal dictionaries of music terminol-ogy including vocabulary related to the form andprinciples of design (e.g., motif, intro, verse,chorus, bridge).

• Listen to examples of form from a range ofhistorical time periods, and compare and contrastto forms used in contemporary popular music.

• Experiment with the use of computer technologyin music composition and design.

GRADE 8 • Structure (Form and the Principles of Design)

It is expected that students will create, listen to,and perform music, demonstrating understand-ing of a variety of forms and the principles ofdesign.


• identify an expanded variety of music forms• apply a variety of music forms and principles

of design to composition• represent the form of a piece of music• use appropriate terminology to describe form

and the principles of design• compare and contrast the form of two or

more music compositions


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• After students listen to two contrasting musicalselections and identify the form used in eachselection, check their work for evidence theyunderstand and can apply appropriate terminol-ogy to describe form.

• Have students chart the form of a composition todemonstrate their ability to identify a variety ofmusic forms.

• Have students demonstrate their ability to applya variety of music forms to composition bycreating their own compositions. Have themreflect on their work, responding in their journalsto prompts such as:- Describe how the form of your piece is

reflected in rhythm, melody, and otherelements of expression.

- How are elements of expression used todemonstrate the principles of design?

• Have students listen to or improvise simple linesover a given form. Have the other students closetheir eyes and shout “HOME!” when the studentreaches the beginning of the form. Observestudents participating. Do they recognize thechord changes and the form by ear?

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It is expected that students will create, listen to,and perform music, demonstrating understand-ing and appreciation of the thoughts, images,and feelings it expresses.


• represent thoughts, images, and feelingsderived from a music experience

• apply the elements of rhythm, melody, andexpression to interpret and represent a broadrange of thoughts, images, and feelings

• demonstrate a willingness to share personalinsights arising from experiences with music

• explain personal meaning derived frommusic without reference to stories or visualartifacts

• defend personal music choices, demonstrat-ing awareness of the thoughts, images, andfeelings that the music expresses

• demonstrate respect for the thoughts,feelings, and music choices of others

• Listen to a variety of popular songs and discussthe thoughts, images, and feelings evoked by themusic and the lyrics. Create and perform compo-sitions based on a theme or image discussed.

• Analyse the lyrics of a known song for thethoughts, images, and feelings portrayed. Inventnew lyrics, contrasting the thoughts, images, andfeelings evoked by the original lyrics.

• Students bring to class samples of their personalpreferences in music and present a recording for aclass listening session. Discuss, analyse, andrespond to each sample, showing respect for thethoughts and feelings of the other students.Discuss reasons for the range of music beingpresented. Ask students if their music preferencesare the same as when they were younger. How dotheir listening preferences differ from those oftheir parents? Ask students to relate how theirchanging music preferences affect the thoughts,images, and feelings they experience duringlistening.

• Attend performances in the school or community,and discuss and record responses to the experi-ence. Invite the musicians to discuss theirinterpretations of the thoughts, images, andfeelings in their music.

• Students keep ongoing journals of their thoughts,images, and feelings related to their experiencesin creating, performing, and listening to music.

• Collect examples of music used in everyday life(e.g., restaurants, advertising, Muzak), andidentify the purpose of each type (e.g., to speedup shoppers, to sell a product, to relaxcustomers).

GRADE 8 • Thoughts, Images, and Feelings


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Students share their thoughts, images, and feelingsabout music with others through discussions, musiccompositions, and written activities. Teachers gaininsights into students’ understanding and apprecia-tion of music by listening to them create, perform,and respond to music.• Play a music selection for the class. Prompt

students to express thoughts, images, andfeelings derived from the music by askingquestions such as:- What does the music make you think about?- Is there some aspect of the music that appealed

to you particularly? (e.g., The melody? Theharmony? The rhythm?)

Observe students’ willingness to express a varietyof ideas and feelings about the music.

• Work with students to establish criteria forparticipating in a discussion about music. Forexample, these criteria may include:- makes positive comments about a person’s

opinion or idea before making a criticism- is willing to share personal insights and

feelings- can explain personal meaning derived from

music- shows respect for the thoughts and feelings of

others• Have students work in groups to develop

promotional videos for one or more kinds ofmusic they particularly enjoy. The video shouldinclude excerpts from their own performancesthat illustrate their key points about the thoughts,images, and feelings the music creates for them.When reviewing their work and listening to theirdescriptions of it, note the extent to whichstudents show an awareness of the thoughts,images, and feelings the music expressed to thempersonally.

Print Material

• Eyewitness Music Kit• Jazz: My Music, My People• Music For All: Teaching Music to People With

Special Needs• Music Through The Ages• A World of Children’s Songs

Video

• The Feeling is Musical• Joy Of Singing• Latin Nights• Like Mother Like Daughter• Mariposa: Under A Stormy Sky• Music and Early Childhood• Music Maestro Series• Mwe Bana Bandi - Children’s Music from

Zambia• Orchestra!• Silver Burdett Ginn Music Magic Video

Library• Something Within Me• Take a Bow

Multimedia

• First Assignments• Investigating Musical Styles• The Music Connection• Play Me a Story• Susan Hammond’s Classical Kids: The




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It is expected that students will demonstrateunderstanding of the various roles and responsi-bilities required to create, listen to, and performmusic.


• use skills and attitudes appropriate to a rangeof music experiences in a variety of venues,as performer, participant, and audience,demonstrating:- an awareness of the sense of community- audience and performer etiquette- performance skills- respect for others’ contributions

• demonstrate an ability to provide and acceptconstructive feedback

• demonstrate an understanding of physicalwell-being while experiencing music

• identify career-related music experiencesrepresented in the local community

• Listen to examples of music from a variety ofhistorical and cultural contexts, and identify thevarious roles (e.g., composer, performer, pro-ducer, listener, soloist, accompanist) representedin the music.

• Brainstorm and discuss language and criteria forconstructive criticism of their performances andthose of others. Students attend performances inthe school or community, and critique theexperience in their journals or through reviews inschool or local newspapers.

• Discuss and develop criteria for appropriateaudience and performer skills and etiquette in arange of situations. Apply these criteria in roleplays and performances, and complete self- andpeer evaluations based on these criteria. Studentsmay choose to add these evaluations to theirportfolios.

• Show videos, encourage students to researchthrough the Internet, or invite guest speakers tointroduce students to various music-relatedhealth and safety issues (e.g., hearing conserva-tion, posture, appropriate warm-up). Studentsdevise ways to improve the health and safety oftheir music environments (e.g., keep a log, write areport). Encourage students to apply this infor-mation to redesign their bedrooms or anotherroom in their homes for listening and practising.

• Experiment with different postures to determinetheir effect on performance. Demonstrate theappropriate posture for particular performances.

• Brainstorm the roles of personnel required toproduce a particular music experience (e.g., CD,outdoor concert, movie soundtrack). Comparetasks required for completion of a music produc-tion to those found in career opportunities.

• Discuss ways to maintain students’ vocal andinstrumental equipment (e.g., regular cleaning,keep in the proper case, careful handling, vocalcare). Students devise personal checklists andplans for maintaining their voices or instruments.

GRADE 8 • Context (Self and Community)


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Music education provides opportunities for studentsto develop teamwork skills and learn about thecommitment needed to be a performer in a group.Assessment activities give opportunities for con-structive feedback to students in their variousmusical roles such as audience member, performer,ensemble member, soloist, or accompanist.• To prepare for attendance at a concert, ask

students to answer questions about correctaudience and performer conduct. For example:- What is an appropriate response after a jazz

solo?- Do you clap between movements of a con-

certo?- Do you stand when the conductor comes on

stage if you are in the orchestra?Record evidence that they understand theresponsibilities of various roles associated withmusic experiences.

• Have students write brief reports about theperformance details they observed while attend-ing a concert. Ask them to:- critique the presentation by performers and

the technical crew- provide a summary of the concert’s reception

by the audienceLook for students’ understanding of the roles andresponsibilities of personnel involved in produc-tion.

• In journals, have students reflect on theirprogress using prompts such as:- I have improved ____________.- The part that still confuses me is ____________.- I was on the right track with my idea about

____________ but what I didn’t knowwas __________.

Print Material

• The Choral Conductor’s Art• Eyewitness Music Kit• Jazz: My Music, My People• Music Through The Ages• A World of Children’s Songs

Video

• Joy Of Singing• Latin Nights• Mariposa: Under A Stormy Sky• Music• Music Maestro Series• Mwe Bana Bandi - Children’s Music from



Multimedia





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It is expected that students will create, listen to,and perform music, demonstrating understand-ing of the historical and cultural contexts.


• compare and contrast music from a range ofhistorical and cultural contexts

• compare and contrast music created for avariety of purposes

• demonstrate respect for music of varioushistorical and cultural contexts

• Brainstorm reasons people create, perform, andlisten to music (e.g., dancing, religion, ceremo-nial, love songs, advertising, stress relief, enjoy-ment). In journals, students write about waysthey have used and currently use music in theirlives, and ways they would like to add music totheir lives.

• Teacher introduces a variety of examples of music(e.g., dance, religious, film, theatre) from onehistorical or cultural context, focussing on thedifferences between the various uses for whichmusic was intended. Introduction might include awritten description, recorded examples, anddiscussion.

• To illustrate similarities and differences betweenmusic for various purposes, students explorelearning centres featuring recordings and text(e.g., dance music in 1990s Canada and dancemusic in 18th-century Europe; opera in Italy andopera in China).

• Students relate their music preferences to theirunderstanding of cultural and historical contextsor perspectives.

• Debate the statement: “Music is the inspirationfor dance.”

• Prepare presentations (e.g., oral presentation,demonstration) of dance music from a range ofcultures or time periods.

• Prepare a report (e.g., essay, oral report, mixedmedia presentation) on an instrument of choice,indicating its evolution and its role in varioushistorical and cultural contexts (e.g., may focuson the origin and evolution of the Europeanconcert flute, or on types of flutes around theworld).

• Listen to examples of vocables—music where thevoice is used primarily as an instrument, produc-ing vocal sounds as opposed to words. Discusswhy some singing would involve only vocables.Can the voice be used as an instrument with nointention of telling a story? Are there examples ofthe voice producing both sounds and words (e.g.,jazz scat singing, opera, heavy metal)?

GRADE 8 • Context (Historical and Cultural)


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The understanding of how cultural and historicalcontext influences and shapes music begins withstudents’ understanding of themselves asindividuals and the part music plays in their lives.Assessment activities should include those thatprompt students to reflect on their personal musicexperiences.• Have students select pieces to present for the

class that represent music of their heritages. Askthem to form groups of four or five to discusssimilarities and differences of the various stylesof music. Observe as they compare and contrast,and note evidence that they:- recognize elements unique to particular areas

of the world- identify similarities and differences in instru-

mentation- demonstrate respect for music of various

cultural contexts• Have students create a radio show of music from

a specific culture. As students research theirshow, prompt them with questions such as:- Why was this music created?- Does the music represent a particular culture?- Has the purpose of the music changed over

time?

Print Material

• The Choral Conductor’s Art• Eyewitness Music Kit• Jazz: My Music, My People• Music Through The Ages• A World of Children’s Songs

Video

• Joy Of Singing• Latin Nights• Mariposa: Under A Stormy Sky• Music• Music Maestro Series• Mwe Bana Bandi - Children’s Music from



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• create, perform, and notate rhythms in avariety of metres


• use appropriate music terminology todescribe a wide range of rhythmic patternsand metres

• Create, improvise, or echo rhythm patterns inspecific metres. Students play the Echo Game: theytake turns creating a short rhythmic pattern thatothers must echo back correctly to stay in the game.

• Students are introduced to non-traditional metres(e.g., , ), and practise performing rhythmicpatterns in these metres. Students create rhythmcompositions (on one pitch, or for non-pitchedinstruments), using a variety of rhythmic patternsin a non-traditional metre.

• Students experiment with technological tools (e.g.,rhythm software exercises) to facilitate understand-ing of rhythm.

• Use flash cards or an overhead projector to practisereading patterns, with students performing thedisplayed rhythm patterns. Students play theCircle Game rhythm exercise: each student writesout a two-bar rhythmic pattern, the patterns areplaced on music stands in a large circle, and thestudents walk around the circle, playing eachpattern on a percussion instrument (one-measurerest between each). Students perform rhythmicpatterns in scales and other melodic drills (e.g.,broken thirds, arpeggios).

• Brainstorm methods to facilitate the learning ofcomplex and difficult rhythm passages (e.g., writecounting syllables such as “1 e and a 2 e and a . . .”under the notes). Students listen to clapped orplayed rhythms and write the notation (rhythmicdictation). Students create their own rhythmpatterns and take turns clapping rhythmic dictationfor the rest of the class.

• Listen to music from a variety of cultural andhistorical contexts, and analyse to discover stan-dard or typical metres in each context. Studentsidentify examples of various metres in theirrepertoire.

• Listen to examples of dance music from a range ofcontexts and identify the metre used in each.Practise invented dance steps to selected metres toassist in internalizing the beat.

• Teacher or a student conducts various musicselections while students focus on rhythm andsing, hum, or mime the details of their individualparts.



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• Set up weekly dictation times so students candemonstrate their knowledge of rhythm patternsand metre. Have students listen to and notate therhythm of a short recorded work or musicfragment played by the teacher. Each week,present students with increasingly complexrhythms. Collect these short dictation exercisesand record evidence that students can notateincreasingly complex rhythmic patterns.

• Divide the class into groups. Each week, have adifferent group develop a worksheet or quiz toassess class understanding of vocabulary andconcepts related to rhythmic patterns and metre.Review students’ final products for evidence oftheir understanding of correct use of terminologyand their ability to notate a variety of increasinglycomplex rhythms. Make sure the group cancomplete the worksheet themselves before givingit to the class.

• Have students perform their rhythmic composi-tions for the class to demonstrate their ability tocreate and notate music using complex rhythms.Listen for the extent to which they:- perform notes accurately- maintain a steady pulse

Print Material



Video

• In the Key of Oscar• Joy Of Singing• Latin Nights• Mariposa: Under A Stormy Sky• Music Maestro Series• Orchestra!• Something Within Me

Multimedia

• Exploring the Music of the World• First Assignments• Investigating Musical Styles• Susan Hammond’s Classical Kids: The


Software

• Becoming a Computer Musician• Composer’s Mosaic• Cubase• Finale: The Art Of Music Notation• FreeStyle• Musicware Piano• Performer



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• Students listen to a music example and usemovement to demonstrate melodic direction andcontour, showing beginnings and ends ofphrases. In groups, students select a recordedpiece of music and create visual representationsof the melodic direction and contour. The groupspresent their representations to the class.

• Teacher demonstrates arpeggios and sequences.Students then identify examples of each in theirrepertoire and other known music. Studentscreate a short sequence and apply it to a scale. Ingroups, students perform arpeggios, eachperforming a different note from the arpeggio.

• Given a reference tone (e.g., from a tuner) and anout-of-tune tone, students identify the pitch of thesample relative to the reference tone (i.e., higheror lower), and indicate or demonstrate how toalter the pitch to correct it.

• Teacher presents examples of scales with anexplanation of their structures (e.g., blues scale).Students write and perform examples of scalesstarting on a given note. Students write simplemelodies that use a limited range of pitches (e.g.,first five pitches of a major scale), then transposetheir melodies to another key. Students transcribea melody from treble clef to bass clef or viceversa.

• Collect examples of soundtracks from movies andtelevision. Compare melodic characteristics forsuspense, humour, romance, and so on. Studentscreate and perform melodic sequences to accom-pany a chosen television program or moviesegment, or as background for a story, play, orpoem to be read aloud.




• demonstrate an ability to enhance tuning byaltering pitch

• apply understanding of melodic directionand contour to expressive phrasing

• analyse patterns used in melody• identify and represent melodies in various

clefs and keys• use appropriate music terminology to

describe a range of melodic patterns


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• Give students a short melody to transcribe.Look for evidence that they understand how totranscribe melodic lines from one clef to another.Note whether students put the notes in thecorrect places and if they use the different clefscorrectly.

• Have students present melodic compositionsfrom their portfolios as evidence of their learning.Use this opportunity to find out if studentspurposefully used tonal centre(s) when writing ina specific style. Have them identify what moodthey intended to convey and what choices theymade to ensure the mood was achieved.

• Have students listen to audiotapes of theirensembles performing. Ask them to listen formelody agreement with the original melody andto make suggestions for improvement. Observestudents as they give feedback to others to see theextent to which they can identify areas thatrequire improvement and can suggest strategiesand solutions for fixing problem areas.

• Ask students to perform their melodic composi-tions for the class. Ask others in the class if theyrecognize any patterns or sequences in themelodies (e.g., arpeggios, scales, intervals).

• In a testing situation, ask students to draw twosound waves in tune with each other and twosound waves not in tune with each other. Reviewtheir work to determine if they understand thephysical properties of sound and how to repre-sent this idea visually.

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• read and maintain a part accurately withincomplex harmonies and textures

• apply an increasing range of dynamics,tempos, timbres, and articulations in class-room repertoire

• evaluate the use of the elements of expressionin performing and listening repertoire




• Students practise reading and maintainingindependent parts by performing rounds andcanons. They perform parts other than their ownfrom their repertoires and discuss how their partsfit with the other parts.

• Students create a dictionary of music terminologyfor younger students, including devices such asmind maps, drawings, recordings, and collages.

• During ensemble work, students vote or achieveconsensus on choices in the elements of expres-sion. Students listen to different performances ofthe same composition (including studentperformances), comparing and contrasting theuse of the elements of expression. Have studentsrecord themselves performing short phrases orexcerpts. Students listen to two of these record-ings and analyse the differences in the use of theelements of expression.

• Complete a scientific analysis of a short phrase ofmusic, describing the elements of expression asphysical properties of sound.

• Plan a radio commercial to sell a chosen product(e.g., chocolate bar, blue jeans, sports franchise).Select or create a piece of music for the advertise-ment. Describe how the elements of expressionhave been used to evoke images of the product.


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• Have students work independently on a com-puter to experiment with the elements of expres-sion. Observe students as they work through acomputer-assisted instruction package to com-plete various activities. Look for the use ofexperimentation with the elements of expressionas students compose and solve problems.

• After students have listened to a moviesoundtrack, have them brainstorm ideas for aclass video clip production that visually repre-sents various elements of expression. Encouragediscussion on the general mood that could becreated by the video and how the mood relates toa particular element. Assess how students applyunderstanding of each element to their discussionby observing students as they plan. Note howstudents justify their suggestions and how theyoffer constructive criticisms of other students’suggestions.

• As part of regular listening activities, havestudents listen to different performances of thesame composition. Ask them to use appropriatemusic terminology to describe any differences inthe elements of expression. Examine students’responses for evidence of their abilities todifferentiate among subtle variations in themeanings of the terms.

• Students demonstrate their ability to analyse theirchoices in the elements of expression reflected intheir performing repertoires when they discusschoices or changes during ensemble work. Asthey work to develop consensus on choices orchanges to the elements of expression, listen totheir discussions for evidence that they under-stand the impact of the elements of expression onthe ensemble’s performance.

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It is expected that students will create, listen to,and perform music, demonstrating understand-ing of a variety of different forms and theprinciples of design.


• identify an expanded variety of forms• purposefully apply a variety of music forms

and principles of design to composition• represent the form of a piece of music• use appropriate terminology to define aspects

of form and principles of design• compare and contrast the form of a variety of

music compositions

• Listen to music examples and relate the use of theprinciples of design to each of the elements ofexpression. Students create soundscapes in aparticular form and apply knowledge of one ormore of the principles of design (e.g., focus onrepetition within a rondo form).

• Examine examples of the principles of designfrom other fine arts, and discuss their relationshipto music. Students create multidisciplinarypresentations to demonstrate each of the prin-ciples of design in music and in one or more ofthe other fine arts.

• Listen to music from a variety of cultures andtime periods, and analyse their forms. Studentsthen compose and notate short works based oncontrasting forms. Students create visual repre-sentations of their works, showing the contrast inform.

• Students develop personal dictionaries of musicterminology, including vocabulary related to theprinciples of design (e.g., rondo, verse chorus,verse chorus bridge, blues, march and trio). Thisis an ongoing activity—students add to theirdictionaries as they learn new terms. Studentsidentify and define examples of vocabulary inperformance literature.

• Discuss form and function of music in relation tocultural and historical contexts (e.g., protestsongs, music styles developed in reaction againstother styles). Students then create word websrepresenting connections between music styles.

• Students listen to recordings of music from avariety of historical and cultural contexts, andcompare and contrast the forms of the composi-tions through discussion, written analysis, visualrepresentations, and so on.



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• Have the class work together to develop criteriato assess individual students' representations ofform. For example, students may decide it isimportant to say something positive about aperson’s representation before they present theircriticism. Then play a musical selection and askstudents to represent the form of the piece using anon-musical medium (e.g., drawing, collage,poetry). Have them present and explain theintention of their work to the class. Note theextent to which students use the criteria in givingpresentations and making comments to otherstudents.

• Have students record original compositions andreflect on their ability to purposely apply aspecific music form to their compositions. Havestudents respond in their journals to promptssuch as:- I think I showed the form well when I

____________.- I think my composition would be improved if I

____________.

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• represent thoughts, images, and feelingsderived from music experiences

• apply the elements of music to interpret andrepresent a broad range of thoughts, images,and feelings


• explain personal meaning derived frommusic without reference to stories or visualartifacts

• defend personal music choices, demonstrat-ing awareness of the thoughts, images, andfeelings that the music expresses

• demonstrate respect for and understanding ofthe diversity of thoughts, images, andfeelings evident in culturally, historically, andstylistically diverse music

• Listen to a variety of popular or known songsand analyse the thoughts, images, and feelingsevoked by the music and the lyrics. Hold a debateon an issue arising from discussions about thethoughts, images, and feelings evoked by themusic. (e.g., Should obscene language be allowedin popular music?)

• Students attend school or community perform-ances and use double-entry journals to recordtheir responses to the experience.

• Students create and perform compositions usinga variety of sound sources. Following discussion,students write about their responses to eachother’s music and to the composing process.

• Students listen to recordings of compositions theyintend to perform. Compare and contrast thethoughts, images, and feelings evoked bydifferent performances of the same composition,including student performances.

• Students refer to the influence of the elements ofmusic to describe their responses to a piece ofmusic. Responses can be represented in a varietyof ways (e.g., orally, in writing, through move-ment, visually).

• Students create role plays, radio shows, ordiscographies of various historical, cultural, andstylistic selections, describing the thoughts,images, and feelings evident in each piece.

• Students keep ongoing journals of personal musicactivities, identifying and describing thethoughts, images, and feelings evoked by eachexperience.

• View videos of music performances that incorpo-rate stagecraft, technology, or elements of otherfine arts (e.g., fireworks, dancing, special-effectlighting). Discuss how the use of these additionalelements affects the thoughts, images, andfeelings evoked by the music and the perform-ance.



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Students reveal their understanding of andappreciation for music by sharing thoughts, images,and feelings in discussions, compositions, andperformances.• As part of regular listening activities, have

students describe how the elements of expressionare employed in a musical selection to createthoughts, images, and feelings. Review theirresponses for evidence that they are willing toshare their views and can use appropriatevocabulary to represent thoughts, images, andfeelings derived from music experiences.

• Work with students to establish criteria forparticipating in a discussion. The reference setEvaluating Group Communication Skills AcrossCurriculum may be useful for identifying specificcriteria. For example, students may decide it isimportant to show respect for the thoughts andfeelings of others when they present theircriticisms.

• Have students perform or bring recordings oftheir favourite songs to class. After each selectionhas been played, ask them to write shortresponses to the song. Encourage students to readtheir responses aloud to the class. Observe instudent discussions and writing as studentssupport their views about the thoughts, images,and feelings evoked by the song:- Can they rationalize their thoughts and

feelings?- Do they show respect for the thoughts and

feelings of others?- Can they defend their music preferences?

Print Material


Special Needs• Music Through The Ages

Video

• 1791 - 1991: Two Hundred Years of Mozart• The Feeling Is Musical• In the Key of Oscar• Joy Of Singing• Latin Nights• Like Mother Like Daughter• Mariposa: Under A Stormy Sky• Music and Early Childhood• Music Maestro Series• Mwe Bana Bandi - Children’s Music from

Zambia• Orchestra!• Something Within Me• Take a Bow

Multimedia

• First Assignments• Investigating Musical Styles• Play Me a Story• Susan Hammond’s Classical Kids: The




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• demonstrate an ability to critique the work ofself and others

• demonstrate an ability to contribute to thephysical well-being of self and others whileexperiencing music

• identify a range of career-related musicactivities represented in the community

• Brainstorm tasks required to produce a concert(e.g., home practice, efficient rehearsals, technicaland promotional factors, performance etiquette),and collate into a Performance Handbook.Students keep journals to record their observa-tions about their contributions and those ofothers during the creation, rehearsal, andperformance process.

• Participate in small ensembles containing likeinstruments or voices to practise current reper-toire. After a specified length of time (e.g., classperiods plus optional out-of-class time), en-sembles demonstrate their progress by perform-ing as a group for the class.

• Invite guest speakers to introduce various music-related hearing issues (e.g., an audiologist tospeak about hearing conservation and thephysiology of hearing, a person with a hearingdisability to talk about her or his experienceswith music). Students role-play health and safetyissues in their music environments (e.g., correctand incorrect posture). Students research andcreate promotional materials (e.g., posters,brochures) to address hearing safety in musicaland non-musical environments.

• Discuss and develop criteria for appropriateaudience and performer skills and etiquette indifferent performance situations. Apply thesecriteria in performance situations, and completeself- and peer evaluations based on these criteria.Students include these evaluations in theirportfolios.

• Brainstorm the roles required to produce aparticular music experience (e.g., CD, outdoorconcert, movie soundtrack). Students listen toexamples of music from a variety of historical andcultural contexts, and identify the various rolesrepresented in the music. After choosing one ofthese roles, students research and then writereports on a well-known person in this role.Invite professionals from a wide range of musiccareers to speak about their careers; studentscreate a Career Tree of careers related to music.



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Music education helps students learn about variousroles and responsibilities of people in music fields.Assessment activities focus on those that giveopportunities for constructive feedback to studentsin various music roles.• Have students create their practice schedules,

including a space to write a brief comment aftereach session, including:- what they worked on (Was I prepared for the

practice session?)- how the session went (Did I maintain my focus

and concentration?)- what they learned (Did everyone make

constructive comments to help the sessionproceed?)

- what they want to remember for futuresessions (What three things would make thenext session work well?)

• Develop a checklist for successful participation inconcerts, shows, or rehearsals. The checklist mayinclude equipment lists, dress codes, timelines,and policy for clean-up and occasions whenstudents must help others. Have students use thechecklist to assess their ability to contribute to thegroup’s well-being and to develop a personalplan of how to improve in certain areas.

• Have students list related careers in music (e.g.,concert production, music therapy). Afterinvestigating several occupations, hold a confer-ence with students to determine their level ofawareness regarding possible career directions.Pose questions such as:- Which career or field interested you the most?- What do you find interesting about this field?- How could you use this information to make

decisions about your future career options?- What education or training is required for this

career?

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34



• compare and contrast music from a range ofhistorical and cultural contexts, includingtheir interrelationships

• compare and contrast music created for avariety of purposes

• demonstrate respect for music of varioushistorical and cultural contexts

• Students are introduced to a range of historicalperiods of music (e.g., traditional European:medieval, Renaissance, baroque, classical,Romantic, 20th-century). This introduction couldinvolve written descriptions, recorded examples,and discussions. In groups, students create wordwebs for each era.

• Students listen to music from a variety of culturaland historical perspectives (e.g., Inuit throatsinging, Peking opera, zydeco), and identifytypical elements, forms, and images evident inthat type of music.

• In groups, students perform pieces from differenttime periods. Present as a chamber music concertwith student-selected pieces (e.g., a “walkthrough history”) or costumes to represent onehistorical era.

• Research and present reports (e.g., oral, written,multimedia) on popular music in various socialclasses across time periods.

• Prepare a radio show (e.g., “love songs throughthe ages”) or other representation of a variety ofmusic for a common purpose (e.g., dance music,religious music, court music). Include an explana-tion of the context of that type of music in eachera.

• In groups, students “invent” a culture, select orcompose music, and create instruments for thatculture. Groups present their cultures for the restof the class, using costumes, posters, maps, andso on, as desired.



35

As students learn about the cultural and historicalcontext that shapes social attitudes and behaviour,they become better able to live and work inmulticultural communities. Assessment activitiesshould include those that encourage students tobroaden their historical and cultural perspectives.• Students research and gather popular dance

music from various cultures. In small groups,they develop a description and samples of musicfrom a given culture. Then, groups present theirmusic and descriptions to the class. Ask studentsto discuss similarities and differences in musicdeveloped for dance among cultures. Observe thediscussion and note evidence that studentsunderstand interrelationships among cultures(e.g., the influence of ____________ immigrantson____________; the similarities in themes amongsongs from ____________ and____________) anddemonstrate respect for various cultural contexts.

• Have students research a specific musical era andplan a thematic dinner (e.g., a wedding meal fornobles in 1700). Have students work in groups toresearch various aspects such as costume, food,and music. Lead students in a discussion thatdraws connections between various aspects of thecelebration. For example,- Did the celebration involve different types of

music?- Would the social status determine the kind or

size of ensemble that would perform for thisdinner?

Record evidence that students can make connec-tions between music and various historical orcultural situations.

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• create, perform, and notate complex rhythmsin a variety of metres

• analyse and use rhythms reflective of avariety of cultures and styles

• describe rhythmic patterns and metre usingappropriate music terminology

• Students suggest and practise methods tofacilitate accurate performance of rhythm, forexample:- perform a piece, playing or singing only the

first beat of every bar- run through by clapping written rhythms and

breathing, or by snapping on rests- count words to represent rhythms (e.g., “1 e

and a. . . .”)- in new pieces, read through to identify

technically demanding selections- subdivide a beat (e.g., clapping, tapping, using

percussion instruments)- follow a conductor’s beat placement in a

performance of different metres and tempos- sight-read unison music, one bar assigned to

each student• Students invent and perform rhythms for scales

or warm-ups, and write these rhythms in stan-dard notation.

• Students listen to and identify rhythms represent-ative of a variety of cultural and historical formsof music. Discuss how they can apply thisknowledge in performance (e.g., “this is a ragtimepiece so I can expect syncopation”). Students usetheir journals to write about how variousrhythms might affect thoughts, images, andfeelings.

• Identify metre from a range of music selections.Students perform in various metres (e.g., ,

, Common Time, , , , polyrhythm), usingresources such as handouts, method books, andperformance repertoire. Demonstrating a varietyof metres, students take turns conductingpatterns while the other students perform, orconducting in response to audio recordings.



37

• Work with students to develop criteria for arhythm game to be played by a younger group ofmusic students. For example, students maydecide the rhythms used for the game should becategorized by level and that the participantsshould work through each level as the gameprogresses. Have students work in pairs todevelop the game. Review student projects to seethat they:- include different levels of rhythm patterns- correctly notate the rhythms used in the game- successfully conduct the game with their peers

before presenting it to younger music students• Have students conduct a warm-up that includes

one or more rhythm patterns. Observe and recordhow effectively they:- maintain an appropriate conducting pattern- notate rhythms correctly for the class to use- use proper terminology

• After students have completed a series ofincreasingly complex rhythm exercises, havethem reflect on their achievements and set newlearning goals in learning logs or journals:- I am getting better at ____________.- I need to work on ____________.

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• create and perform melodic patterns toenhance expressive phrasing

• apply an understanding of melodic patternsto facilitate sight-reading

• identify and represent melodies in variousclefs and keys

• use appropriate music terminology todescribe a range of melodic patterns

• Students create variations of a known melodywith the intent of changing the mood of the piece.Students improvise variations of a knownmelody. Students create a melody for a poem.

• Students analyse melodies for transformationaldevices (e.g., inversion, sequence, modulation).Practise using computer technology to executesimilar transformations.

• Analyse melodies for patterns and describe howthe patterns affect expressive phrasing. Todemonstrate expressive phrasing, studentsperform a phrase of music using melodic patternsin the phrase.

• Interview local amateur or professional compos-ers (e.g., symphony, college or university,commercial jingle writers, band leaders, choirdirectors, music teachers), asking what inspirestheir writing. Ask what characteristics of melodyare most commonly used for the type of workthey do. Students use their journals to recordwhat they have learned and how they will applythis information to their own compositions.

• Students create a glossary of intervals, givingdescriptions and examples of the use of each,such as a familiar melody that starts with aspecified interval (e.g., m3 = O Canada).

• Students sight-sing a melody using solfègesyllables.

• Students identify and analyse (in writing ororally) the use of intervals in their music reper-toire.


39


• Have students describe their improvisations offamiliar melodies. To what extent do they usecorrect terminology to describe melodic patterns?

• Ask students to perform a piece for the class.Students should explain their choice of phrasingbased on their understanding of melodic contour.Listen to their responses to see if they:- understand that melodic lines form musical

sentences- breathe in appropriate places- can state why certain points are considered

phrase endings• Have students listen to audiotapes of partners'

solo performances. Ask them to critique theperformance and make suggestions for improve-ment. Observe students as they give feedback toothers to see the extent to which they identifyareas that require improvement and suggestsolutions and strategies for fixing problem areas.

• Have students match the in-tune pitch of aninstrument played by the leader. To what extentcan they quickly match pitch and explain whatthey did to achieve it?

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• read and maintain a part accurately withincomplex textures and harmonies

• apply an increasing range of tempos, dynam-ics, articulation, and timbres in classroomrepertoire

• analyse how the elements of expression arecombined to achieve specific effects



• Students identify and describe the use of chordsin their repertoire. Improvise on chord progres-sions using notes from, for example, dominantseventh chords.

• Create non-musical representations (e.g., chart,written description, movement) of one or moreelements of expression in a piece of music.Construct a word web or continuum to representterms associated with the elements of expression(e.g., dynamics: ppp to fff). Encourage students todisplay their work in class.

• Write articulation, dynamic, and tempo indica-tions on examples of music that have no suchmarkings. Students then perform or record theirchoices. As a class, discuss the effectiveness ofeach choice. During ensemble work, studentsdiscuss and achieve consensus on appropriatedynamics, articulations, and tempos for a piece ofmusic, giving reasons for their preferences.

• In small ensembles, students perform composi-tions to demonstrate understanding of theelements of expression. Analyse students’ largeensemble repertoire for the elements of expres-sion. Listen to music examples from varioushistorical and cultural contexts, and compare andcontrast the use of elements of expression in thevarious examples.

• Students coach groups or large ensembles whiledemonstrating knowledge and comprehension ofthe elements of expression.


41


• Have students examine various rating scales usedby adjudicators of music festivals. Lead a classdiscussion using these as references to developclass criteria to use for ongoing self-assessment.Allow students to determine the elements that areimportant and to describe performance levels.Have students assess their performances basedon these criteria.

• In teacher-student meetings, have studentspresent some compositions from their portfoliosand play recordings of their performances. Askthem to comment on how they used the elementsof expression. Look for evidence that they canapply knowledge of the elements of expression intheir compositions.

• Play a jazz recording for the class. Have studentswork in groups to plan a class dance productionthat visually represents the elements of expres-sion. For example, one group may plan thechoreography of the piece using improvisationalmovement, another group may design thecostumes to be worn by the dancers, and anothergroup may design lighting effects. Observestudents as they design each component. Do theyhave valid reasons for making artistic choices? Dothey refer back to the elements of expression fortheir ideas?

• Ask students to assess their abilities to apply avariety of tone production techniques to altertimbre and to enhance a performance. Encouragestudents to regularly write brief descriptions intheir journals of their performances and tocomment on the effects of their conscious effortsto apply tone production techniques.

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42


It is expected that students will create, listen to,and perform music, demonstrating understand-ing of a variety of different forms and theprinciples of design.


• purposefully apply a variety of music formsand principles of design in composition

• represent music form in a variety of ways• use appropriate terminology to describe form

and principles of design• relate form and principles of design in music

to those in other arts• compare and contrast forms of music compo-

sitions from a variety of historical, cultural,and stylistic contexts

• Listen to a recording and create non-musicalrepresentations of the form (e.g., drawing orcollage of sonata-allegro form, dramatization ofrondo form). Students create and performsoundscapes or short compositions that usemusic forms discussed in class.

• Research the principles of design in other arts.Students compare and contrast works of music toother works of art. Listen to music examples andanalyse the use of the principles of design asapplied to each of the elements of rhythm,melody, and expression (e.g., contrast in melody,pattern in rhythm). Students createmultidisciplinary presentations (i.e., using musicand one or more additional art forms) demon-strating each of the principles of design.

• Listen to a range of current popular music.Identify ways the contemporary artists use theprinciples of design. For example, to createvariety:- verses may vary texture by using different

instruments- texture may build gradually until close to the

end- tonality may change as the piece progresses

• Discuss how musicians connect these differentideas.


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• Play recordings from a variety of historical,cultural, and stylistic contexts. Ask students tocompare and contrast the forms in the musicselections. Collect their work and record evidencethat they understand a variety of forms andprinciples of design and can compare theseappropriately.

• To prepare for a performance assessment activity,arrange students in groups of four or five.Provide each student in the group with a differentexample from other fine arts that embodiesspecific principles of design. Have students selectmusical pieces that embody the same principles.

• Ask students to work together to developdescriptions of the similarities between eachmusic selection and the corresponding piece ofart.

• Have students discuss their descriptions andmusic choices. To what extent do they:- describe the principles of design using terms

such as repetition, variety, and balance

- relate the principles of design to other artforms in concrete ways (e.g., the pattern in thepicture repeats just as the musical phrase does)

- apply their knowledge of group skills. (Thereference set Evaluating Group CommunicationSkills Across Curriculum may be useful foridentifying specific criteria.)

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44



• apply the elements of music to interpret andrepresent a broad range of thoughts, images,and feelings


• analyse and communicate thoughts, images,and feelings about music that relate to social,historical, and political issues

• defend personal music choices, demonstrat-ing awareness of the thoughts, images, andfeelings the music expresses

• demonstrate respect for and understanding ofthe diversity of thoughts, images, andfeelings evident in culturally, historically, andstylistically diverse music

• Students analyse thoughts, images, and feelingsrepresented in their repertoires and other knownmusic, focussing on the historical and culturalcontexts and how those contexts affect the imagesof the music (e.g., Vietnam war protest songs,Aboriginal canoe paddling chants).

• Listen to recordings of historically and culturallydiverse music and analyse the thoughts, images,and feelings evoked by the music. Create andperform compositions based on an imagediscussed by the class, and compare and contrastthe thoughts evoked by the students’ composi-tions with the original recordings.

• Set up a gallery walk, using music selectionschosen by students, teachers, or both. At eachstation, students record the thoughts, images, andfeelings evoked as they listen to the music,building on the responses of previous students.Afterward, discuss the range of responses to eachselection.

• Students individually brainstorm criteria for usesof the elements of music that evoke powerfulthoughts, images, and feelings. Each student listspersonal criteria for the class. Students collatethese lists to create a class set of criteria thatidentifies conflicting criteria and shows respectfor the thoughts, images, and feelings of others.

• Create and conduct a survey to discover theadolescent listening preferences of parents andother adults. Questions could include:- Were lyrics important in the music they

listened to?- What were the popular themes or images of

their day (e.g., love, war)?- Why did they listen to music?- Where did they listen to music (e.g., at home,

at parties, at dances)?- Have their listening habits or tastes changed

since then, and if so, how?



45

As students build their repertoire of musicalknowledge and skills, they become increasinglyproficient in their ability to communicate theirresponses to music.• Work with students to establish criteria for

participating in a discussion about music. Thereference set Evaluating Group CommunicationSkills Across Curriculum may be useful foridentifying specific criteria. For example, thesecriteria may include:- Say something positive about a person’s

opinion or idea before making a criticism.- Be willing to share personal insights and

feelings.- Explain personal meaning derived from music.- Show respect for the thoughts and feelings of

others.• Give groups of students a word that describes an

emotive response (choose common words such assoothing, erratic, or stodgy, or use contemporarystudent vocabulary). Have each group create ashort composition using the elements of rhythm,melody, and expression to convey the emotionsevoked by the word. Have other students guesswhat the word might be, then discuss theeffectiveness of the elements chosen. Note theextent to which students apply elements toconvey thoughts, images, and feelings.

• After students have viewed two differenttelevision or radio commercials, note their abilityto contrast the elements used in each piece todescribe the thoughts, images, and feelingsconveyed.


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46





• demonstrate an ability to critique the work ofself and others

• demonstrate an ability to contribute to thephysical well-being of self and others whileexperiencing music

• demonstrate in-depth knowledge of at leastone music career

• Students direct small group rehearsals. Sectionleaders rotate to allow all students to developleadership skills. Students discuss each other’sstrengths and the successes of each rehearsal.

• Students form a performance ensemble, and keepjournals to record their contributions and those ofothers to the ensemble.

• Discuss the various roles (e.g., composer, per-former, producer, listener, soloist, accompanist)represented in music from a variety of historicaland cultural contexts. In small groups, studentsbrainstorm scenarios arising from a musicproduction (e.g., concert, recording). Groupscreate role plays based on this scenario.

• Work together with students studying other finearts subjects to create an arts report for a schoolor community newspaper or broadcast, includingconcert reviews, upcoming events, and so on.

• Discuss and develop criteria for audience andperformer skills and etiquette appropriate in arange of situations. Students attend concerts invarious settings (e.g., professional, amateur;formal, informal; jazz, classical) and demonstrateappropriate etiquette as discussed. Studentscomplete self- and peer evaluations based onthese criteria, and include these evaluations intheir portfolios.

• Research and report on a specific topic in healthissues in music (e.g., repetitive strain injuries,coping with stress, hearing loss).

• Group multimedia project Time Machine: travelback to another historical era and work asmusicians. What kind of music do you write orperform? How do you earn your living (e.g.,employed by a monarch, rely on donations)?Report back to class with budget, music ex-amples, and so on.

• Students job shadow professionals in the musicindustry (e.g., recording studio technician, musictherapist, concert promoter, private teacher).


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Assessment activities should focus on those that putincreasing responsibility on students to monitortheir musical development and to support themusical development of their peers.• Work with students to establish a set of class

criteria for participating in constructive discus-sions about others’ performances. For example,students may decide it is important to provideconstructive suggestions along with theircriticisms. Set up a buddy system and regularlyencourage students to discuss their successes andconcerns about their performances. Have eachpair of buddies develop a set of personal criteriafor constructive discussions. Periodically inter-view buddy pairs and ask questions to find outthe extent to which they follow these criteria.

• Have students develop short research papers on amusic career of their choice. Tell them they maywish to interview someone with that job, to lookat career development information, or to researchthe job in the library. Review their work and notetheir understanding of the career. For example, towhat extent did they discuss:- the educational requirements to enter the

career- experiential expectations leading to various

levels in the career path- lifestyle factors related to the career- tasks involved in successfully filling the job- opportunities in the field

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• compare and contrast music from a range ofhistorical and cultural contexts, includingtheir interrelationships

• compare and contrast music created for avariety of purposes (e.g., dance music,religious music, court music, love songs)

• analyse how thoughts, images, and feelingsare expressed in music within a variety ofhistorical, cultural, and stylistic contexts

• Perform pieces from a range of time periods anddiscuss the relationship between each (e.g.,present a chamber music concert “walk throughhistory,” with each era depicted by an annotatedprogram, or by costumes worn by the students).

• Explore popular music of adolescents in varioussocial classes across time periods and cultures.Discuss what young people in various countriesmight listen to today. For example:- Do teenagers around the world listen to the

same popular music?- To what extent has the music been re-recorded

in the local language?- Is the style of popular music similar even

when it is composed and performed indifferent countries?

- What is worldwide popular music used for(e.g., entertainment, ceremonies, communica-tion)?

• After additional research, students create multi-media projects for presentation to the class.

• Students research women composers across timeperiods and cultures, and create multimediaprojects. The class discusses gender-equity issuesin music arising from these reports.

• Summative activity: students research andpresent reports that make reference to the varioushistorical periods and cultural contexts that wereintroduced in class. Reports could include samplerecordings and references to the thoughts,images, and feelings evoked and intended bymusic of each context.


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Music education provides opportunities for studentsto research and understand the relevance of thehistorical and cultural context of music. Studentsdemonstrate their knowledge and understanding ofthese areas by participating in group activities, classdiscussions, and written assignments.• Have students select a popular song from their

culture and one that reflects the same generaltopic from another culture. Record evidence thatthey can compare and contrast music fromdifferent cultures, and can comment on thestructural elements, the form and principles ofdesign in relation to the topic, and the effective-ness of each in evoking thoughts, feelings andimages.

• Have students present reports that explain how acertain genre of music evolved; for example,students may research the origins of jazz, rock ‘n’roll, or romanticism in western European music.Record evidence that the cross-cultural andhistorical connections are explained in their work.Do they recognize that genres evolve? Do theydiscuss cultural influences on the genre and onthe evolution of the genre?

• Have students assess how thoughts, images, andfeelings are expressed in music within a variety ofhistorical, cultural, and stylistic contexts. Whenpresenting music from different time periods orcultures, have students record in their journalstheir thoughts, images, and feelings and reflect onthose intended by the music. Prompt them withstatements such as:- The music reminds me of ___________.- I like ___________ about the music because

___________.- I would like to know more about ___________.

MUSIC 8 TO 10APPENDICES

APPENDIX APRESCRIBED LEARNING OUTCOMES

A-2

APPENDIX A: PRESCRIBED LEARNING OUTCOMES

A-3


• create, notate, and performrhythms in a variety of metres

• analyse rhythmic choices inperforming and listeningrepertoire

• use appropriate music terminol-ogy to describe rhythm andmetre

• create, perform, and notatecomplex rhythms in a variety ofmetres

• analyse and use rhythmsreflective of a variety of culturesand styles

• describe rhythmic patterns andmetre using appropriate musicterminology

• create, perform, and notaterhythms in a variety of metres

• analyse rhythmic choices inperforming and listeningrepertoire

• use appropriate music terminol-ogy to describe a wide range ofrhythmic patterns and metre

Grade 8 Grade 10Grade 9

STRUCTURE (Elements of Rhythm)It is expected that students will create, listen to, and perform music, demonstrating understanding of expressiveand physical properties of rhythm.


A-4


• create and perform melodicpatterns to enhance expressivephrasing

• apply an understanding ofmelodic patterns to facilitatesight-reading

• identify and represent melodiesin various clefs and keys

• use appropriate music terminol-ogy to describe a range ofmelodic patterns

• demonstrate an ability toenhance tuning by altering pitch

• apply understanding of melodicdirection and contour toexpressive phrasing

• analyse patterns used in melody• identify and represent melodies

in various clefs and keys• use appropriate music terminol-

ogy to describe a range ofmelodic patterns

• create, notate, and performmelodic patterns

• apply an understanding ofmelodic direction and contour toexpressive phrasing

• identify tonal centres in avariety of melodies

• use appropriate music terminol-ogy to describe melody

Grade 8 Grade 9 Grade 10

STRUCTURE (Elements of Melody)It is expected that students will create, listen to, and perform music, demonstrating understanding of expressiveand physical properties of melody.


A-5


• read and maintain a part withincomplex textures and harmonies

• apply an increasing range oftempos, dynamics, articulation,and timbres in classroomrepertoire

• analyse the use of the elementsof expression in performing andlistening repertoire

• describe the elements ofexpression using appropriatemusic terminology

• describe the elements ofexpression in terms of thephysical properties of sound

• read and maintain a partaccurately within complextextures and harmonies

• apply an increasing range oftempos, dynamics, articulation,and timbres in classroomrepertoire

• analyse how the elements ofexpression are combined toachieve specific effects



• read and maintain a partaccurately within complexharmonies and textures

• apply an increasing range ofdynamics, tempos, timbres, andarticulations in classroomrepertoire

• evaluate the use of the elementsof expression in performing andlistening repertoire




STRUCTURE (Elements of Expression)It is expected that students will create, listen to, and perform music, demonstrating understanding of expressiveand physical properties of harmony, texture, dynamics, tempo, timbre, and articulation.


A-6


• identify an expanded variety ofmusic forms

• apply a variety of music formsand principles of design tocomposition

• represent the form of a piece ofmusic

• use appropriate terminology todescribe form and the principlesof design

• compare and contrast the formof two or more music composi-tions

• purposefully apply a variety ofmusic forms and principles ofdesign in composition

• represent music form in avariety of ways

• use appropriate terminology todescribe form and principles ofdesign

• relate form and principles ofdesign in music to those in otherarts

• compare and contrast forms ofmusic compositions from avariety of historical, cultural,and stylistic contexts

• identify an expanded variety offorms

• purposefully apply a variety ofmusic forms and principles ofdesign to composition

• represent the form of a piece ofmusic

• use appropriate terminology todefine aspects of form andprinciples of design

• compare and contrast the formof a variety of music composi-tions


STRUCTURE (Form and the Principles of Design)It is expected that students will create, listen to, and perform music, demonstrating understanding of a variety offorms and the principles of design.


A-7


• apply the elements of music tointerpret and represent a broadrange of thoughts, images, andfeelings

• demonstrate a willingness toshare personal insights arisingfrom experiences with music

• analyse and communicatethoughts, images, and feelingsabout music that relate to social,historical, and political issues

• defend personal music choices,demonstrating awareness of thethoughts, images, and feelingsthe music expresses

• demonstrate respect for andunderstanding of the diversityof thoughts, images, andfeelings evident in culturally,historically, and stylisticallydiverse music

• represent thoughts, images, andfeelings derived from a musicexperience

• apply the elements of rhythm,melody, and expression tointerpret and represent a broadrange of thoughts, images, andfeelings


• explain personal meaningderived from music withoutreference to stories or visualartifacts

• defend personal music choices,demonstrating awareness of thethoughts, images, and feelingsthat the music expresses

• demonstrate respect for thethoughts, feelings, and musicchoices of others

• represent thoughts, images, andfeelings derived from musicexperiences

• apply the elements of music tointerpret and represent a broadrange of thoughts, images, andfeelings


• explain personal meaningderived from music withoutreference to stories or visualartifacts

• defend personal music choices,demonstrating awareness of thethoughts, images, and feelingsthat the music expresses

• demonstrate respect for andunderstanding of the diversityof thoughts, images, andfeelings evident in culturally,historically, and stylisticallydiverse music


THOUGHTS, IMAGES, AND FEELINGSIt is expected that students will create, listen to, and perform music, demonstrating understanding and apprecia-tion of the thoughts, images, and feelings it expresses.


A-8


• use skills and attitudesappropriate to a range of musicexperiences in a variety ofvenues, as performer,participant, and audience,demonstrating:- an awareness of the sense of

community- audience and performer

etiquette- performance skills- respect for others’ contribu-

tions• demonstrate an ability to

provide and accept constructivefeedback

• demonstrate an understandingof physical well-being whileexperiencing music

• identify career-related musicexperiences represented in thelocal community





critique the work of self andothers

• demonstrate an ability tocontribute to the physical well-being of self and others whileexperiencing music

• demonstrate in-depth knowl-edge of at least one music career





critique the work of self andothers

• demonstrate an ability tocontribute to the physical well-being of self and others whileexperiencing music

• identify a range of career-relatedmusic activities represented inthe community


CONTEXT (Self and Community)It is expected that students will demonstrate an understanding of the various roles and responsibilities required tocreate, listen to, and perform music.


A-9


• compare and contrast musicfrom a range of historical andcultural contexts

• compare and contrast musiccreated for a variety of purposes

• demonstrate respect for music ofvarious historical and culturalcontexts


• compare and contrast musicfrom a range of historical andcultural contexts, including theirinterrelationships

• compare and contrast musiccreated for a variety of purposes

• demonstrate respect for music ofvarious historical and culturalcontexts

• compare and contrast musicfrom a range of historical andcultural contexts, including theirinterrelationships

• compare and contrast musiccreated for a variety of purposes(e.g., dance music, religiousmusic, court music, love songs)

• analyse how thoughts, images,and feelings are expressed inmusic within a variety ofhistorical, cultural, and stylisticcontexts

CONTEXT (Historical and Cultural)It is expected that students will create, listen to, and perform music, demonstrating understanding of the historicaland cultural contexts.


APPENDIX BLEARNING RESOURCES

APPENDIX B: LEARNING RESOURCES

B-2


B-3

General Description: Twenty-nine–minute videodepicts the integral role of music in the daily lives androutine of children in a village in Zambia. The natureof their music incorporates complex rhythms, two-partand three-part harmonies, and instrumentation. Aviewing guide is included.

Caution: Last few minutes of the video contain a five-second segment featuring a close-up of a child breastfeeding.

Audience: General

Category: Student, Teacher Resource

Curriculum ContextOrganizer(s): Thoughts, Images, and Feelings

K/1 2/3 4 5 6 7 8 9 10 11 12

✓ ✓ ✓ ✓ ✓ ✓ ✓

Year Recommended: 1995

Supplier: B.C. Learning Connection Inc.c/o Learning Resources Branch(Customer Service)878 Viewfield RdV9A 4V1

Tel: (604) 387-5331 Fax: (604) 387-1527

Price: $21.00

ISBN/Order No: VA1027

Grade Level:

Mwe Bana Bandi - Children'sMusic from Zambia

4. Curriculum Organizers

2. Media Format(s)

¨

¨

¨

¨

What information does an annotation provide?

WHAT IS APPENDIX B?

Appendix B is a comprehensive list of the recommended learning resources for Music 8 to 10. Thetitles are listed alphabetically and each resource is annotated. In addition, Appendix B containsinformation on selecting learning resources for the classroom.

5. The Grade Level Grid

1. General Description

7. Audience

¨

6. Category

¨

3. Cautions¨

8. Supplier

¨


B-4

1. General Description: This section providesan overview of the resource.

2. Media Format: is represented by an iconnext to the title. Possible icons include:

Audio Cassette

CD-ROM

Film

Games/Manipulatives

Laserdisc, Videodisc

Multimedia

Music CD

Print Material

Record

Slides

Software

Video

3. Caution: This category is used to alertteachers about potentially sensitive issues.

4. Curriculum Organizers: This categoryhelps teachers make links between theresource and the curriculum.

5. Grade Level Grid: This category indicatesthe suitable age range for the resource.

6. Category: This section indicates whether itis a student and teacher resource, teacherresource, or professional reference.

7. Audience: The audience category indicatesthe suitability of the resource for differenttypes of students. Possible student audi-ences include the following:

• general• English as a second language (ESL)• Students who are:

- gifted- blind or have visual impairments- deaf or hard of hearing

• Students with:- severe behavioural disorders- dependent handicaps- physical disabilities- autism- learning disabilities (LD)- mild intellectual disabilities (ID-mild)- moderate to severe/profound dis-

abilities (ID-moderate to severe/profound)

8. Supplier: The name and address of thesupplier are included in this category.Prices shown here are approximate andsubject to change. Prices should be verifiedwith the supplier.


B-5

SELECTING LEARNING RESOURCES FOR

THE CLASSROOM

Selecting a learning resource means choosinglocally appropriate materials from the list ofrecommended resources or other lists ofevaluated resources. The process of selectioninvolves many of the same considerations asthe process of evaluation, though not to thesame level of detail. Content, instructionaldesign, technical design, and social consider-ations may be included in the decision-making process, along with a number ofother criteria.

The selection of learning resources should bean ongoing process to ensure a constant flowof new materials into the classroom. It ismost effective as an exercise in group deci-sion making, co-ordinated at the school,district, and ministry levels. To functionefficiently and realize the maximum benefitfrom finite resources, the process shouldoperate in conjunction with an overall dis-trict and school learning resource implemen-tation plan.

Teachers may choose to use provinciallyrecommended resources to support provin-cial or locally developed curricula; or theymay choose resources that are not on theministry's list; or they may choose to developtheir own resources. Resources that are noton the provincially recommended list must

What about the videos?

The ministry attempts to obtain rights formost recommended videos. Negotiations forthe most recently recommended videos maynot be complete. For these titles, the originaldistributor is listed in this document, insteadof British Columbia Learning ConnectionInc. Rights for new listings take effect theyear implementation begins. Please checkwith British Columbia Learning ConnectionInc. before ordering new videos.

be evaluated through a local, board-ap-proved process.

CRITERIA FOR SELECTION

There are a number of factors to considerwhen selecting learning resources.

Content

The foremost consideration for selection isthe curriculum to be taught. Prospectiveresources must adequately support theparticular learning objectives that the teacherwants to address. Resources on theministry's recommended list are not matcheddirectly to learning outcomes, but they arelinked to the appropriate curriculum orga-nizers. It is the responsibility of the teacherto determine whether a resource will effec-tively support any given learning outcomeswithin a curriculum organizer. This can onlybe done by examining descriptive informa-tion regarding that resource; acquiringadditional information about the materialfrom the supplier, published reviews, orcolleagues; and by examining the resourcefirst-hand.

Instructional Design

When selecting learning resources, teachersmust keep in mind the individual learningstyles and abilities of their students, as wellas anticipate the students they may have inthe future. Resources have been recom-mended to support a variety of specialaudiences, including gifted, learning dis-abled, mildly intellectually disabled, andESL students. The suitability of a resourcefor any of these audiences has been noted inthe resource annotation. The instructionaldesign of a resource includes the organiza-tion and presentation techniques; the meth-ods used to introduce, develop, and summa-rize concepts; and the vocabulary level. The


B-6

suitability of all of these should be consid-ered for the intended audience.

Teachers should also consider their ownteaching styles and select resources that willcomplement them. The list of recommendedresources contains materials that range fromprescriptive or self-contained resources, toopen-ended resources that require consider-able teacher preparation. There are recom-mended materials for teachers with varyinglevels and experience with a particularsubject, as well as those that strongly sup-port particular teaching styles.

Technology Considerations

Teachers are encouraged to embrace avariety of educational technologies in theirclassrooms. To do so, they will need toensure the availability of the necessaryequipment and familiarize themselves withits operation. If the equipment is not cur-rently available, then the need must beincorporated into the school or districttechnology plan.

Social Considerations

All resources on the ministry's recommendedlist have been thoroughly screened for socialconcerns from a provincial perspective.However, teachers must consider the appro-priateness of any resource from the perspec-tive of the local community.

Media

When selecting resources, teachers shouldconsider the advantages of various media.Some topics may be best taught using aspecific medium. For example, video may bethe most appropriate medium when teachinga particular, observable skill, since it pro-vides a visual model that can be played overand over or viewed in slow motion fordetailed analysis. Video can also bring

otherwise unavailable experiences into theclassroom and reveal "unseen worlds" tostudents. Software may be particularlyuseful when students are expected to de-velop critical-thinking skills through themanipulation of a simulation, or wheresafety or repetition are factors. Print re-sources or CD-ROM can best be used toprovide extensive background informationon a given topic. Once again, teachers mustconsider the needs of their individual stu-dents, some of whom may learn better fromthe use of one medium than another.

Funding

As part of the selection process, teachersshould determine how much money isavailable to spend on learning resources.This requires an awareness of school anddistrict policies, and procedures for learningresource funding. Teachers will need toknow how funding is allocated in theirdistrict and how much is available for theirneeds. Learning resource selection should beviewed as an ongoing process that requires adetermination of needs, as well as long-termplanning to co-ordinate individual goals andlocal priorities.

Existing Materials

Prior to selecting and purchasing newlearning resources, an inventory of thoseresources that are already available shouldbe established through consultation with theschool and district resource centres. In somedistricts, this can be facilitated through theuse of district and school resource manage-ment and tracking systems. Such systemsusually involve a computer database pro-gram (and possibly bar-coding) to help keeptrack of a multitude of titles. If such a systemis put on-line, then teachers can check theavailability of a particular resource via acomputer.


B-7

SELECTION TOOLS

The Ministry of Education has developed avariety of tools to assist teachers with theselection of learning resources.

These include:

• Integrated Resource Packages (IRPs) whichcontain curriculum information, teachingand assessment strategies, and recom-mended learning resources

• learning resources information via annota-tion sets, resource databases on disks, theLearning Resources CD-ROM, and, in thefuture, on-line access

• sets of the most recently recommendedlearning resources (provided each year to anumber of host districts throughout theprovince to allow teachers to examine thematerials first hand at regional displays)

• sample sets of provincially recommendedresources (available on loan to districts onrequest)

A MODEL SELECTION PROCESS

The following series of steps is one way aschool resource committeee might go aboutselecting learning resources:

1. Identify a resource co-ordinator (for ex-ample, a teacher-librarian).

2. Establish a learning resources committeemade up of department heads or leadteachers.

3. Develop a school vision and approach toresource-based learning.

4. Identify existing learning resource andlibrary materials, personnel, and infra-structure.

5. Identify the strengths and weaknesses ofthe existing systems.

6. Examine the district Learning ResourcesImplementation Plan.

7. Identify resource priorities.

8. Apply criteria such as those found inSelection and Challenge to shortlist potentialresources.

9. Examine shortlisted resources first-hand ata regional display or at a publishers'display, or borrow a set from the LearningResources Branch.

10. Make recommendations for purchase.

FURTHER INFORMATION

For further information on evaluation andselection processes, catalogues, CD-ROMcatalogues, annotation sets, or resourcedatabases, please contact the LearningResources Branch at 387-5331 or by faxat 387-1527.

Music8 to 10

GradeCollections

MUSIC 8 TO 10 GRADE COLLECTIONS • B-523

Copyright © 2002 Ministry of Education, Province of British Columbia.

Permission to copy and use this publication in part, or in its entirety, for non-profiteducational purposes within British Columbia and the Yukon, is granted to all staff of B.C.school board trustees, including teachers and administrators; organizations comprisingthe Educational Advisory Council as identified by Ministerial Order; and other partiesproviding direct or indirect education programs to entitled students as identified by theSchool Act or the Independent School Act.


MUSIC 8 TO 10 GRADE COLLECTIONS INTRODUCTION

The complete list of Provincially Recommendedlearning resources for most subjects includes a largenumber of titles. To help make the process ofselecting learning resources more manageable forteachers, experienced teachers of the subject havebeen asked to identify Grade Collections. Each GradeCollection lists the Provincially Recommendedresources that match the greatest number ofprescribed learning outcomes for that grade andsubject.

Grade Collections are not prescriptive; they areintended to provide assistance and advice only.Teachers are encouraged to use existing resources thatmatch the learning outcomes and to select additionalresources to meet their specific classroom needs. TheGrade Collections for Music 8 to 10 have beendeveloped to allow flexibility in organizing andimplementing programs to best meet the needs ofstudents, teachers, and communities. As schools canuse a wide variety of methods and resources todeliver a music program, the resources in the GradeCollections are not specific to any one music teachingmethodology. It is recommended that teachers usethe Music 8 to 10 IRP when making resource decisions.

Resources that are identified through the ContinuousSubmissions process as having strong curriculummatch will be added to the Collections as they becomeavailable. Information about new ProvinciallyRecommended resources can be found at http://www.bced.gov.bc.ca/irp_resources/lr/resource/res_main.htm. This site is updated monthly andresources are organized according to IRP.

Categories of Resources

Learning resources selected for each Grade Collectionhave been categorized as either comprehensive oradditional.

• Comprehensive resources tend to provide a broadsupport for the learning outcomes for mostcurriculum organizers.

• Additional resources are more topic specific andsupport outcomes within individual curriculumorganizers or clusters of outcomes. They are

recommended as valuable support or extension forspecific topics. Additional resources will typicallybe used to supplement or fill in the areas notcovered by the comprehensive resources.

In many cases, Grade Collections provide more thanone resource to support specific outcomes, enablingteachers to select resources that best match differentteaching and learning styles.

Music Repertoire and Method Books

Music repertoire and method books are an integralpart of a rich music performance experience. Studentsneed to experience a variety of repertoire that willstimulate the development of music literacy,performance techniques, aesthetic understanding andappreciation. Music repertoire and method booksshould support the prescribed learning outcomes ofthe Music curriculum.

Repertoire selection should reflect a balance ofclassical and contemporary works in a variety ofmusical and cultural styles. Choral and instrumentalrepertoire should be accessible and appropriate forthe grade level taking into consideration the needs,abilities and interests of the individuals within theensemble.

To permit consideration of local demographics andindividual and classroom needs, music repertoire andmethod books are evaluated and selected at thedistrict level.

Industry Standard Software

Software applications are utilized in a variety of waysby music teachers and students. Software programswhich focus on traditional sequencing, notation, andtheory have expanded to include computer assistedinstruction, CD-ROMs dealing with historical/cultural context, and multimedia.

It is expected that students in Music 8 to 10 will haveaccess to grade-level-appropriate productivity tools,including computers, music synthesizers, CAD/CAMprograms, word processors, spreadsheets, anddatabase packages. Students should also have accessto digital recording devises such as CD burners and


DAT recorders, as well as Internet access. Informationregarding the selection of industry standard softwareand a suggested list of music software are provided atthe end of this package.

Other Provincially Recommended Resources

Appendix B in the IRP includes annotations for otherProvincially Recommended resources not in theGrade Collections. While these resources supportonly a limited number of outcomes, teachers areencouraged to consider them for different audienceneeds, teaching and learning styles, themedevelopment, and in-depth research. Appendix B alsoincludes information about resources that addressvarious program delivery options such as band, choir,strings, and so on.

Outcomes Not Supported By Resources

There may be prescribed learning outcomes that areonly partially supported or not supported at all bylearning resources. Many of these are best met byteacher-developed activities.

Grade Collection Information

The following pages contain an overview of thecomprehensive resources for this curriculum, as wellas Grade Collection charts for each grade. Thesecharts list both comprehensive and additional resourcesfor each curriculum organizer for the grade. Eachchart is followed by an annotated bibliography.Teachers may wish to check with suppliers forcomplete and up-to-date ordering information. Mostsuppliers maintain websites that are easy to access.There is also a chart that shows the alphabetical list ofGrade Collection titles for each grade and a blanktemplate that can be used by teachers to record theirindividual choices.

Overview of Comprehensive Resources forMusic 8 to 10

Music! Its Role and Importance in Our Lives, 2000 Edition(Grades 8, 9, 10)

A current, comprehensive resource packagecomprising of a hardcover student text, a teacher’sannotated edition, instructor’s guide, teacher’s

resource binder, CD listening program, MIDIactivities binder, video, and performing artsintegrated resource package. This new edition ismore accessible than the first. The font is larger; thetext is less dense and the page design is moreengaging. There are significant differences betweenthe two editions in terms of content and format,making simultaneous classroom use problematic. Thefirst edition will be available until 2004. Canadiancontent, including First Nations, will need to besupplemented.

The student text consists of nine units that are dividedinto 27 chapters. The units cover “Music to Tell UsWho We Are,” “Music to Invite Us to Move,” “Musicto Let Us Perform,” “Music to Enhance Expression, ““Music to Understand Life’s Meaning,” “Music to LetUs Create,” “Music to Tell the Story of Our Lives,”“Music to Characterize the Age,” and “Music to ShareOur Humanity.” The text also includes an index;acknowledgments; glossary of terms; glossary ofartists and their works; glossary of composers,musicians, and their works; and a world map.Frequent high-quality photographs support text. Thenew edition includes a chapter review with a varietyof useful cross-curricular activities, Internetconnections, and a 16-page music theory handbook.There are accompanying blackline masters to supportthe theory handbook in the teacher’s resource binder.

The teacher’s annotated edition is identical to thestudent text yet provides additional information forteachers. It provides point-of-use cross-references forthe multiple components of the program. Captionanswers to discussion questions, ideas for integratingtechnology, additional activity ideas and chapterreview answers are provided in the body of the text.

The instructor’s guide links the entire programtogether with detailed lesson plans, an overview foreach chapter, suggested course plans, a scope andsequence chart, additional teaching suggestions andbackground information for each activity, evaluationsuggestions as well as an index to the CD listeningprogram. Content suggestions for creating a 36-week,18-week and 9-week units are also offered.

The teacher’s resource binder contains blacklinemasters that are cross-referenced to the teacher’sannotated edition. It contains student activity sheets,


perspective listening grids, music scores, unit testsand answer keys, composer profiles, as well as fine arttransparencies with an accompanying instructor’sguide.

The CD listening program provides an extensiverepertoire of music selections on 20 CDs. Over 450selections include music styles such as pop, jazz, art,ethnic, rock, film, classical, theatre, gospel, rap,renaissance, folk, big band and contemporary. CD 20includes ear-training segments that correlate to thestudent text and teacher’s resource binder.

The MIDI activities binder allows students to play,improvise, create, and analyze music with a MIDIsequencer. Projects are presented in three levels ofdifficulty: basic, intermediate, and advanced.

The music-in-life and in-performance video presents avariety of cultural music situations and expressions.It is presented in 14 segments that can be viewedseparately or consecutively. Selections includeexcerpts such as Music of the Movies, New OrleansFuneral parade, Balinese Gamelon, Lakota EagleDance.

The performing arts package is an additionalcomponent that assists teachers with cross-curricularintegration in the arts. It includes a video, cassette,CD ROM and instructor’s guide. The packagepresents a strong multicultural performing artsperspective.

Music! Its Role and Importance in Our Lives is alsorecommended for Music 11-12: Composition andTechnology, Music 11-12: Choral Music and Music 11-12: Instrumental Music. There is enough material tosequence over multiple grades and the resourceprovides various options for organizing forinstruction, in terms of sequence, grade level, orlength of course.

This resource may be particularly useful for schoolsorganized as junior and senior secondary.

The Music Connection 8, 2000 Edition(Grades 8)

Part of an American multimedia series promotingmusic as an important part of the lives of all peopleand cultures and provides strategies to ensure that a

degree of success in music is attainable for everystudent. The Music Connection 8 resource consists of ahardcover student text, a spiral-bound teacher’sedition (teacher’s edition, part one), spiral boundkeyboard accompaniments book (teacher’s edition –part two), a soft cover resource book (teacher’s edition– part three) and a CD listening program. In additionthere are MIDI recordings and videotapes availablethat have not been evaluated. The inside cover of theteacher’s resource book suggests that material cannotbe copied, but permission from the publisher has beengiven. This new edition does not contain anysignificant changes to content. Canadian content,including First Nations, will need to besupplemented.

The student text is organized into four units:“Concepts,” “Themes and Styles,” “Reading,” and“Reference Bank.” Each unit is colour-coded to thelesson focus. Full-colour illustrations support studentlearning. A glossary, classified index, song index andsound bank are included at the end of the text.

The teacher’s edition is divided into four sections:“Concepts,” “Themes,” “Reading,” and “TeacherManagement Appendix.” Each lesson providessuggestions for modification, extension, andintegration. Specific skills are identified and isolatedfor each lesson. A scope and sequence curriculumplanner, comprehensive theme planner, ideas formeeting individual student needs, ideas for classroommanagement, glossary, classified index and songindex are included. Suggested student performanceactivities can be most readily accomplished in a vocalformat. Page numbers correspond with the studenttext. Also included where appropriate are theresource book pages, answer keys, and CD references.Included in each teacher’s edition is a set of colouredlistening guide transparencies.

The resource book provides assessment,reinforcement, and extension blackline masters. Alsoincluded are reproducible instrumental arrangements,performance suggestions and resources, and songswith signing symbols. It is three-hole punched foreasy placement in a binder.

The CD listening program and guide, housed in avinyl, waterproof carrying case provides a variety ofsong formats on 11 CDs. Formats include stereo


vocal, stereo performance track, pick-a-track, andteach-a-part. In addition, there are dance-performance tracks and dance-practice tempos. Thequality of the CDs, which feature children’s voices, issuperior.

This resource is particularly suitable for schoolsarranged as middle or junior high. Instructionalapplication is appropriate for general music programsand will also support specific instrumental or vocalmusic programs.


Music G

rade 8 Co

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✔✔

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The Band Director’s Com

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Complete Elem

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Elementary M

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Elementary M

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Elementary M

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Harm

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The New

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Po cket Music D

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The Structure of Singing

Milestones in M

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Stepping Stones to Teaching Music

What is a Com

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Vocal Ear Training


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rade 10 Co

llection

Structure

Thoughts,

Images and

Feelings

Co

ntext

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Rhythm

Curriculum

Organizers

Sub-Organizers

Additio

nal Reso

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Additio

nal Reso

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M

✔

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al or no support for several of the prescribed learning outcomes w

ithin the curriculum organizer.

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ajority of the learning outcomes w

ithin the cu rriculum organizer.

For the additional resources, indicates support for one or more learning outcom

es within the curriculum

organizer.

Elements of

Melody

Elements of

ExpressionForm

andPrinciples of

Design

Self andC

omm

unity

Co

mprehensive R

esources

Additio

nal Reso

urces – Multim

edia

Historical andC

ultural

Music! Its Role and Im

portance in Our Lives, 2000 Edition

The Band Director’s Com

panion

Complete Elem

entary Music Rudim

ents

Elementary M

usic Rudiments - G

rade One

Elementary M

usic Rudiments - G

rade Two

Elementary M

usic Rudiments - Prelim

inary

Harm

ony Book One

The New

Harvard D

ictionary of Music

Po cket Music D

ictionary

The Structure of Singing

Investigating Musical Styles

Milestones in M

usic History

Stepping Stones to Teaching Music

Vocal Ear Training

✔✔✔✔✔✔✔✔✔

✔✔✔✔✔✔✔✔✔

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APPENDIX B: MUSIC 8 TO 10 • Grade Collections

The Band Director’s Companion, 2ndEdition

General

Teacher Resource

P.O. Box 3291248 Austin Hwy., Suite 212San Antonio, TX 78209

Southern Music CompanySupplier:

Price:

Audience:

Category:

$35.00

Not availableISBN/Order No:

Middleton, J.; Haines, H.; Garner, G.

(210) 226-8167Tel: (210) 223-4537Fax:

1998Copyright:

www.southernmusic.comWeb Address:

Author(s):

K/1 2/3 4 5 6 7 8 9 10 11

� � �

11A 12

Grade Level:

Year Recommended in Grade Collection: 2002

This 184-page soft cover book is written for all band teachers interested in improvingtheir instructional techniques. This book is aimed at improving the quality andperformance level of band programs. Theoretical and technical knowledge isthoroughly addressed. Topics such as intonation, breathing, rhythm and dealing withtechnical problems are appropriately and adequately covered. Sample teachingexercises and self-evaluation strategies are also included. A thorough presentation ofwoodwind instruction is offered. Percussion and keyboard discussions are notpresented. This resource provides an American perspective but is also appropriate forBritish Columbia’s Music 8-10 and Music 11-12: Instrumental Music IRPs.

General Description:

The Complete Elementary MusicRudiments

General

Student, Teacher Resource

4500 Sheppard Avenue East, Unit 47GScarborough, ON M1S 3R6

Canadian Print Music DistributorsSupplier:

Price:

Audience:

Category:

$32.95

0-88797-766-9/EMR10ISBN/Order No:

Sarnecki, M.

Tel: (416) 293-4318Fax:

2001Copyright:

1-800-668-5767Toll Free:

Author(s):

K/1 2/3 4 5 6 7 8 9 10 11

� � �

11A 12

Grade Level:


A comprehensive music theory book housing three individual resources: ElementaryMusic Rudiments - Preliminary, Elementary Music Rudiments - Grade One andElementary Music Rudiments - Grade Two. Lessons and exercises focus on topics suchas notation, major and minor scales, time signatures, rhythm, transpositions, keysignatures, music analysis, terminology, intervals and music composition are provided.Exercises and lessons are clearly articulated and explained. Lessons are sequential andappropriate for Grade 8 through 10. This book is suitable for individual or group use.The three resources in this collection can also be purchased individually.


Elementary Music Rudiments Series -Preliminary

General




Price:

Audience:

Category:

$12.95


Sarnecki, Mark

Tel: (416) 293-4318Fax:

2001Copyright:

1-800-668-5767Toll Free:

Author(s):

K/1 2/3 4 5 6 7 8 9 10 11

� � �

11A 12

Grade Level:


This resource is the first book in a series of three Elementary Music Rudiments books.The Preliminary book is an entry-level music theory book. Beginner lessons andexercises on topics such as notation, major and minor scales, time signatures, rhythm,transpositions, key signatures, music analysis, terminology, intervals and musiccomposition are provided. Exercises and lessons are clearly articulated and explained.Lessons are sequential and appropriate for Grade 8 through 10. This book is suitablefor individual or group use.This individual resource can also be purchased as part of the complete collection, TheComplete Elementary Music Rudiments.



Elementary Music Rudiments Series -Grade 1

General




Price:

Audience:

Category:

$ 16.95

0-88797-760-X/EMR01ISBN/Order No:

Sarnecki, M.

Tel: (416) 293-4318Fax:

2001Copyright:

1-800-668-5767Toll Free:

Author(s):

K/1 2/3 4 5 6 7 8 9 10 11

� � �

11A 12

Grade Level:


This resource is the second book in a series of three Elementary Music Rudimentsbooks. Grade One is an intermediate level music theory book. Intermediate lessonsand exercises on topics such as notation, major and minor scales, time signatures,rhythm, transpositions, key signatures, music analysis, terminology, intervals and musiccomposition are provided. Exercises and lessons are clearly articulated and explained.Lessons are sequential and appropriate for Grade 8 through 10. This book is suitablefor individual or group use.This individual resource can also be purchased as part of the complete collection, TheComplete Elementary Music Rudiments.


Elementary Music Rudiments Series -Grade 2

General




Price:

Audience:

Category:

$17.95


Sarnecki, M.

Tel: (416) 293-4318Fax:

2001Copyright:

1-800-668-5767Toll Free:

Author(s):

K/1 2/3 4 5 6 7 8 9 10 11

� � �

11A 12

Grade Level:


This resource is the third book in a series of three Elementary Music Rudiments books.Grade Two is an advanced level music theory book. Advanced lessons and exerciseson topics such as notation, major and minor scales, time signatures, rhythm,transpositions, key signatures, music analysis, terminology, intervals and musiccomposition are provided. Exercises and lessons are clearly articulated and explained.Although lessons are sequential and appropriate for Grade 8 through 10, some studentsmay be challenged by a number of the more advanced exercises in this resource. Thisbook is suitable for individual or group use.This individual resource can also be purchased as part of the complete collection, TheComplete Elementary Music Rudiments.


Harmony, Book 1

General




Price: Audience:

Category:

$27.50

0-88797-739-1/EMH03ISBN/Order No:

Sarnecki, Mark

Tel: (416) 293-4318Fax:

2000Copyright:

1-800-668-5767Toll Free:

Author(s):

K/1 2/3 4 5 6 7 8 9 10 11

� � �

11A 12

Grade Level:


A level-one music theory book dedicated to the topic of harmony. Clearly outlinedlessons and exercises address topics relevant to the Learning Outcomes of the Music8-10 IRP. Lesson topics include harmonic analysis, melody writing, chords and musiccomposition. Advanced level material is also addressed. This book is suitable for bothindividuals and groups.



Investigating Musical Styles

General


110 Midland AvenuePort Chester, NY 10573

Cambridge University Press (New York)Supplier:

Price:

Audience:

Category:

Book: $11.66Cassettes: $72.00

Book: 052138883XCassettes: 0521409551

ISBN/Order No:

Bennet, R.

Tel: (914) 937-4712Fax:

1992Copyright:

1-800-872-7423Toll Free:

Author(s):

K/1 2/3 4 5 6 7 8 9 10 11

�

11A 12

Grade Level:


Lessons are designed to help students investigate a variety of music concepts from ahistorical perspective. Five musical elements are identified to help students betterunderstand the principles of form in music: melody, rhythm, harmony, timbre andtexture. In the second section of each chapter, students are encouraged to pursue theirinvestigations by comparing and contrasting one style with another. The identificationof musical connections and similarities through time and across cultural traditions isalso encouraged. The accompanying three cassettes provide a variety of performancesto support these investigations but lack track numbers prior to each listening segment.Listening numbers are different from assignment numbers.


Milestones in Music History

General


P.O. Box 3010 STN CSCVictoria, BC V8W 3N4

University of Victoria, Cont. Studies in EducationSupplier:

Price:

Audience:

Category:

Resource Manual: $55.25Music CDs: $97.75Stepping Stones to Teaching Music: A Resource Package:$206.63

Resource Manual: EDME310PACKN12Music CDs: EDME310PACKN13Stepping Stones to Teaching Music: A ResourcePackage: EDME310PACKAGN10Stepping Stones to Teaching Music: A ResourcePackage: EDME310PACKAGN10

ISBN/Order No:

McIntosh, D.

(250) 721-7860Tel: (250) 721-6603Fax:

1999Copyright:

Author(s):

K/1 2/3 4 5 6 7 8 9 10 11

� � �

11A 12

Grade Level:


A Canadian educational resource package that includes Milestones in Music History:A Resource Manual and Milestones in Music History: Music CD set. The packageprovides a survey of the growth and historical development of Western European andNorth American classical music from the music of ancient Greece up to the 20thcentury.

The resource manual consists of seven sections, each section devoted to a major periodof music history. Each section begins with a general introduction to the period followedby biographical information about major composers, cross-references to selections onthe music CDs and explanations of the historical importance of each composer. Themanual includes a glossary of music terms and information on the materials andlanguage of music. The resource manual supports and enhances Stepping Stones toTeaching Music: A Teacher’s Guide.

The music CD set includes 10 music CDs and a reference book. Each CD focuses onone period of music and includes important composers from that period. Theaccompanying 406-page full-colour reference book, The A to Z of Classical Music,addresses the great composers and their greatest works, a glossary of musical terms,and classical music used in films.

The resource manual and music CD set can be purchased individually or as part of theStepping Stones to Teaching Music: A Resource Package. This complete resourcepackage includes three components: Stepping Stones to Teaching Music: A Teacher’sGuide, Milestones in Music History: A Resource Manual and the Milestones in MusicHistory: Music CD set.



The Music Connection 8 (2000 Edition)

GeneralESL


26 Prince Andrew PlaceDon Mills, ON M3C 2T8

Pearson Education CanadaSupplier:

Price:

Audience:

Category:

Student Text: $52.95Teacher Edition: $99.75Keyboard Accompaniments: $67.50Teacher Resource Book: $128.95

Student Text: 0-382-34507-XTeacher Edition: 0-382-34571-1Keyboard Accompaniments: 0-382-34529-0Teacher Resource Book: 0-382-34538-X

ISBN/Order No:

Foresman, Scott

(416) 447-5101Tel: 1-800-563-9196Fax:

2000Copyright:

1-800-387-8028/7851

www.pearsoned.ca

Toll Free:

Web Address:

Author(s):

K/1 2/3 4 5 6 7 8 9 10 11

�

11A 12

Grade Level:


Part of an American multimedia series promoting music as an important part of life.Strategies to ensure that every student can achieve some level of success in music areprovided. The program combines conceptual and thematic approaches that incorporatevocal and instruments strategies. The Grade 8 resource is comprised of a student text, ateacher’s edition, teacher’s resource guide, CD package and keyboard accompanimentbooks. This package is easy to use due to clear cross-referencing. It provides supportfor a variety of teaching and learning styles and clearly states goals and objectives forlearning. Suggested evaluation and assessment strategies are appropriate and relevant.Ancillary materials such as MIDI recordings and videotapes are also available. Thisresource is recommended for Grade 8 only.


Music! Its Role and Importance in OurLives, 2000 Edition

GeneralGiftedVisually Impaired


300 Water StreetWhitby, ON L1N 9B6

McGraw-Hill Ryerson Ltd. (Ontario)IISupplier:

Price:

Audience:

Category:

Text: $64.52Teacher’s Annotated Edition: $75.90MIDI Activities Binder: $91.20

Text: 0-02-655692-8Teacher’s Annotated Edition: 0-02-655693-6MIDI Activities Binder: 0-02-655697-9

ISBN/Order No:

Fowler, C.; Gerber, T.; Lawrence, V.

(905) 430-5000Tel: (905) 430-5020Fax:

2000Copyright:

1-800-565-5758 (orders)

www.mcgrawhill.ca

Toll Free:

Web Address:

Author(s):

K/1 2/3 4 5 6 7 8 9 10 11

� � �

11A 12

Grade Level:


An eight component comprehensive American educational package:• The Student Text encourages active and cooperative learning as well as perceptivelistening. Bright illustrations and photographs provide visual accompaniment to text.• The Teacher's Annotated Edition brings together point-of-use cross-references for themultiple components of the program.• The Instructor's Guide links the entire program together with lesson plans, chapterintroductions, a scope and sequence chart, teaching suggestions and backgroundinformation for each activity and an index to the CD program.• The CD Listening Program offers an extensive repertoire of music selections on 20CDs. Selection includes, pop, jazz, art, ethnic, rock, film, classical, theatre, gospel, rap,renaissance, folk, big band, contemporary.• The MIDI Activities Binder provides teachers with ideas for helping students practice,record and understand music. It includes 27 MIDI projects, tutorial lessons, MIDIdisks and a glossary.• The Teacher's Resource Binder contains additional handouts, teaching strategysuggestions, resource materials such as listening grids, music scores, blackline masters,composer profiles, unit tests and answer keys and transparencies.• The Video presents a wide variety of music genres and styles that are presented in 14segments. The segments can be viewed separately or consecutively.• The Performing Arts Package is a resource that assists teachers in integrating visualand performing arts with music. It includes a video, cassette, CD-ROM and instructor'sguide.

Teachers may wish to supplement the use of this package with more Canadian content.



The New Harvard Dictionary of Music

General


79 Garden St.Cambridge, MA 02138

Harvard University Press, Sales Dept.Supplier:

Price:

Audience:

Category: $42.00

0-674-61525-5ISBN/Order No:

Randal, D. (ed.)

(617) 495 2577Tel: (617) 495-8924Fax:

1986Copyright:

1-800-448-2242

www.hup.harvard.edu

Toll Free:

Web Address:

Author(s):

K/1 2/3 4 5 6 7 8 9 10 11

� � �

11A 12

Grade Level:


A thorough reference resource for music teachers and students. This music dictionarycomprises over 6000 commissioned entries from 70 scholars. Articles feature music ofthis century, music of the world as well as musical styles, forms and descriptions ofhistorical instruments. Also included are short entries of definitions for quickreference. Numerous drawings and musical examples enhance text. Recommended forall Grade 8-12 Music courses.


Pocket Music Dictionary

General


195 Allstate ParkwayMarkham, ON L3R 4T8

Fitzhenry & Whiteside Ltd.Supplier:

Price:

Audience:

Category:$5.25

0-7935-1654-4ISBN/Order No:

Leonard, Hal

(905) 477-9700Tel: (905) 477-9179Fax:

1993Copyright:

1-800-387-9776Toll Free:

Author(s):

K/1 2/3 4 5 6 7 8 9 10 11

� � �

11A 12

Grade Level:


A reference resource that includes descriptions of general music terms, composers,lyricists and music history. Eleven different reference charts including accents andarticulation marks are provided as well. This resource is recommended as a musicreference guide for all Grade 8-12 Music courses.


Stepping Stones to Teaching Music: ATeacher’s Guide

General


P.O. Box 3010 STN CSCVictoria, BC V8W 3N4

University of Victoria, Cont. Studies in EducationSupplier:

Price:

Audience:

Category:

Teacher’s Guide: $55.25Music CDs: $97.75Stepping Stones to Teaching Music: A Resource Package:$204.63

Teacher’s Guide: EDME310PACKAGN11Music CDs: EDME310PACKAGN13Stepping Stones to Teaching Music: A ResourcePackage: EDME310PACKAGN10

ISBN/Order No:

Riddell, I.

(250) 721-7860Tel: (250) 721-6603Fax:

2000Copyright:

Author(s):

K/1 2/3 4 5 6 7 8 9 10 11

� � �

11A 12

Grade Level:


This guide to the Milestones in Music History: Music CD set presents a wealth ofpractical, classroom-ready lesson ideas designed for the generalist teacher responsiblefor providing a music program in the regular classroom. It may also be a valuableresource for junior and secondary level music programs taught by music specialists.The teacher’s guide, used in conjunction with the music CDs, enables the teacher todesign a classroom music program for a wide range of student ages, interests andbackgrounds.

The teacher’s guide contains three sections: "The Elements of Music" (rhythm, melody,tempo, dynamics, and texture); "Themes in Music" (aspects of music such as theinstruments of the orchestra, notational systems, and theme and variation); and"Individual Musical Examples (exploration of selected works from the music CDs).Each section provides lesson ideas and assessment strategies for beginner, intermediateand advanced levels. The teacher’s guide is referenced to the BC Music curriculum andto the music CDs.

The music CD set includes 10 music CDs and a reference book. Each CD focuses onone period of music and includes important composers from that period. Theaccompanying 406-page full-colour reference book, The A to Z of Classical Music,addresses the great composers and their greatest works, a glossary of musical terms,and classical music used in films.

The teacher’s guide and the music CD set can be purchased individually or as part theStepping Stones to Teaching Music: A Resource Package. This complete resourcepackage includes three components: Stepping Stones to Teaching Music: A Teacher’sGuide, Milestones in Music History: A Resource Manual and the Milestones in MusicHistory: Music CD set.



The Structure of Singing - System and Artin Vocal Technique

General

Teacher Resource

1120 Birchmount RoadScarborough, ON M1K 5G4

Nelson Thomson LearningSupplier:

Price:

Audience:

Category: $57.50

053425535-3ISBN/Order No:

Miller, Richard

(416) 752-9448Tel: (416) 752-8101Fax:

1996Copyright:

1-800-268-2222/1-800-668-0671

www.nelson.com

Toll Free:

Web Address:

Author(s):

K/1 2/3 4 5 6 7 8 9 10 11

� � �

11A 12

Grade Level:


A thorough 17-chapter resource covering information on vocal health, vocal technique,human physiology and the art of singing. Useful for vocal teachers as it presentsdetailed vocal teaching exercises and techniques. The teacher will also find theappendix, glossary, bibliography and index helpful. Although language used todescribe physiological and vocal pedagogy can be clinical and advanced, most teacherswill find this resource informative and detailed.


Vocal Ear Training

General


Box 249509 Elliott CrescentSicamous, BC V0E 2V0

Keystroke PublishingSupplier:

Price:

Audience:

Category:

Grades 1-7: $9.57 eachGrades 8-10: $14.37 eachARCT Diploma: $14.37

Grades 1-7: VariousGrades 8-10: VariousARCT Diploma: 1-895904-52-8

ISBN/Order No:

Schlosar, Carol

Tel: (250) 836-3992Fax:

2001Copyright:

1-866-539-2327Toll Free:

Author(s):

K/1 2/3 4 5 6 7 8 9 10 11

� � �

11A 12

Grade Level:


A set of 11 CDs addressing the vocal ear training requirements for the RoyalConservatory of Music exams. Each CD addresses one Royal Conservatory of Musicgrade level. Grade One through Grade 10, as well as the ARCT Diploma requirements,are represented in this series. Each CD provides 28-30 practice sessions for skilldevelopment. An answer key booklet is also provided. Although this resource is notsuitable for full class use, it will meet the needs of students interested in independentstudy. This sequential CD series is easy to use and provides good quality sound andpacing.


What is a Composer?

General


Unit 3 - 8755 Ash StreetVancouver, BC V6P 6T3

Magic Lantern Communications Ltd.Supplier:

Price:

Audience:

Category:

$79.00

1396-31-113ISBN/Order No:

(604) 324-2600Tel: (604) 324-4855Fax:

1999Copyright:

1-800-263-1818Toll Free:

K/1 2/3 4 5 6 7 8 9 10 11

�

11A 12

Grade Level:

Year Recommended in Grade Collection: 2002An informative video program designed to help students enhance their understandingand appreciation for the role of musicians who write and compose music. Programcomponents include a 31-minute video presenting musical concepts and an overview ofhistorical composers, a CD featuring selections from each profiled composer and ateacher’s binder. This program provides useful information on the working methodsand processes of composers. Material covered is aimed at an intermediate music levelwhile the video’s narration speaks to a younger audience. As featured composers arefrom the Chicago area, this video presents an American perspective. Teachers maywish to supplement with Canadian material. This resource is recommended for Grade8 only.




Industry Standard Software

Many programs are available directly from the Internetwhen purchasing an education version or multi-pack.Demo versions of most software are also available onthe Internet, with early versions often made availablefree of charge. Using a demo version is an excellentway to discover if the software meets the needs ofstudents and teachers and allows for the assessment ofa computer’s ability to handle the requirementsneeded to utilize the full power of the software such asspeed, memory, sound card, etc. This is especially truefor recording digital audio and digital video. Reviewsof appropriate software are regularly published in avariety of computer and trade magazines.

Use of industry standard software is encouraged.Selection of a particular application should include:

• existing hardware and upgrade path

• cross-platform capability

• instructor training requirements

• time spent on student skill development versuscurricular intent

• cross-curriculum applicability

• general flexibility and utility

• cost and affordability

Software is constantly changing and evolving, withlevels of difficulty ranging from entry to professional.The chart of industry standard software calledSuggested Music Software for Grades 8 to 10 providesexamples of software produced by companies thathave been active in the music software field for sometime. In some cases, only the family of software ismentioned, leaving the choice of levels up to theinstructor. In many cases, the software might fit intomore than one category – e.g., Cubase Score or Finale2002 are strong in both sequencing (both MIDI anddigital audio) and notation. Most of the titles listedinclude teaching aids and help menus in the form ofInternet access on-line help and tutorials, CD-ROMs,books, and user groups. Inclusion in this list does notconstitute recommended status or endorsement of theproduct.


• Adobe family (e.g., After Effects, In Design, Illustrator, Pagemaker, Photoshop,Premier)

• Apple Computer family (e.g., Quicktime, iMovie, iTunes)• Corel family (e.g., Draw, Graphics Suite, Wordperfect)• Microsoft family (e.g., Office 2002 - including Power Point)• 3D Studio Max• Final Cut Pro• Macromedia Director

• Coda Music - Finale family (e.g. , Allegro, Print Music 2002, Notepad 2002)• Steinberg - Cubase Family (e.g., Cubasis, VST, Score, VST /32)• Twelve Tone Systems - Cakewalk family (e.g., Score Writer, Overture)• Emagic family (e.g., Logic, Logic Audio)• Music Time Deluxe• Sibelius• Performer • Mark of the Unicorn

Suggested Music Software for Grades 8 to 10

Recording/Sequencing

Notation

• Cakewalk Family (e.g., HomeStudio, Metro 5, Sonar)• Emagic Family• Finale Family• Performer,• PG Music (e.g., Powertracks)• Pro Tools (professional studio software)

Accompaniment• PG Music - Band in a Box (newer versions will notate traditional music scores,

sequence both MIDI and digital audio-WAV. FILES, music minus one performanceapplications, create orginal solos in specific style parameters, etc.)

• Hal Leonard “isong” series (music minus one concept)

Music Theory• Alfred’s Essentials of Music Theory• Mibac Music Lessons• Music Ace 2• Practica Musica

Computer AssistedInstruction

• Clearvue Series (e.g., The History of Jazz, The History of Music, Instruments of theSymphony Orchestra, Music and Culture)

• Hal Leonard “isong” series (e.g., Classical Guitar, Jazz Piano)• PG Music family (e.g., Bach Chorales, The Sor Studies for Guitar, Rock Guitarist,

Blues Guitarist, Oscar Peterson Multimedia CD-ROM)

Multimedia Software

APPENDIX CCROSS-CURRICULAR OUTLINES

APPENDIX C: CROSS-CURRICULAR OUTLINES

C-2

C-3


The three principles of learning statedin the introduction of this IntegratedResource Package (IRP) support the

foundation of the Kindergarten to Grade 12Education Plan. They have guided all aspectsof the development of this document, includ-ing the curriculum outcomes, instructionalstrategies, assessment strategies, and learn-ing resource evaluations. In addition to thesethree principles, it is recognized that BritishColumbia’s schools include young people ofvaried backgrounds, interests, abilities, andneeds. In order to meet these needs andensure equity and access for all learners, thedevelopment of each component of thisdocument has also been guided by a series ofcross-curricular outlines. It is expected thatthese principles and cross-curricular outlineswill guide the users of this document as theyengage in school and classroom organizationand instructional planning and practice.

The following cross-curricular outlines havebeen used to focus the development andevaluation of the components of the IRP:

• Applied Focus in Curriculum• Career Development• English as a Second Language (ESL)• Environment and Sustainability• First Nations Studies• Gender Equity• Information Technology• Media Education• Multiculturalism and Anti-Racism

Education• Science-Technology-Society• Special Needs

APPLIED FOCUS IN CURRICULUM

An applied focus in all subjects and coursespromotes the use of practical applications todemonstrate theoretical knowledge. Usingreal world and workplace problems and

situations as a context for the application oftheory makes school more relevant to stu-dents’ needs and goals. An applied focusstrengthens the link between what studentsneed to know to function effectively in theworkplace or in post-secondary educationand what they learn in Kindergarten throughGrade 12.

Implementation of an applied approachinvolves working with a wide range ofpartners including universities, colleges,institutes, employers, community groups,parents, and government.

The applied focus in curriculum is consistentwith the following statements from theKindergarten to Grade 12 Education Plan:

All levels of the program are devel-oped around a common core oflearning to ensure that students learnto read, write, and do mathematics,solve problems, and use computer-based technology.

Employers expect graduates to begood learners, to think critically andsolve problems, to communicateclearly, to be self-directed, and towork well with others. The newworkplace also requires people to beknowledgeable about technologyand able to search out and applyinformation from many sources.

Some examples of an applied focus in differ-ent subjects are:

Music—real world applications such asworking to create music of social significancefor the students’ classroom, school or com-munity; recognizing and analysing musicrepresented in their community; and experi-menting with a variety of materials to makemusic


C-4

English Language Arts—increasing emphasison language used in everyday situations andin the workplace, such as for job interviews,memo and letter writing, word processing,and technical communication (including theability to interpret technical reports, manu-als, tables, charts, and graphics)

Mathematics—more emphasis on skillsneeded in the workplace, including knowl-edge of probability and statistics, logic,measurement theory, and problem solving

Science—more practical applications andhands-on experience of science, such asreducing energy waste in school or at home,caring for a plant or animal in the classroom,using computers to produce tables andgraphs and for spreadsheets

Business Education—more emphasis on realworld applications such as preparingrésumés and personal portfolios, participat-ing in groups to solve business communica-tion problems, using computer software tokeep records, and using technology to createand print marketing material

This summary is derived from The Kindergarten toGrade 12 Education Plan (September 1994), and curricu-lum documents from British Columbia and otherjurisdictions.

CAREER DEVELOPMENT

Career development is an ongoing processthrough which learners integrate theirpersonal, family, school, work, and commu-nity experiences to facilitate career andlifestyle choices. The main emphases ofcareer development are career awareness,career exploration, career preparation, careerplanning, and career work experience.

In the process of career development stu-dents develop:

• an open attitude toward a variety ofoccupations and types of work

• an understanding of the relationshipbetween work and leisure, work and thefamily, and work and one’s interests andabilities

• an understanding of the role of technologyin the workplace and in daily life

• an understanding of the relationshipbetween work and learning

• an understanding of the changes takingplace in the economy, society, and the jobmarket

• an ability to construct learning plans andreflect on the importance of lifelonglearning

• an ability to prepare for multiple rolesthroughout life

In Grades 4 to 8

The emphasis on self-awareness and careerawareness is continued from the primaryyears. Topics include:

• interests, aptitudes, and possible futuregoals

• technology in the workplace and in ourdaily lives

• social, family, and economic changes• future education options• career clusters (careers that are related to

one another)• lifestyles• external influences on decision making

Games, role plays, drama, and appropriatecommunity volunteer experience can beused to help students actively explore theworld of work. Field experiences in whichstudents observe and interview workers intheir occupational environments may also beappropriate. These learning activities willfacilitate the development of interpersonalcommunications and group problem-solvingskills needed in the workplace and in otherlife situations.

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In Grades 9 and 10

The emphasis is on providing students withopportunities to prepare for and makeappropriate and realistic decisions. In devel-oping their student learning plans, they willrelate self-awareness to their goals andaspirations. They will also learn many basicskills and attitudes that are required for aneffective transition into adulthood. This willassist in preparing them to be responsibleand self-directed throughout their lives.Topics include:

• entrepreneurial education• employability skills (e.g., how to find and

keep a job)• the importance of lifelong education and

career planning• involvement in the community• the many different roles that an individual

can play throughout life• the dynamics of the working world (e.g.,

unions, unemployment, supply anddemand, Pacific Rim, free trade)

The examination of personal interests andskills through a variety of career explorationopportunities (e.g., job shadowing) is em-phasized at this level. Group discussion andindividual consultation can be used to helpstudents examine and confirm their personalvalues and beliefs.

Descriptions of career development are drawn fromthe Ministry of Education’s Career Developer’s Hand-book, Guidelines for the Kindergarten to Grade 12 EducationPlan, Implementation Resource, Part 1, and the draft ofthe Prescribed Provincial Curriculum for Personal Plan-ning, Kindergarten to Grade 12, January 1995.

ENGLISH AS A SECOND LANGUAGE (ESL)

ESL assistance is provided to students whoseuse of English is sufficiently different fromstandard English to prevent them fromreaching their potential. Many studentslearning English speak it quite fluently and

seem to be proficient. School, however,demands a more sophisticated version ofEnglish, both in reading and writing. Thuseven fluent speakers might require ESL toprovide them with an appropriate languageexperience that is unavailable outside theclassroom. ESL is a transitional service ratherthan a subject. Students are in the process oflearning the language of instruction and, inmany cases, the content matter of subjectsappropriate to their grade level. Thus ESLdoes not have a specific curriculum. Theprovincial curriculum is the basis of much ofthe instruction and is used to teach Englishas well as individual subject areas. It is themethodology, the focus, and the level ofengagement with the curriculum that differ-entiates ESL services from other schoolactivities.

Students in ESL

Nearly 10% of the British Columbia schoolpopulation is designated as ESL students.These students come from a diversity ofbackgrounds. Most are recent immigrants toBritish Columbia. Some are Canadian-bornbut have not had the opportunity to learnEnglish before entering the primary grades.The majority of ESL students have a well-developed language system and have hadsimilar schooling to that of BritishColumbia–educated students. A smallnumber, because of previous experiences,are in need of basic support such as literacytraining, academic upgrading, and traumacounselling.

Teachers may have ESL students at any levelin their classes. Many ESL students areplaced in subject-area classes primarily forthe purpose of contact with English-speakingpeers and experience with the subject andlanguage. Other ESL students are whollyintegrated into subject areas. A successful


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integration takes place when the student hasreached a level of English proficiency andbackground knowledge in a subject to besuccessful with a minimum of extra support.

Optimum Learning Environment

The guiding principle for ESL support is theprovision of a learning environment wherethe language and concepts can be under-stood by the students.

Good practices to enhance the learning ofstudents include:

• using real objects and simple language atthe beginning level

• taking into consideration other culturalbackgrounds and learning styles at anylevel

• providing adapted (language-reduced)learning materials

• respecting a student’s “silent period”when expression does not reflect the levelof comprehension

• allowing students to practise andinternalize information before givingdetailed answers

• differentiating between form and contentin student writing

• keeping in mind the level of demandplaced on students

• allowing a range of methods ofrepresentation (e.g., through music, dance,drama, visual arts)

This summary is drawn from Supporting Learners ofEnglish: Information for School and District Administra-tors, RB0032, 1993, and ESL Policy Discussion Paper(Draft), Social Equity Branch, December 1994.

ENVIRONMENT AND SUSTAINABILITY

Environmental education is defined as a wayof understanding human relationships withthe environment. It involves:

• students learning about their connectionsto the natural environment through allsubjects

• students having direct experiences in theenvironment, both natural and human-built

• students making decisions about andacting for the environment

The term sustainability helps to describesocieties that “promote diversity and do notcompromise the natural world for anyspecies in the future.”

Value of Integrating Environment andSustainability Themes

Integrating these themes into the curriculumhelps students develop a responsible attitudetoward caring for the earth. Studies thatintegrate environment and sustainabilitythemes provide students with opportunitiesto identify their beliefs and opinions, reflecton a range of views, and ultimately makeinformed and responsible choices.

The guiding principles that should be inter-woven in subjects from Kindergarten toGrade 12 are:

• Direct experience is the basis of humanlearning.

• Analysis of interactions helps humansmake sense of their environment.

• Responsible action is both integral to and aconsequence of environmental education.

Some organizing principles are:

• Human survival depends on complexnatural and human-built systems.

• Human decisions and actions have envi-ronmental consequences.

• Students should be provided with oppor-tunities to develop an aesthetic apprecia-tion of the environment.

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The theme study units might include: Con-sumerism, School Operating Systems, Pollu-tion, or Endangered Species.

This summary is derived from Environmental Education/Sustainable Societies: A Conceptual Framework, Curricu-lum Branch, 1994.

FIRST NATIONS STUDIES

First Nations studies focus on the richnessand diversity of First Nations cultures andlanguages. These cultures and languages areexamined within their own unique contextsand within historical, contemporary, andfuture realities. First Nations studies arebased on a holistic perspective that inte-grates the past, present, and future. FirstNations peoples are the original inhabitantsof North America and live in sophisticated,organized, and self-sufficient societies. TheFirst Nations constitute a cultural mosaic asrich and diverse as that of Western Europe,including different cultural groups (e.g.,Nisga’a, KwaKwaka’Wakw, Nlaka’pamux,Secwepemc, Skomish, Tsimshian). Each isunique and has a reason to be featured in theschool system. The First Nations of BritishColumbia constitute an important part of thehistorical and contemporary fabric of theprovince.

Value of Integrating First Nations Studies

• First Nations values and beliefs are du-rable and relevant today.

• There is a need to validate and substanti-ate First Nations identity.

• First Nations peoples have strong, dy-namic, evolving cultures that haveadapted to changing world events andtrends.

• There is a need to understand similaritiesand differences among cultures to createtolerance, acceptance, and mutual respect.

• There is a need for informed, reasonable

discussion and decision making regardingFirst Nations issues, based on accurateinformation (for example, as moderntreaties are negotiated by Canada, BritishColumbia, and First Nations).

• First Nations artistic traditions are con-tinually evolving, vital aspects of FirstNations cultures. First Nations art is a totalcultural expression, involving the interre-lation of all four disciplines of music,dance, drama and visual arts.

In studying First Nations, it is expected thatthe students will:

• demonstrate an understanding and appre-ciation for the values, customs, and tradi-tions of First Nations peoples

• demonstrate an understanding of andappreciation for unique First Nationscommunications systems

• demonstrate a recognition of the impor-tance of the relationship between FirstNations peoples and the natural world

• recognize dimensions of First Nations artas a total cultural expression

• give examples of the diversity and func-tioning of the social, economic, and politi-cal systems of First Nations peoples intraditional and contemporary contexts

• describe the evolution of human rightsand freedoms as they pertain to FirstNations peoples

Some examples of curriculum integrationinclude:

Music—comparing the music styles of twoor more First Nations cultures

English Language Arts—analysing portray-als and images of First Nations peoples invarious works of literature

Home Economics—identifying forms of food,clothing, and shelter in past and contempo-rary First Nations cultures


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Technology Education—describing thesophistication of traditional First Nationstechnologies (e.g., bentwood or kerfed boxes,weaving, fishing gear)

Physical Education—participating in anddeveloping an appreciation for First Nationsgames and dances

This summary is derived from First Nations Studies:Curriculum Assessment Framework (Primary throughGraduation), Aboriginal Education Branch, 1992, andB.C. First Nations Studies 12 Curriculum, AboriginalEducation Branch, 1994.

GENDER EQUITY

Gender-equitable education involves theinclusion of the experiences, perceptions,and perspectives of girls and women, as wellas boys and men, in all aspects of education.It will initially focus on girls in order toredress historical inequities. Generally, theinclusive strategies, which promote theparticipation of girls, also reach boys whoare excluded by more traditional teachingstyles and curriculum content.

Principles of Gender Equity in Education

• All students have the right to a learningenvironment that is gender equitable.

• All education programs and career deci-sions should be based on a student’sinterest and ability, regardless of gender.

• Gender equity incorporates a consider-ation of social class, culture, ethnicity,religion, sexual orientation, and age.

• Gender equity requires sensitivity,determination, commitment, and vigilanceover time.

• The foundation of gender equity isco-operation and collaboration amongstudents, educators, education organiza-tions, families, and members ofcommunities.

General Strategies for Gender-EquitableTeaching

• Be committed to learning about andpractising equitable teaching.

• Use gender-specific terms to marketopportunities—for example, if a technol-ogy fair has been designed to appeal togirls, mention girls clearly and specifically.Many girls assume that gender-neutrallanguage in non-traditional fields meansboys.

• Modify content, teaching style, and assess-ment practices to make non-traditionalsubjects more relevant and interesting forfemale and male students.

• Highlight the social aspects and usefulnessof activities, skills, and knowledge.

• Comments received from female studentssuggest that they particularly enjoy inte-grative thinking; understanding context aswell as facts; and exploring social, moral,and environmental impacts of decisions.

• When establishing relevance of material,consider the different interests and lifeexperiences that girls and boys may have.

• Choose a variety of instructional strategiessuch as co-operative and collaborativework in small groups, opportunities forsafe risk taking, hands-on work, andopportunities to integrate knowledge andskills (e.g., science and communication).

• Provide specific strategies, specialopportunities, and resources toencourage students to excel in areas ofstudy in which they are typicallyunder-represented.

• Design lessons to explore manyperspectives and to use different sourcesof information; refer to female and maleexperts.

• Manage competitiveness in the classroom,particularly in areas in which malestudents typically excel.

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• Watch for biasses (e.g., in behaviour orlearning resources) and teach studentsstrategies to recognize and work toeliminate inequities they observe.

• Be aware of accepted gender-biassedpractices in physical activity (e.g., dance asa physical education option for girls only).

• Do not assume that all students areheterosexual.

• Share information and build a network ofcolleagues with a strong commitment toequity.

• Model non-biassed behaviour: useinclusive, parallel, or gender-sensitivelanguage; question and coach male andfemale students with the same frequency,specificity, and depth; allow quiet studentssufficient time to respond to questions.

• Have colleagues familiar with commongender biasses observe your teaching anddiscuss any potential bias they mayobserve.

• Be consistent over time.

In addition, the following strategies apply togender equity in music classes:

• Assume that both females and males canbe committed to personal expression in thearts.

• Encourage both girls and boys to partici-pate in all musical activities.

• Ensure that boys and girls are not stereo-typed as to which instrument they shouldplay.

• Introduce the important contributions ofboth male and female musicians andcomposers and their work.

• Examine lyrics, music videos, and albumcovers for sex-role stereotyping.

This summary is derived from the preliminary Reportof the Gender Equity Advisory Committee, received by theMinistry of Education in February 1994, and from areview of related material.

INFORMATION TECHNOLOGY

Information technology is the use of toolsand electronic devices that allow us to create,explore, transform, and express information.

Value of Integrating Information Technology

As Canada moves from an agricultural andindustrial economy to the information age,students must develop new knowledge,skills, and attitudes. The informationtechnology curriculum has been developedto be integrated into all new curricula toensure that students know how to usecomputers and gain the technologicalliteracy demanded in the workplace.

Overall, students will acquire skills ininformation analysis and evaluation, wordprocessing, database analysis, informationmanagement, graphics, and multimediaapplications. Students will also identifyethical and social issues arising from the useof information technology.

With information technology integrated intothe curriculum, students will be expected to:

• demonstrate basic skills in handlinginformation technology tools

• demonstrate an understanding of informa-tion technology structure and concepts

• relate information technology to personaland social issues

• define a problem and develop strategiesfor solving it

• apply search criteria to locate or sendinformation

• transfer information from external sources• evaluate information for authenticity and

relevance• arrange information in different patterns

to create new meaning• modify, revise, and transform information• apply principles of design affecting ap-

pearance of information


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• deliver a message to an audience usinginformation technology

The curriculum organizers are:

• Foundations—the basic physical skills,and intellectual and personal understand-ings required to use information technol-ogy, as well as self-directed learning skillsand socially responsible attitudes

• Explorations—defining a problem toestablish a clear purpose for searchstrategies and retrieval skills

• Transformations—filtering, organizing,and processing information

• Expressions—designing, integrating, andpresenting a message using text, audioand visual information, and messagedelivery

This information is derived from the draft InformationTechnology Curriculum K to 12 currently under develop-ment.

MEDIA EDUCATION

Media education is a multidisciplinary andinterdisciplinary approach to the study ofmedia. It deals with key media concepts andfocusses on broad issues such as the historyand role of media in different societies, aswell as media-related social, political,economic, and cultural issues. Instead ofaddressing these concepts in depth, as woulda course in media studies, media educationdeals with most of the central media con-cepts as they relate to a variety of subjects.

Value of Integrating Media Education

Popular music, television, film, radio, maga-zines, computer games, and informationservices—all supplying media messages—are pervasive in the lives of students today.Media education develops students’ abilityto think critically and independently aboutissues that affect them. Media education

encourages students to identify and examinethe values contained in media messages. Italso cultivates the understanding that thesemessages are produced by others to inform,persuade, and entertain for a variety ofpurposes. Media education helps studentsunderstand the distortions that may resultfrom the use of particular media practicesand techniques. All curriculum areas pro-vide learning opportunities for media educa-tion. It is not taught as a separate curricu-lum.

The key themes of media education are:

• media products (purpose, values, repre-sentation, codes, conventions, characteris-tics, production)

• audience interpretation and influence(interpretation, influence of media onaudience, influence of audience on media)

• media and society (control, scope)

Examples of curriculum integration include:

Music—critically listening to professionaland amateur music productions, recordings,film, and television programs to identifypurpose

English Language Arts—critiquing advertis-ing and examining points of view

Visual Arts—designing and analysingimages according to their effectiveness andinfluence on a designated audience

Career and Personal Planning—examiningthe influence of the media on body conceptsand healthy lifestyle choices

Social Studies—comparing the depiction ofFirst Nations in the media over time

This summary is derived from A Cross-CurricularPlanning Guide for Media Education, prepared by theCanadian Association for Media Education for theCurriculum Branch in 1994.

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MULTICULTURALISM AND ANTI-RACISM

EDUCATION

Multiculturalism Education

Multiculturalism education stresses thepromotion of understanding, respect, andacceptance of cultural diversity within oursociety.

Multicultural education involves:

• recognizing that everyone belongs to acultural group

• accepting and appreciating cultural diver-sity as a positive feature of our society

• affirming that all ethnocultural groups areequal within our society

• understanding that multiculturaleducation is for all students

• recognizing that similarities acrosscultures are much greater than differencesand that cultural pluralism is a positiveaspect in our society

• affirming and enhancing self-esteemthrough pride in heritage, and providingopportunities for individuals to appreciatethe cultural heritages of others

• promoting cross-cultural understanding,citizenship, and racial harmony

Anti-Racism Education

Anti-racism education promotes the elimina-tion of racism through identifying andchanging institutional policies and practicesas well as identifying individual attitudesand behaviours that contribute to racism.

Anti-racism education involves:

• proposing the need to reflect about one’sown attitudes on race and anti-racism

• understanding what causes racism inorder to achieve equality

• identifying and addressing racism at boththe personal and institutional level

• acknowledging the need to take individualresponsibility for eliminating racism

• working toward removing systemicbarriers that marginalize groups of people

• providing opportunities for individuals totake action to eliminate all forms of racism,including stereotypes, prejudice, anddiscrimination

Value of Integrating Multiculturalism andAnti-Racism Education

Multiculturalism and anti-racism educationprovides learning experiences that promotestrength through diversity and social,economic, political, and cultural equity.Multiculturalism and anti-racism educationgives students learning experiences that areintended to enhance their social, emotional,aesthetic, artistic, physical, and intellectualdevelopment. It provides learners with thetools of social literacy and skills for effectivecross-cultural interaction with diversecultures. It also recognizes the importance ofcollaboration between students, parents,educators, and communities working towardsocial justice in the education system.

The key goals of multiculturalism and anti-racism education are:

• to enhance understanding of and respectfor cultural diversity

• to increase creative interculturalcommunication in a pluralistic society

• to provide equal opportunities foreducational achievement by all learners,regardless of culture, national origin,religion, or social class

• to develop self-worth, respect for oneselfand others, and social responsibility

• to combat and eliminate stereotyping,prejudice, discrimination, and other formsof racism

• to include the experiences of all studentsin school curricula


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Fine Arts—examining ways in which music,dance, drama, and visual arts portray andinfluence cultural experiences

Humanities—identifying similarities anddifferences within cultural groups’ lifestyles,histories, values, and beliefs

Mathematics or Science—recognizing thatindividuals and cultural groups have usedboth diverse and common methods tocompute, to record numerical facts, and tomeasure

Physical Education—developing an appre-ciation of games and dances from diversecultural groups

This summary is derived from Multicultural and Anti-Racism Education—Planning Guide (Draft), developed inthe Social Equity Branch in 1994.

SCIENCE-TECHNOLOGY-SOCIETY

Science-Technology-Society (STS) addressesour understanding of inventions and discov-eries and how science and technology affectthe well-being of individuals and our globalsociety.

The study of STS includes:

• the contributions of technology toscientific knowledge and vice versa

• the notion that science and technology areexpressions of history, culture, and a rangeof personal factors

• the processes of science and technologysuch as experimentation, innovation, andinvention

• the development of a conscious awarenessof ethics, choices, and participation inscience and technology

Value of Integrating STS

The aim of STS is to enable learners toinvestigate, analyse, understand, and experi-ence the dynamic interconnection of science,technology, and human and natural systems.

The study of STS in a variety of subjectsgives students opportunities to:

• discover knowledge and develop skills tofoster critical and responsive attitudestoward innovation

• apply tools, processes, and strategies foractively challenging emerging issues

• identify and consider the evolution ofscientific discovery, technological change,and human understanding over time, inthe context of many societal and indi-vidual factors

• develop a conscious awareness of personalvalues, decisions, and responsible actionsabout science and technology

• explore scientific processes andtechnological solutions

• contribute to responsible and creativesolutions using science and technology

The organizing principles of STS are: Humanand Natural Systems, Inventions and Discov-eries, Tools and Processes, and Society andChange. Each organizer may be developedthrough a variety of contexts, such as theeconomy, environment, ethics, social struc-tures, culture, politics, and education. Eachcontext provides a unique perspective forexploring the critical relationships that existand the challenges we face as individualsand as a global society.


Music—recognizing that demands generatedby musicians have led to the development ofnew technologies and processes (e.g., digitalrecording; music, music notation and com-position software; acoustic engineering), and

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that music reflects the social impact ofscientific and technological developments

English Language Arts—analysing the recentinfluence of technologies on listening,speaking, and writing (e.g., CDs, voice mail,computer-generated speech)

Physical Education—studying how technol-ogy has affected our understanding of therelationship between activity and well-being

This summary is derived from Science-Technology-Society—A Conceptual Framework, Curriculum Branch,1994.

SPECIAL NEEDS

Students with special needs have disabilitiesof an intellectual, physical, sensory, emo-tional, or behavioural nature; or have learn-ing disabilities; or have exceptional gifts ortalents. Although hearing impairments ordeafness, physical disabilities, intellectualdisabilities, and other special needs maylimit the extent to which some students canparticipate, teachers can develop creativeways to include these students in the studyof music.

All students can benefit from an inclusivelearning environment that is enriched by thediversity of the people within it.Opportunities for success are enhancedwhen provincial learning outcomes andresources are developed with regard for awide range of student needs, learning styles,and modes of expression.

Educators can assist in creating moreinclusive learning environments byintroducing the following:

• activities that focus on development andmastery of foundational skills (basicliteracy)

• a range of co-operative learning activitiesand experiences in the school and commu-

nity, including the application of practical,hands-on skills in a variety of settings

• references to specialized learningresources, equipment, and technology

• ways to accommodate special needs (e.g.,incorporating adaptations and extensionsto content, process, product, pacing, andlearning environment; suggestingalternative methodologies or strategies;making references to special services)

• a variety of ways, other than throughpaper-and-pencil tasks, for students todemonstrate learning (e.g., dramatizingevents to demonstrate understanding of apoem; recording observations in scienceby drawing, composing or performing amusic piece or dance, or by creating awork of art)

• promotion of the capabilities andcontributions of children and adults withspecial needs

• participation in physical activity

All students can work toward achievementof the provincial learning outcomes. Manystudents with special needs learn what allstudents are expected to learn. In some casesthe student’s needs and abilities require thateducation programs be adapted or modified.A student’s program may include regularinstruction in some subjects, modifiedinstruction in others, and adaptedinstruction in still others. Adaptations andmodifications are specified in the student’sIndividual Education Plan (IEP).

Adapted Programs

An adapted program addresses the learningoutcomes of the prescribed curriculum butprovides adaptations so the student canparticipate in the program. These adapta-tions may include alternative formats forresources (e.g., Braille, books-on-tape),instructional strategies (e.g., use of interpret-


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ers, visual cues, learning aids), and assess-ment procedures (e.g., oral exams, additionaltime). Adaptations may also be made inareas such as skill sequence, pacing, method-ology, materials, technology, equipment,services, and setting. Students on adaptedprograms are assessed using the curriculumstandards and can receive full credit.

Modified Programs

A modified program has learning outcomesthat are substantially different from theprescribed curriculum and specificallyselected to meet the student’s special needs.For example, a Grade 5 student in languagearts may be working on recognizingcommon signs and using the telephone. Astudent on a modified program is assessedin relation to the goals and objectivesestablished in the student’s IEP.

Ministry Resources for Teachers of Studentswith Special Needs

The following publications are currentlyavailable from the Learning ResourcesBranch or are under development and willbe made available soon:

The Universal Playground: A Planning Guide(Ministry of Education, 1991, FCG 129)

Hard of Hearing and Deaf Students—A Re-source Guide to Support Classroom Teachers(Ministry of Education, 1994, RB0033)

Special Education Services—A Manual ofPolicies, Procedures and Guidelines (Ministry ofEducation, 1995)

I.E.P. Planning Resource (Ministry of Educa-tion, 1995)

Students with Visual Impairments—A ResourceGuide to Support Classroom Teachers (Ministryof Education, 1995)

Gifted Students—A Resource Guide to SupportClassroom Teachers (Ministry of Education,1995)

Students with Intellectual Disabilities: A Re-source Guide to Support Teachers (Ministry ofEducation, 1995)

Teaching for Student Differences—A ResourceGuide to Support Classroom Teachers (Ministryof Education, 1995)

Resource Handbook for Adapted CurriculumSoftware (Ministry of Education, 1995)

Awareness Series (Ministry of Education,1995)

This summary is derived from the Handbook forCurriculum Developers, February 1994, and SpecialEducation Services—A Manual of Policies, Procedures andGuidelines, June 1995.

APPENDIX DASSESSMENT AND EVALUATION

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D-3

ABOUT THIS APPENDIX

Prescribed learning outcomes,expressed in measurable terms,provide the basis for the development

of learning activities, and assessment andevaluation strategies. After a general discus-sion of assessment and evaluation, thisappendix uses sample evaluation plans toshow how activities, assessment, and evalua-tion might come together in a particularmusic education program. The genericassessment and evaluation tools at the end ofthis appendix provide further planningsupport for teachers.

ASSESSMENT AND EVALUATION

Assessment is the systematic gathering ofinformation about what students know, areable to do, and are working toward.Assessment methods include: studentself-assessments, reviews of performance,portfolio assessments, and conferencing.Assessment tools may include observation,daily practice assignments, quizzes, samplesof student work, pencil-and-paper tests,holistic rating scales, projects, and oral andwritten reports.

Student performance is evaluated from theinformation collected through assessmentactivities. Teachers use their insight, knowl-edge about learning, and experience withstudents, along with the specific criteria theyestablish, to make judgments about studentperformance in relation to prescribed learn-ing outcomes.

Students benefit most when evaluation isprovided on a regular, ongoing basis. Whenevaluation is seen as an opportunity topromote learning rather than as a finaljudgment, it shows learners their strengthsand suggests how they can develop further.Students can use this information to redirect

efforts, make plans, and establish futurelearning goals.

Evaluation may take different forms,depending on the purpose.

• Criterion-referenced evaluation should beused to evaluate student performance inclassrooms. It is referenced to criteriabased on learning outcomes described inthe provincial curriculum. The criteriareflect a student’s performance based onspecific learning activities. When astudent’s program is substantially modi-fied, evaluation may be referenced toindividual goals. These modifications arerecorded in an Individual Education Plan(IEP).

• Norm-referenced evaluation is used forlarge-scale system assessments; it is not tobe used for classroom assessment. Aclassroom does not provide a large enoughreference group for a norm-referencedevaluation system. Norm-referencedevaluation compares student achievementto that of others rather than comparinghow well a student meets the criteria of aspecified set of learning outcomes.

Criterion-Referenced Evaluation

In criterion-referenced evaluation, astudent’s performance is compared to estab-lished criteria rather than to the performanceof other students. Evaluation referenced toprescribed curriculum requires that criteriaare established based on the learningoutcomes listed under the curriculumorganizers for Music 8 to 10.

Criteria are the basis of evaluating studentprogress; they identify the critical aspects ofa performance or a product that describe inspecific terms what is involved in meetingthe learning outcomes. Criteria can be used

APPENDIX D: ASSESSMENT AND EVALUATION

D-4

to evaluate student performance in relationto learning outcomes. For example,weighting criteria, using rating scales, orperformance rubrics (reference sets) are threeways that student performance can beevaluated using criteria.

Samples of student performance shouldreflect learning outcomes and identifiedcriteria. The samples clarify and makeexplicit the link between evaluation andlearning outcomes, criteria, and assessment.Where a student’s performance is not aproduct, and therefore not reproducible, adescription of the performance sampleshould be provided.

Criterion-referenced evaluation may bebased on these steps:

1. Identify the expected learning outcomes(as stated in the Integrated ResourcePackage).

2. Identify the key learning objectives forinstruction and learning.

3. Establish and set criteria. Involvestudents, when appropriate, inestablishing criteria.

4. Plan learning activities that will helpstudents gain the knowledge or skillsoutlined in the criteria.

5. Prior to the learning activity, informstudents of the criteria against whichtheir work will be evaluated.

6. Provide examples of the desired levels ofperformance.

7. Implement the learning activities.

8. Use various assessment methods basedon the particular assignment andstudent.

9. Review the assessment data, and evalu-ate each student’s level of performanceor quality of work in relation to criteria.

10. Report the results of the evaluations tostudents and parents.

Formal Reporting of Student Learning

Legislation requires that teachers provideparents with three formal reports each year.The following are guidelines and sugges-tions for assigning letter grades. Lettergrades are used to indicate a student’s levelof performance in relation to expectedlearning outcomes. They may be assigned foran activity, a unit of study, a term, as a finalgrade at the end of the year, or at thecompletion of a course or subject.

The assignment of letter grades may bebased on these steps:

1. Identify learning outcomes for theactivity and unit to make clear what thestudent is expected to know and be ableto do. The provincial curriculumprescribes broad learning outcomes.From these, the teacher establishes morespecific outcomes for the learningactivities.

2. Establish specific criteria for the unit andactivity. It is helpful for students to beinvolved in establishing criteria. In thisway, they understand what is expectedof them.

3. Develop different levels of performanceor models. Students are more likely to besuccessful when they clearly understandthe criteria and the level of performanceexpected.

4. Students participate in learning activitiesto allow them to practise the skills andacquire the required knowledge. Feed-back is provided to help the students


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continue their learning. Practice exerciseshelp students meet the criteria andachieve the expected level of perfor-mance. Results from practice exercisessupport the student’s learning but shouldnot contribute to the term evaluation orfinal letter grade.

5. Give students opportunities to demon-strate their learning. Teachers may havestudents represent their learning in avariety of ways. Assessment data may becollected from tests, teacher observations,conferences, student self-assessments,written assignments, portfolios, orperformance tasks.

6. Evaluate students’ levels of performancein relation to the criteria. Base the evalua-tion of each student’s performance on theassessment data collected and comparethe data to the established criteria.

7. The teacher assigns a letter grade for aset of activities. The letter grade indicateshow well the criteria were met. Teachersoften include written feedback tostudents along with the letter grade. Inthis way, students gain informationnecessary to continue their learning.

ASSESSMENT AND EVALUATION IN MUSIC

EDUCATION

Music education is an integrated program;assessment and evaluation should thereforereflect outcomes in all three curriculumorganizers. For example, while evaluatingStructure skills and concepts, teachersshould also evaluate prescribed learningoutcomes from Context and from Thoughts,Images, and Feelings.

Consistent feedback is particularly importantto the successful development of musicskills, and to the development of a positiveand enthusiastic attitude toward lifelong

involvement in music. Helping students setgoals and objectives for their own artisticand technical development and lifestylechoices, and then working with them tomonitor their progress, are importantresponsibilities of all music teachers.

Challenging oneself personally andexploring new ideas and learning styles areessential factors in artistic development. Thisprocess of exploration may be intimidatingfor students in that the final product orpresentation may not meet the desiredquality standard they might have achieved ifthey had “played it safe” and worked in amore repetitive or familiar way. Studentsmay be reluctant to challenge themselves ortake risks with their work if they know thatthe end product will always be on display orpresented to others publicly. While theyshould be encouraged to take pride in theirartistic products, the creative problem-solving process is equal in importance to theresulting product. Much of the daily work inarts education will be process oriented;therefore, it should be made clear to studentsthat these processes are valued as much aspublic presentations. Whenever students’work is to be performed formally or publicly,it is essential that the students be involved inthe selection and decision-making process.

Assessment should be carried out in avariety of genres and contexts which arearticulated in this curriculum. Studentsparticularly benefit when they participate indeveloping the assessment criteria. Toolsand techniques include:

• holistic rating scales• journal entries• music portfolios• teacher-student conferences• participation records• practice records


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• planning and goal-setting worksheets andexercises

• short- and long-term observation reports• checklists• self-assessment tools• peer assessment tools• performance- and skill-testing exercises

and drills• creative process anecdotal reports• projects• pencil-and-paper tests

Student Journals

Journal writing is an integral part of instruc-tion and assessment in the music classroom.Student journals are a powerful tool forencouraging students to reflect on theirexperiences. Journals may be fairly struc-tured, or they may be a general review of theevents of the week in the music class. Entriesmay comment on a specific activity or topicor provide a broad reflection on progress oran issue.

Journals are an important aspect of commu-nication between the student and teacher.Students may ask questions, indicate suc-cesses, or identify areas where they needfurther assistance to develop skills.

The journal can take many forms. It may beused to reflect on activities within a classunit, or to look at an issue of importance tostudents. It can be a reflection of the work inmusic classes, or an exploration of the worldof the music student.

Questions posed can focus journal writingactivities to assist students’ understanding oftheir experiences in music. Focus questionscould include:

• What did we do in class today?• What did you learn from the activities?• What did you learn about yourself?

• What did you like or dislike about theactivities?

• What solutions or approaches to aproblem did you use?

• What special adjustments of considerationswould you make for a different situation?

• What would make you lose interest in aperformance?

• What images or feelings were evokedduring today’s activities?

• What plans do you have for applying whatyou have learned today in your futuremusic activities?

Journals may also include poems, artwork,stories, or anything else that reflects students’thoughts or feelings about themselves andtheir work.

Teachers can respond to student journals in aletter, with a short comment in the journal, orverbally to the student.

Portfolios

A portfolio is a purposeful collection of astudent’s work that shows the student’seffort, progress, and achievement over time.Portfolios can be designed for a variety ofpurposes. They can motivate students,encourage parental participation, andprovide direct evidence of student progress.Before using a portfolio approach toevaluation, the teacher should consider thefollowing questions:

• What are the applied tasks for which theportfolio will serve as a record?

• What should be included in a portfolio?• In what ways should students be involved

in the process of answering the previousquestions?

The teacher and student can use a planningsheet for determining and clarifying thepurpose, design, and construction of astudent portfolio.


D-7

Music portfolios might contain:

• a daily record in a double-entry journalformat (What I Did, How I Felt)

• daily self-assessments• analysis and critique of videos, films,

concerts, performances• background information on cultural and

historical context, instruments, biographi-cal information (of composer, musician)

• evaluation of peers’ performances• self-evaluation of skills based on recorded

performances• self-assessment of contributions to group

work• original artwork, poetry, and so forth• notations of music learned or created• organization: table of contents, introduc-

tory autobiography, and so forth• work from related subject areas (e.g.,

dance, drama, visual arts, social studies,English language arts)

• teacher’s comments, checklists, and ratingscales

Questions such as the following can stimu-late and guide students’ self-assessment oftheir portfolios:

• What strengths or successes in the workstand out?

• Analyse one piece of work that was notsuccessful for you. Why didn’t it work?What might have helped? What did youlearn from doing it?

• What techniques or strategies are youmost interested in refining? Make a planthat indicates what to do, how to getsupport, and where to go to get thatsupport.

• What ideas do you like to work with?Have you always been interested in theseideas? How has the meaning in your workchanged?

• When you look ahead, what role do yousee in your life for music?

Student-Teacher Conferences

Conferences can provide valuable informa-tion about students’ understanding,thoughts, and feelings about music educa-tion. Conferences may give the student anopportunity to reflect on the unit of studyand the teacher a chance to gather informa-tion about the student’s knowledge andattitudes, as well as to diagnose studentneeds. Conferences may take the form of aplanned sequence of questions which lead toan open-ended discussion or they mayrequire independent completion of specificquestions. Informal conferences between theteacher and student should take place on aregular basis throughout instruction.

Observation Sheets

Observation sheets may be used to assessstudents during individual or co-operativeactivities. Teachers should focus their assess-ment by selecting only a few attributes foreach observation. This information is usefulwhen reporting on individual studentprogress.

Planning and Goal-Setting Worksheets

Setting individual goals for progress inmusic education is an important assessmentstrategy. Planning and goal-settingworksheets—including reflections onphysical interests and abilities—andspecifying both short- and long-term goalscan be a basis for students’ progress in thevarious units of a music program.

Checklists

Checklists allow the teacher to observe theentire class “at a glance.” They provide aquick reference for keeping track of specificinformation about student attitudes, knowl-edge and skills. Checklists allow the teacher


D-8

to create an individual record-keepingsystem organized in a variety of ways.Information might include date, skill-proficiency legends, or a simple check markidentifying a yes or no. Checklists can beuseful in developing a learning profile of achild that indicates growth over time. Check-lists may be created to gather informationabout student co-operation, participation,attitude, leadership, or skill development.

EVALUATION SAMPLES

The samples on the following pages illustratethe process a teacher might use in applyingcriterion-referenced evaluation in Music. Thesamples represent a broad use of criterion-referenced evaluation, including individualpieces of work, units of study, and workcompleted over the course of a term.

There are three key stages to the process:

• planning for assessment and evaluation• defining the criteria• assessing and evaluating student perfor-

mance

Planning for Assessment and Evaluation

This section outlines:

• background information to explain theclassroom context

• instructional tasks• opportunities that students were given to

practise learning• feedback and support that was offered

students by the teacher• ways in which the teacher prepared

students for the assessment

Defining the Criteria

This section illustrates the specific criteria,which are based on:

• learning outcomes• assessment tasks• various reference sets

Assessing and Evaluating StudentPerformance

This section includes:

• assessment tasks or activities• support that the teacher offered students• tools and methods used to gather the

assessment information• ways the criteria were used to evaluate the

student performance

APPENDIX D: ASSESSMENT AND EVALUATION • Samples

D-9

GRADE 8

Topic: Blues Guitar

Prescribed Learning Outcomes:

Structure


• apply an increasing range of tempos,dynamics, articulation, and timbres inclassroom repertoire

• create, notate, and perform melodicpatterns

• identify the tonal centres in a variety ofmelodies

• identify an expanded variety of musicforms



• demonstrate respect for the thoughts,images, feelings, and music choices ofothers


Context


• use skills and attitudes appropriate to arange of music experiences in a variety ofvenues as performer, participant, andaudience

PLANNING FOR ASSESSMENT AND

EVALUATION

The students in this sample were enrolled ina music program emphasizing the use andperformance of the guitar and have varyingskill development.

• The teacher presented various examples ofblues music to the students (e.g., “I’m Tore

Down” from From the Cradle, by EricClapton). Students analysed the music,compared similarities and differences, anddiscussed the pattern of blues lyrics. Theclass discussed the thoughts, images, andfeelings the music evoked. Students thenlistened to their own selection of bluesmusic and wrote a journal entry about thethoughts, images, and feelings evoked bytheir selection. In their journal, studentswrote an original set of blues lyrics.

• Students listened to examples of bluesmusic and identified the pattern andlength of chord progressions. Studentspractised with their instruments a stan-dard 12-bar blues chord progression in thekey of A major, a standard 16-bar blueschord progression in the key of A major,and an A minor pentatonic scale. Studentsformed groups of two or three and prac-tised improvising, using the scales andblues patterns they had learned.

• The teacher provided instruction,modelling, guidance, and feedback tostudents on an ongoing basis. The teacherbased the assessment and evaluation ofthis unit on a listening quiz, performanceof the blues patterns and scale, groupperformance, observation of small groupwork, and journal entries.

DEFINING THE CRITERIA

Listening Quiz

To what extent does the student:

• identify the tonal centre of a blues melody• identify the chord changes and turn-

arounds from listening examples


D-10

Individual Performance


• perform from memory the A minorpentatonic scale

• demonstrate correct playing position,including right hand and left handtechniques

• use consistent time when playing a scale• perform chord changes in a fluid manner

for 12- and 16-bar blues progressions inthe key of A major

Group Performance


• demonstrate correct playing position,including right hand and left handtechniques

• perform the notes accurately• interpret the rhythms correctly and

uniformly• perform appropriate blues articulations in

an improvised solo (e.g., pitch blend,hammer-on, pull-off, glissando)

• select appropriate chord tones or bluenotes in an improvised solo

Small Group Work


• encourage group members and othergroups by listening attentively, identifyingpositives in peers’ performances, andgiving guidance and helpful suggestions

• provide appropriate audience behaviour:facing the performer, active listening,appropriate eye contact, accepting posture,appreciative gestures

• provide constructive feedback that rein-forces the positive; provide realistic andhelpful suggestions in a non-judgmentalfashion

Journal


• describe the thoughts, images, and feelingsthe blues evoke, providing personalinsights, connections to their experiences,and metaphorical analogies

• follow the standard pattern for blueslyrics, incorporating into their lyric one ormore personal messages, feelings, orexperiences

ASSESSING AND EVALUATING STUDENT

PERFORMANCE

Based on the above criteria, the teacherdeveloped a variety of performance scales toassess and evaluate the students’ listeningexercises, individual and group perfor-mances, and journals (see following pages).In addition, the teacher used the referenceset Group Communication Skills to assess thestudents’ small group work. The teacherconferenced with the students and providedfeedback.


D-11

Listening Exercise

• identifies the tonal centre of a blues melody

• identifies the chord changes and turnarounds from listening examples

Rating

Key: 4—consistently: given a variety of melodies and with alternate chord changes3—usually: in most common melodies and chord changes2—sometimes: with support is able to identify tonal centres and chord changes

when prompted1—not able to identify tonal centres or chord changes

Group Performance

Key: 1—unable to demonstrate; needs further instruction2—demonstrates limited use; is aware of the how to perform the skills; requires

more practice time3—uses appropriately; is able to demonstrate competent use2—uses somewhat appropriately; is able to demonstrate competent use but tends

to overuse the skill1—uses inappropriately; needs intervention to correct

• performs from memory the A minor pentatonic scale

1 2 3 2 1

• demonstates correct playing position, including right handand left hand techniques

1 2 3 2 1

• uses consistent time when playing a scale

1 2 3 2 1

• performs chord changes for 12- and 16-bar blues progressionsin the key of A major in a fluid manner

1 2 3 2 1

• performs appropriate blues articulations

1 2 3 2 1

• selects appropriate chord tones or blue notes

1 2 3 2 1


D-12

Performance of Improvisations, Scales, and Chord Changes

Key: 4—consistently performs skill accurately3—usually performs skill accurately2—sometimes performs skill accurately1—rarely performs skill accurately

Journal: Thoughts, Images, and Feelings

3— Demonstrates in-depth understandingand clarity of thought. Insights showpersonal connection. Explains in depththe personal emotional impact of theblues. Provides analogies that createvivid images in the mind of the reader.Lyrics send a powerful message.

2— Demonstrates some depth of under-standing, but is somewhat vague.Insights show a personal connection on asurface level. Includes some explanationabout their emotional feelings. Providesanalogies. Lyrics have a message orexplain personal feelings or both.

1— Demonstrates little depth of understand-ing. Personal connections are notapparent. Thoughts and feelings are on asurface level. No analogies are provided.Lyrics have meaning but do notcommunicate a deeper message.

• accurate notes

1 2 3 2 1

• rhythms (right hand technique)

1 2 3 2 1

• left hand technique

1 2 3 2 1

• chord tones, blue notes

1 2 3 2 1

• intonation

1 2 3 2 1


D-13

GRADE 8

Topic: Music Composition


Structure


• create, notate, and perform melodicpatterns

• create, notate, and perform rhythms in avariety of metres

• apply an understanding of melodicdirection and contour to expressivephrasing


• apply a variety of music forms andprinciples of design to composition



• apply the elements of rhythm, melody,and expression to interpret and representa broad range of thoughts, images, andfeelings

Context


• demonstrate ability to provide and acceptconstructive feedback


EVALUATION

The students in this sample were enrolledin a general music course. The sample wouldalso work for a performance-based musiccourse such as band, choir, or strings.Computer technology (e.g., computer withsound card, MIDI interface, keyboardsynthesizer or other sound-generating

device, scoring and sequencing software)would enhance the learning.

• The teacher had students watch a shortvideo without any sound. The classdiscussed the thoughts, images, andfeelings evoked by the video and, in smallgroups, brainstormed the different timbresthat might be represented. Small groupscreated a soundtrack using a selection ofnon-traditional musical sounds (syntheticand natural), and traditional electronicand acoustic musical sounds to representthe thoughts, images, and feelings evokedby the video.

• The teacher introduced the concept oftonal centres to the class. In small groups,students experimented with the creation ofdifferent chords, with each studentperforming a different degree of a majorscale. From their experimentation, eachgroup selected three triads with differingharmonic sounds and performed them forthe class.

• The teacher demonstrated the use of ascoring program on a computer. Overseveral weeks, students took turnsworking on the computer to write amelodic composition and 4–8 measurecomposition, using half, quarter, andeighth notes on the degrees of a majorscale to represent a melodic contour,created and graphed beforehand by thestudent.

• The teacher demonstrated the use of asequencing program on a computer. Overseveral weeks, students took turns,working in groups of three, writing arhythmic composition. The compositionconsisted of 8–16 measures with threeseparate tracks, each one using a differenttimbre.


D-14

Small groups brainstormed rhythmicpatterns to use in the composition.Collaboratively, students chose a form tostructure the composition (e.g., AB, ABA,rondo). Individually, students then com-posed their own tracks, first writing therhythm out by hand, then recording thetrack on the sequence. Groups listened to thecompositions and gave each other written,constructive feedback on the tracks, bothindividually and as a whole composition.The students re-recorded the tracks, incorpo-rating necessary changes as a result of thefeedback. The compositions were performedfor the rest of the class at the end of the unit.


Individual and Group Compositions


• create an expressive phrase using:- a graphic contour line- a notated melodic representation of this

line• include definite form in composition• use accurate rhythmic and melodic

notation• use principles of design effectively to

create a unified composition• use the structural elements in subtle and

meaningful ways• develop ideas and correct errors from

rough draft to final copy• give supportive and helpful suggestions to

classmates• receive constructive feedback, incorporat-

ing necessary changes• incorporate originality in composition

Small Group Soundtracks

To what extent does the group:

• use a variety of sound sources (e.g., syn-thetic, natural, traditional), matching thesounds to the intent of the music

• make connections among the thoughts,images, and feelings evoked in the videoand replicate them musically in the soundschosen for the soundtrack

• make use of the elements of expression toreflect the thoughts, images, and feelingsevoked by the video.


PERFORMANCE

The teacher used the above criteria to de-velop performance scales to assess andevaluate the small group soundtracks andthe individual and small group composi-tions.


D-15

Individual and Group Compositions Rating

• Examples

• creates an expressive phrase using:- a graphic contour line- a notated melodic representation of this line

• demonstrates a definite form in composition

• demonstrates accurate rhythmic and melodic notations

• uses the principles of design effectively to create a unified composition

• uses the structural elements in subtle and meaningful ways

• demonstrates extensive development of ideas and correction of errors,from rough draft to final copy

• gives supportive and helpful suggestions to classmates

• receives constructive feedback, incorporating necessary changes

• incorporates originality in composition

Key: 3—demonstrates skills or behaviours consistently, accurately, and in meaningfulways

2—usually demonstrates skills or behaviours with infrequent errors; is beginningto apply skills and techniques in meaningful ways

1—is not able yet to demonstrate skills or behaviours; further practice andinstruction needed

2—includes a wide variety of sound sources;evidence of a connection between thesound source and the thoughts, images,or feelings in the video; the elements ofexpression are used, but may not alwaysreflect the thoughts, images, and feelingsin the video

1—uses some sound sources; evidence of aconnection between the sound sourceand the thoughts, images, or feelingsmay not always be present; is beginningto use the elements of expression, but thematch may not always reflect the intent

Soundtracks

3—includes a wide variety of sound sources,representing synthetic, natural, andtraditional musical sounds in uniqueand original ways; effectively choosesthe sound source to match the intent,and clearly articulates the connectionsamong the thoughts, images, and feel-ings in the video and the music; usesmost of the elements of expression inways that reflect the thoughts, images,and feelings in the video and show aclear understanding of their effective use


D-16

GRADE 8

Topic: Thoughts, Images, and Feelings inPopular Music


Structure


• apply an understanding of melodic direc-tion and contour to expressive phrasing




• demonstrate a willingness to share per-sonal insights arising from experienceswith music

• defend personal music choices, demon-strating awareness of the thoughts, im-ages, and feelings that the music expresses

• demonstrate respect for the thoughts,images, feelings, and music choices ofothers


EVALUATION

• The teacher provided opportunities forstudents to listen to a variety of popularsongs, to analyse the music, and to discussthe thoughts, images, and feelings evokedby the music. Each group constructed aquestion for debate, such as, “Is the musicappropriate for the lyrics?” or “Shouldsome thoughts, images, and feelings (e.g.,violence, sexism, racism) not be expressedin music?” Students negotiated with eachother to determine the questions to bedebated.

• Students listened to a popular song oftheir choice and wrote an analysis of thethoughts, images, and feelings evoked by

the music. They analysed the melodies inthe song for contour and for their effect onfeelings evoked by the music. On a chart,they represented the melody using agraph, and the thoughts, images, andfeelings using line, colour, or inventedsymbols. Students explained their choicesand invented new lyrics, changing thethoughts, images, and feelings evoked bythe original lyrics.

• Students listened to a variety ofarrangements of the same piece of music(e.g., piano, orchestra, and electronicarrangements of Pictures at an Exhibitionand Georgia on my Mind as performed byMichael Bolton, Ray Charles, and WillieNelson). In their journals, studentsanalysed and compared the thoughts,images, and feelings evoked by differentarrangements of the same piece of music.

• Assessment and evaluation for the unitwas based on the debates, individual songanalyses, and entries in their journals.


Debate


• explain personal connections and experi-ences felt as a result of the music

• describe the thoughts, feelings, and imagesthe music evokes in ways that are uniqueand personal, providing rationale andsupport from the music

• provide counter-arguments that are logicaland have an explanation grounded in themusic

• use musical terms to describe the music• show respect for the thoughts, images, and

feelings of others by actively listening,making eye contact with the speaker,keeping extraneous noise to a minimum,and using non-threatening body language.


D-17

Song Analysis


• analyse melodic contour and the thoughts,images, and feelings evoked by the musicby detailing specific components of themusic

• use supporting evidence from the music todescribe personal reactions to the compos-ers’ choices

• use line, colour, or invented symbols in thechart in ways that support the analysisand show a match to the thoughts, feel-ings, and images evoked by the music

• use lyrics that contrast with the thoughts,feelings, and images of the original lyrics

• match lyrics to the contour of the melodyto give impact to important words andphrases


PERFORMANCE

The teacher assessed and evaluated eachstudent’s performance using a performancescale for the debate, song analysis, andjournal entries. In addition, the teacherreferred to the Group Communications Skillsreference set to assess the work done in smallgroups.

Debate Rating

• explains personal connections and experiences felt as a result of themusic

• describes the thoughts, feelings, and images the music evokes in waysthat are unique and personal, providing rationale and support from themusic

• provides counter-arguments that are logical and have an explanationgrounded in the music

• uses musical terms to describe the music

• shows respect for the thoughts, images, and feelings of others byactively listening, making eye contact with speaker, keeping extraneousnoise to a minimum, and using non-threatening body language

Key: 4—consistently3—usually2—somewhat1—occasionally


D-18

Performance Scale for the Song Analysis andJournal Entries

3— demonstrates in-depth understandingand clarity of thought; uses supportingevidence from the music in ways thatconvince and offer new insights; uses avariety of music terms to describe themusic; uses new lyrics matched to themelodic contours in ways that suggestpersonal reactions, are pleasing andinteresting, and evoke different feelingsthan the original

2— demonstrates some depth of under-standing, but is vague; uses supportingevidence from the music to representthinking; uses common music terms todescribe the music; uses new lyricsmatched to the melodic contours

1— demonstrates little depth of understand-ing and is unclear when explaininganalysis; finds limited support for ideasfrom the music; uses occasional musicvocabulary to describe the music; newlyrics are not always matched to themelodic contours


D-19

GRADE 9

Topic: Band—Scales and Sectional Work


Structure



• demonstrate an ability to enhance tuningby altering pitch


• apply an increasing range of dynamics,tempos, timbres, and articulations inclassroom repertoire


EVALUATION

Students in this sample had previousexperience using their instruments.

• Students practised and performed majorscales using various performance metressuch as , , , , , and . The teacherprovided instruction using classroommaterials, method books, computersoftware, and teacher-created resources.

• Students participated in tuning theirinstruments, section by section, learning todiscriminate between flat and sharp. Theypractised altering the tuning of theirinstruments through conventional means:adjusting posture, embouchure, and airsupply. The teacher demonstrated andprovided feedback to individual studentsas necessary.

• Students participated in small groupscontaining like instruments: brass,woodwinds, percussion, clarinets, flutes,and so on. Students practised the currentrepertoire and took turns conducting the

group. Each group made collaborativechoices concerning dynamics andarticulation. The teacher worked with eachgroup, providing guidance and feedbackwhen needed. The students used thecriteria developed by the class to assesstheir own work on an ongoing basis.

• The teacher based assessment andevaluation of these activities on thestudents’ performances of scales, the smallgroup performances, and the students’self-assessments.


Scales


• accurately perform the scale• accurately perform the strong and weak

beats of different metres• perform at a speed that matches the

suggested tempo markings• show awareness of intonation consider-

ations (e.g., melodic, harmonic)• alter tuning through embouchure control• achieve tone quality that is focussed, full,

open, resonant, consistent, and wellcontrolled

Ensemble Selections


• maintain an independent part within thecontext of the entire ensemble

• blend with the rest of the ensemble• balance with the rest of the ensemble• perform in tune with the rest of the

ensemble• maintain rhythmic accuracy with the rest

of the ensemble in a variety of metres,tempos, and tempo variations (e.g., rubato,allargando)


D-20


PERFORMANCE

The teacher used the Technical Skills ratingscale (based on the criteria) to assess andevaluate the students’ performances of thescales. The ensemble performance wasassessed and evaluated using a performancescale based on the criteria.

Technical Skills Rating

• performs the scale

• performs the strong and weak beats of different metres

• performs at a speed that matches the suggested tempo marking

• shows awareness of intonation considerations (e.g., melodic, harmonic)

• alters tuning through embouchure control

• achieves tone quality that is focussed, full, open, resonant, consistent,and well controlled

Key: 4—always performs skill accurately3—usually performs skill accurately2—sometimes performs skill accurately1—rarely performs skill accurately


D-21

Group Performance and Group Project

3—Ensemble cohesiveness is outstanding atall times. Rhythm and notes are accurateand precise, and instruments are welltuned. Superior listening and adjustmentskills are shown. Blend and balance aremaintained at all times, both within andbetween sections. Tone is well focussed,consistent, and uniform in texture,colour, and sonority. Technical facility issuperb. Superior flexibility and dexterityare exhibited by entire ensemble. Playersexhibit a thorough understanding ofstyle, tempo, and interpretation. Phras-ing is always natural and uniformlyperformed by all sections or individuals.

2—Rhythm, tempo, and notes are accurate,and instruments are well tuned. Prob-lems sometimes occur in range or vol-ume extremes and in difficult passagesand situations but are of short durationor are quickly corrected. Listening isgood, showing an ability to correct mostproblems. Excellent tone is achievedmost of the time. Tonal balance is almostalways uniform and consistent. Lapsesand problems are infrequent and usuallyoccur in more demanding musicalpassages. Phrasing is thorough andnatural most of the time.

1—Rhythm and notes are performed accu-rately most of the time, with problemsoccurring within the finer details ofmore complex patterns and structures.Instruments are tuned relatively well.Intonation is often good, with a fewinconsistencies. Players attempt tocorrect problems. Tone quality is usuallygood, with uniform colour and texturedemonstrated in less demanding pas-sages. Phrasing is basic, uniform, andconsistent some of the time, but is notalways natural.


D-22

GRADE 9

Topic: Choir—Vocal Tone


Structure




• evaluate the use of the elements of expres-sion in performing and listening repertoire


Context


• compare and contrast music from a rangeof historical and cultural contexts, includ-ing their interrelationships



EVALUATION

• The teacher discussed different vocal tones(e.g., bright, dark) for the vowel sounds ah,eh, ee, oh, and oo. Students formed intogroups of three and practised matchingvowel sounds with each other, using twoshapes for each vowel sound. Each groupchose three pitches (high, medium, andlow) within the students’ range. Thegroups of three then joined to creategroups of six and practised the same task.The larger groups performed for the class.

• The teacher provided recordings of vocalmusic from a variety of cultures andhistorical time periods, using a wide rangeof languages (e.g., Latin, French, anAfrican language, an Asian language).Students listened to the recordings andanalysed them for vowel sounds and vocaltone. The teacher introduced the phoneticalphabet, and the students identified anddescribed the vowel sounds in therecordings in their journals with referenceto this alphabet.

• Students in small groups created aperformance project consisting of afamiliar song performed in a variety ofvocal tones, imitating the timbres of thelistening selections. Each project had fourcontrasting vocal tones and a written set oflyrics, with the words written phoneticallyin each of the four different timbres. Theprojects were performed for the class.

• The teacher selected several compositionsfrom a variety of cultures and historicaltime periods for the full ensemble torehearse and perform. With assistancefrom the teacher, the groups madecollaborative choices about vocal tone,specific vowel sounds within eachcomposition, and the overall vocal tone foreach composition they chose to work on.The teacher and students developedcriteria for the performance. The teacherrecorded the performance of the groupand played it back to the students. In theirjournals, students completed self-evaluations of the performance based onthe criteria.

• The teacher based the assessment andevaluation of each student on small groupvowel-matching performances, smallgroup projects, full group performances,and the journal entries.


D-23


Performance

To what extent does the student or group:

• accurately perform material incorporatingmusic interpretation in:- pitch matchingvowel matching- breath support- rhythm- articulation (beginnings and endings of

words)- dynamics

• select a wide variety of vocal tones, andperform the vocal tones consistently,accurately, and with appropriate tonalquality

• perform material with subtle nuances indynamics, intonation, and phrasing

• identify positive aspects and areas forimprovement, and incorporate changes

• communicate with the audience, demon-strating eye contact, a positive attitude,and a positive, accepting posture anddeportment

• refrain from reacting negatively to musicalmistakes made by self and others; continu-ing to perform

• acknowledge audience response withpositive expression

Journal


• use the phonetic alphabet correctly, match-ing sound to script

• identify and describe vocal tones fromrecordings

• use appropriate music terminology in allentries

• draw connections between different typesof music


PERFORMANCE

The teacher assessed the performances usinga performance scale and a rating scale for thehistorical and cultural analysis.

Performance

4— Pitch, rhythm, breath support, andvowel shape are performed accurately,with precision and clarity, and flaws, ifany, are very minor and quickly cor-rected. Articulation is consistent anduniform. Phrasing is always natural anduniformly performed by all sections in aclear, meaningful, and expressive way.Superior use of technique creates asensitive, effective, and naturally com-municated artistic performance. Athorough and stylistically valid interpre-tation is communicated throughout theperformance. Concentration is superior,showing evidence that changes havebeen incorporated, and creating anextremely solid, polished performance.A relationship with the audience isapparent and well developed.

3— Pitch, rhythm, breath support, andvowel shape are performed accuratelymost of the time. Articulation is welldeveloped and uniform, with weaknessdemonstrated by individuals onlyduring complex passages. Phrasing isthorough and natural most of the time.A good demonstration of skills thattranscend mechanical and technicalaspects create artistic results most of thetime. Interpretation is good, uniform,and meaningful. Some passages may belacking in interpretation but do notdetract considerably from otherwiseexcellent performance. Singers attempt


D-24

to incorporate changes. Concentration isexcellent. Singers respond well to thedirector and demonstrate a relationshipwith the audience.

2—Pitch, rhythm, breath support, and vowelshape are performed accurately most ofthe time, with problems occurringwithin finer details of more complexpatterns and structures. Articulation isgood most of the time, but may not beconsistent. Complex articulations lackclarity and control. Phrasing is basic,uniform, and consistent some of thetime, but not always natural. Interpreta-tion is meaningful and uniform some ofthe time. Style may be rigid andmechanical. Concentration is good, butoccasionally inconsistent. Few changes

have been incorporated. Singers payattention to the director most of the time.A relationship with the audience is notalways apparent.

1—Pitch, rhythm, breath support, and vowelshape are performed accurately insimple passages. Rhythmic inconsisten-cies are quite frequent. Articulation iscorrect some of the time. Phrasing ismostly mechanical and non-musical.Some attempts are made at alteringdynamics, but with limited range. Thereis little communication of musical ideas.No attempt is made to conduct self-evaluation or to incorporate changes.Concentration seems to drift. Relation-ship with the audience is lacking.

Historical and Cultural Analysis Rating

• uses the phonetic alphabet correctly, matching sound to script

• identifies and describes vocal tones from recordings

• uses appropriate music terminology in all entries

• draws connections between different music

Key: 4—consistently3—usually2—sometimes1—infrequently


D-25

GRADE 9

Topic: Strings—Rhythms and Bowing Patterns


Structure







EVALUATION

This sample outlines the evaluation ofstudents’ techniques, focussing on intona-tion, bowing patterns, and rhythmic devel-opment. It is assumed that students have hadprevious experience on their instruments.

• Students performed major scales usingwhole and half notes, focussing on secureintonation, both individually and as anensemble. The teacher and studentsprovided feedback on the accuracy ofintonation.

• Students practised and performed majorscales and scale patterns (e.g., brokenthirds, running thirds, arpeggios) usingvarious performance metres such as

, , , , , and , and rhythm andbowing patterns such as:

• Students participated in groups of likeinstruments (e.g., violins, violas, cellos).Students practised the current repertoireand took turns conducting the group. Eachgroup made collaborative choices concern-ing bowing and articulation. The teacherworked with each group, providingguidance and feedback when needed. Thestudents used assessment criteria devel-oped by the teacher and students toconduct ongoing self-assessments. Eachgroup achieved consensus on their bowingand articulation choices and presentedthem to the full ensemble.

• Assessment and evaluation of theseactivities were based on the students’performances of scales and teacher andstudent self-assessments of the smallgroup repertoire process andperformances.


Scales


• play the scale accurately and withprecision

• interpret rhythms correctly and uniformly• perform the strong and weak beats of

different metres accurately• control difficult tuning situations• control pitch in all registers• show awareness of intonation consider-

ations (e.g., melodic, harmonic)• demonstrate accurate bowing• demonstrate the ability to alter tuning

while playing

Small Group Repertoire Performance


• blend with the rest of the group• balance with the rest of the group


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• perform in tune with the rest of the group• maintain rhythmic and bowing accuracy

with the rest of the group in a variety ofmetres and tempos

• interpret the music and apply the appro-priate style

• perform phrasing in a natural, expressive,and uniform way

• use musical techniques in an effective andsensitive way


PERFORMANCE

The teacher used a rating scale to assess andevaluate students’ individual performancesand the groups’ performances.

Technical Performance Rating

• plays the scale

• interprets rhythms

• performs the strong and weak beats of different metres

• controls difficult tuning situations

• controls pitch in all registers

• shows awareness of intonation considerations (e.g., melodic, harmonic)

• demonstrates accurate bowing

• demonstrates the ability to alter tuning while playing



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Small Group Repertoire Performance Rating

• blends with the rest of the group

• balances with the rest of the group

• performs in tune with the rest of the group

• maintains rhythmic and bowing accuracy with the rest of the group ina variety of metres and tempos

• interprets the music and applies the appropriate style

• performs phrasing in a natural, expressive, and uniform way

• uses musical techniques in an effective and sensitive way


Comments:

Key: 4—always performs expressively3—usually performs expressively2—sometimes performs expressively1—rarely performs expressively

D-28

GRADE 10

Topic: Preparation for a Concert Performance


Structure


• create, perform, and notate complexrhythms in a variety of metres



• analyse how the elements of expressionare combined to achieve specific effects

Context



• demonstrate in-depth knowledge of atleast one music career


EVALUATION

This sample shows the evaluation ofstudents in an orchestra as they prepared forand performed a concert. The same approachwould work for any performance group,such as a band or choir.

• The teacher provided recordings ofcompositions to be performed. Studentslistened to them and analysed them fordynamics, articulation, tempo, tone(timbre), and melodic phrasing. For theirperformance of the compositions, thestudents worked as a group to achieveconsensus on critical choices concerning

these elements of expression. The teacherconducted while students sang, hummed,or mimed their parts. The teacher recordedthe students performing compositions onaudiotape and videotape. Working insmall groups, students critiqued theirperformances and provided constructivefeedback.

• As a group, students developed a concertproject, including: goals, a theme, aprogram, and a promotional package.They brainstormed criteria for thepresentation of a successful concert(e.g., performer and audience etiquette,home practice, efficient rehearsals,technical needs, effective promotion).Students were assigned to small groups toformulate plans and implement tasksbased on the criteria. Students keptjournals and made regular entries aboutthe process of preparing for the groups’performance, small group tasks, and therelationship of those tasks to musiccareers.

• Students were assessed and evaluatedbased on the groups’ performance andproject criteria, and student journals.Students also conducted self-assessmentsand peer assessments and providedfeedback to each other.


Assessment criteria were developed by theclass, working in conjunction with theirteacher.

Group Performance


• achieve tonal blend• achieve balance between and within

sections


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• perform in tune• maintain rhythmic accuracy in a variety of

metres, tempos, and tempo variations(e.g., rubato, allargando)

• achieve dynamic contrast• perform precise articulations

Group Project

To what extent do the individual and thegroup:

• make appropriate critical choices aboutarticulation, dynamics, tone (timbre), andtempo

• blend as an ensemble• balance between and within sections• perform in tune as an ensemble• maintain rhythmic accuracy as an en-

semble in a variety of metres, tempos, andtempo variations (e.g., rubato, allargando)

• demonstrate appropriate performer andaudience etiquette

• show commitment to the group bycompleting regular home practice andattending rehearsals

• interact, discuss ways to improve, come toa consensus, and incorporate changes intothe performance

• complete their individual tasks, roles, andproduction responsibilities

Journal


• make perceptive comments about largegroup and small group performances

• show personal insights into more effectiveways to contribute to the group process

• acknowledge areas and ways to improvetheir skills

• identify strengths and talents and howthey might apply to specific music careers


PERFORMANCE

The teacher developed a performance scalebased on the criteria to assess and evaluatestudents’ group performances, projects, andjournal entries.

Group Performance and Group Project Scale

4— Rhythmic accuracy, tempo, and noteprecision are excellent, and flaws, if any,are minor and quickly corrected. Tonequality is well focussed, full, open,resonant, and consistent. Articulation isconsistent and uniform. Phrasing isalways natural and uniformly performedby all sections in clear, meaningful, andexpressive ways. Superior use of musicaltechniques creates a sensitive, effective,and naturally communicated artisticperformance. A thorough and stylisti-cally valid interpretation is communi-cated throughout the performance.Concentration is superior, showingevidence that changes have been incor-porated, and creating an extremely solid,polished performance. A relationshipwith the audience is apparent and welldeveloped.

3— Rhythm, tempo, and notes are accurate.Excellent tone is achieved most of thetime, and lapses and problems areinfrequent and usually occur duringmore demanding musical passages.Articulation is well developed anduniform, with weakness demonstratedby individuals only during complexpassages. Phrasing is thorough andnatural most of the time. There is a gooddemonstration of the skills needed totranscend mechanical and technicalaspects, creating artistic results most ofthe time. Interpretation is good, uniform,and meaningful. Some passages may be


D-30

lacking in interpretation but do notdetract considerably from an otherwiseexcellent performance. Players attemptto incorporate changes. Commitment tothe group is evident. Rehearsals areattended regularly, and assigned rolesand tasks are completed. Concentrationis excellent. Players respond well to thedirector and demonstrate a relationshipwith the audience.

2— Rhythm and notes are performed accu-rately most of the time, with problemsoccurring within finer details of morecomplex patterns and structures. Tonequality is usually good, with uniformcolour and texture demonstrated in lessdemanding passages. Articulation isgood most of the time, but may not beconsistent. Complex articulations lackclarity and control. Phrasing is basic,uniform, and consistent some of thetime, but not always natural. Interpreta-tion is meaningful and uniform some ofthe time, but style may be rigid andmechanical. Concentration is good butoccasionally inconsistent, and fewchanges have been incorporated.Rehearsals are usually attended, andassigned roles and tasks are usuallycompleted. Players pay attention to thedirector most of the time. A relationshipwith the audience is not alwaysapparent.

1— Rhythm and notes are performed accu-rately in simple passages, with frequentrhythmic inconsistencies. A basic under-standing of tonal quality concepts is notyet developed throughout the ensemble.Articulation is correct some of the time.Phrasing is mostly mechanical and non-musical. Some attempts are made ataltering dynamics, but with limitedrange. There is little communication ofmusical ideas, and no attempt is made toconduct self-evaluations or to incorpo-

rate changes. Rehearsals are attendedsporadically, and assigned roles andtasks are not fully completed. Concentra-tion seems to drift. A relationship withthe audience is lacking

Journals

3— Demonstrates in-depth understandingand clarity of thought. Comments aboutthe large and small groups show insightand objectivity. Insights into personalperformances and contributions arereflective and include goals for improve-ment. Student is able to define skills andtalents and their benefits in career andlife choices.

2— Demonstrates some depth of under-standing, but is somewhat vague. Analy-ses of large group and small group workare objective. Insights into personalperformances and contributions containsuggestions for improvement. Studentdoes not always accurately definepersonal skills but does see how acquir-ing skills and talents will benefit careerand life choices.

1— Demonstrates little depth of understand-ing. Personal connections are not appar-ent. Thoughts and feelings are on asurface level. Comments about the largeand small groups do not show depth ofanalysis. Student is not sure how toimprove personal performance and doesnot see connections between skillslearned and career and life choices.


D-31

GRADE 10

Topic: Jazz Improvisation


Structure



• analyse and use rhythms reflective of avariety of cultures and styles

• create and perform melodic patterns toenhance expressive phrasing




• apply the elements of music to interpretand represent a broad range of thoughts,images, and feelings

• demonstrate a willingness to share per-sonal insights arising from experienceswith music

• defend personal music choices, demon-strating awareness of the thoughts, im-ages, and feelings the music expresses

Context



• demonstrate an ability to critique the workof self and others


EVALUATION

The students in this sample were enrolled ina stage band course and had previous

experience with their instruments. The sameapproach would work with any jazz-basedperformance course.

• Students practised and performedpentatonic, dorian, and blues scales, usinga variety of jazz rhythmic patterns (e.g.,swung eighth notes) and articulations. Theteacher provided instruction and practicematerials using materials chosen frommethod books, computer software, andteacher-created resources.

• Students created short riffs using one ofthe scales and performed them for theclass. The teacher and class providedconstructive feedback.

• The teacher explained the relationshipbetween the scales studied and harmonicaccompaniment (e.g., dorian scale with aminor seventh chord) as well as simpleharmonic progressions (e.g., 12-bar blues,II V I). Students performed the scalesusing rhythmic patterns, and the rhythmsection used appropriate chords to accom-pany the class.

• Using the scales, students improvised,with the rhythm section playingappropriate, simple chord changes. Theclass was accompanied by the rhythmsection during class times, and by acomputer (“Band in a Box”) duringindividual practice times. Students firstimprovised together, then took turnsperforming individual solos in 4-bar,8-bar, and 12-bar sections, and eventuallyperformed in full choruses.

• Students listened to recordings of jazzmusicians provided by the teacher andfrom home, and analysed the improvisedsolos for the use of scale fragments, othermelodic sequences, and fragments offamiliar melodies. Students also discussedthe thoughts, images, and feelings evokedby the music.


D-32

• The teacher provided instruction,modelling, guidance, and feedback tostudents on an ongoing basis. Studentskept listening logs of their listeningexperiences, making entries of their jazzchoices as well as notes on the thoughts,images, and feelings evoked by recordedperformances, by their own performances,and by those of their peers. At the end ofthe log, students defended their listeningchoices, identifying melodic fragments,riffs, and rhythm patterns used in theseperformances.

• Assessment and evaluation were based onthe students’ performances of the scales,riffs, and improvised solos, and on thelistening logs.


Scales


• accurately perform the scales• accurately perform jazz rhythmic patterns

and idioms• accurately perform jazz articulations

Student Performance—Riffs and ImprovisedSolos


• use a variety of rhythmic patterns in a jazzstyle

• use identifiable melodic patterns fromscales, scale patterns, and familiarmelodies

• represent a broad range of thoughts,images, and feelings through the use of theelements of music (rhythm, melody,dynamics, timbre, harmony, articulation,form, principles of design)

Journals and Listening Logs


• express personal insights arising fromlistening and performing experiences

• identify rhythmic patterns, riffs, andmelodic fragments heard in listeningexperiences

• defend listening choices


PERFORMANCE

The teacher developed a technical andexpressive rating scale for students’ perfor-mances of the scales, a double-sided ratingscale for the rhythmic and melodic patternsin the performances of riffs and improvisedsolos, and a scale for the interpretation ofmusic recorded in their listening logs.


D-33

Technical Skills (Accurate notes, rhythms, articulation.) Rating

• notes

• rhythms

• articulation


Improvised Riffs and Solos Rating

• uses a variety of rhythmic patterns

• uses identifiable melodic patterns

Key: 1—unable to demonstrate2—demonstrates limited use3—uses appropriately2—uses somewhat appropriately1—uses inappropriately

RatingExpressive Interpretation

(Subtle nuances in dynamics, intonation, and phrasing.)

• dynamics

• intonation

• phrasing

Key: 4—always performs expressively3—usually performs expressively2—sometimes performs expressively1—rarely performs expressively


D-34

Thoughts, Images, and Feelings Scale

3— clearly expresses thoughts, images, andfeelings; uses the principles of designwith a variety of elements of expression;demonstrates creativity—creates aunique and personal product; productshows the extensive use of subtlenuances in dynamics and phrasing

2— vaguely expresses thoughts, images, andfeelings; uses the principles of designwith some elements of expression;demonstrates some creativity—creates apredictable product with unique ele-ments; product shows some use of subtlenuances in dynamics and phrasing

1— doesn’t express thoughts, images, andfeelings; demonstrates little use of theprinciples of design with elements ofexpression; demonstrates little creativ-ity—creates a predictable product;product shows little or no subtle nuancesin dynamics and phrasing

Listening Logs

3— demonstrates in-depth understandingand clarity of thought; uses supportingevidence from the music in ways thatconvince and offer new insights; uses avariety of music terms to describe themusic; gives extensive examples of riffsand melodic patterns, with personalresponses to these examples

2— demonstrates some depth of under-standing, but is somewhat vague whenexplaining analyses; uses supportingevidence from the music to representthinking; uses common music terms todescribe the music; gives some examplesof riffs and melodic patterns

1— demonstrates little depth of understand-ing and is unclear when explaininganalyses; finds limited support for ideasfrom the music; uses music vocabularyoccasionally to describe the music; givesexamples of riffs and melodic patterns


D-35

GRADE 10

Topic: Music History


Structure


• compare and contrast forms of musiccompositions from a variety of historical,cultural, and stylistic contexts


It is expected that students will

• analyse and communicate thoughts,images, and feelings about music thatrelate to social, historical, and politicalissues

• demonstrate respect for and understand-ing of the diversity of thoughts, images,and feelings evident in culturally, histori-cally, and stylistically diverse music

Context


• compare and contrast music from a rangeof historical and cultural contexts, includ-ing their interrelationships

• analyse how thoughts, images, and feel-ings are expressed in music within avariety of historical, cultural, and stylisticcontexts


EVALUATION

• Students listened to one or two musicexamples from the style periods. Listeningexercises were used to help studentsidentify specific music selections andcharacteristics of the style periods.Students analysed and discussed thehistorical and social contexts and how the

thoughts, images, and feelings of eachperiod are reflected in the music.

• Students worked in groups to createtimelines of specific historical, cultural, orsocial events. Students placed key worksof music and important changes inelements of expression (e.g., timbre,dynamic and harmonic ranges, texture) onthe timelines. They considered new musicforms and new instruments andensembles.

• Working in small groups, students chosea period to represent. They devisedquestions to research and exchange thataddressed historical, cultural, and socialissues and their impacts on the music ofthe time. Students exchanged questionswith other groups and discussed particu-lar style periods. Each group presentedtheir style period to the class, selectingsmall-ensemble music to perform thatreflected the period and using appropriatecostumes, art, and dance to enhance theperformance.

• Students worked in groups and completedone of the following research projects:- A case study of a musician from their

chosen period. The study includedworking conditions, the workscomposed by the musician, and howthat music reflected the political andsocial issues of the day. Examples of themusic performed or recorded wereincluded.

- A radio show or discography thathighlighted the popular music of differ-ent social classes across historical timeperiods. Examples of the music, alongwith an analysis of the important socialissues of the period, were included.


D-36


Timeline


• identify characteristics of the structuralelements of music for each of the majorstyle periods

• identify characteristics and qualities of thestyle period from listening examples

• identify the important historical and socialissues for each of the major style periods

• make connections among events, issues,and contexts, and reflect on the influencethey had on the music and the musiciansof the day

• use appropriate music terms to describethe style period

Group Performance and Research Project


• analyse, compare, and relate forms fromdifferent style periods

• make connections among events, issues,

and contexts, and reflect on the influencethey had on the music and the musiciansof the day

• analyse and describe the thoughts, images,and feelings evoked by music from differ-ent historical style periods (e.g., Baroque)

• identify how the social issues of the dayinfluenced the thoughts, images, andfeelings represented in the music of eachof the style periods

• use appropriate music terms to describethe style period

• choose or perform music that clearlyrepresents the style period and reflects themessage of the performance or project

• incorporate appropriate examples fromthe other fine arts that reflect the messageof the performance or project


PERFORMANCE

The teacher applied the criteria to thetimeline, the group performance, and theresearch project.

Timeline Rating

• identifies characteristics of the elements of music for each of the majorstyle periods

• identifies the characteristics and qualities of the style period fromlistening examples

• identifies the important historical and social issues for each of themajor style periods

• makes connections among events, issues, and contexts, and reflects onthe influence they had on the music and the musicians of the day

• uses appropriate music terms to describe the style period

Key: 3—complete and accurate: reflects a thorough understanding of the style periodand the historical and social events

2—accurate: shows an understanding of the major historical and social events1—some inaccuracies; not complete


D-37

Performance and Research Project

OutstandingThe performance or project analysis iscomplete, accurate, and demonstrates athorough understanding of the characteris-tics and elements of the style period. Theevents and their relationship to the music areidentified. Linkages to the historical andsocial contexts are clear and explicit. Theperformance or project insightfully describesthe thoughts, feelings, and images reflectedin the music, and uses many music termsappropriately and in ways that contribute tothe description of the music. Music chosen torepresent the period is not only representa-tive of the period but clearly communicatesthe intended message. The incorporation ofthe other fine arts, costumes, dance, andvisual arts is closely matched and enhancesthe performance or project. The performanceor project is unique and original.

GoodThe performance or project analysis iscomplete, accurate, and demonstrates under-standing of the major characteristics andelements of the style period. Events and theirrelationship to the music are identified, andthere are attempts to clearly link the musicand the historical and social contexts. Theperformance or project describes thethoughts, feelings, and images in the musicand appropriately uses several music termsto describe the music. Music chosen torepresent the period is representative. Theincorporation of the other fine arts, cos-tumes, dance, and visual arts enhances theperformance or project.

SatisfactoryThe performance or project analysis iscomplete but contains some inaccuracies. Abasic understanding of the major characteris-tics and elements of the style period is

demonstrated. Events and their relationshipto the music are identified, but no or fewattempts are made to clearly link the musicand the historical and social contexts. Theperformance or project describes, in a vaguefashion, the thoughts, feelings, and imagesreflected in the music, and uses some musicterms inappropriately to describe the music.Music chosen to represent the period isrepresentative. The other fine arts are incor-porated, but not always in a way that en-hances the performance or project.


D-38

GRADE 10

Topic: Sight-Reading in Context in aPerforming Ensemble (band, choir,strings)


Structure



• read and maintain a part accurately withincomplex textures and harmonies



EVALUATION

Students in this sample had previous musicexperience with their instruments or voices.

• Students listened to, identified, andperformed diatonic intervals to furtherdevelop ear-training skills. Studentsstudied repertoire to find examples ofthese intervals.

• Students examined new repertoire to findthe basic structure (e.g., repeats, codas,technically demanding sections, keychanges, metre changes, dynamicchanges).

• Students performed a piece of music,performing only the first beat of eachmeasure. They also sight-read unisonmusic, with each student performing adifferent measure.

• Assessment and evaluation of eachstudent was based on the individualperformance of diatonic intervals andshort sight-readings. Assessments were


also conducted during group sight-readings, both as part of the full ensembleand while individually performing ameasure.




• sight-read material with accuracy in:- notes, including key signatures and

accidentals- rhythms- dynamics- articulation- phrasing

Ensemble Selections


• perform notes accurately• perform in tune as an ensemble• achieve clarity of tone• create tonal balance and blend, both

within and between sections• identify and perform the basic structure

(e.g., repeats, codas) accurately• identify and perform technically demand-

ing sections, key changes, and metrechanges with control

• create cohesive sounds, showing control ofpulse, tempo, and rhythmic patterns

• perform articulations consistently andwith uniformity

• use musical techniques to create a sensi-tive, effective, and artistic performance

• communicate musical ideas using artisticsubtleties


PERFORMANCE

The teacher developed a performance ratingscale to assess and evaluate performances.

D-39


Skill and Expressive Interpretation Rating


Ensemble Selections

• performs notes accurately

• performs in tune as an ensemble

• achieves clarity of tone

• creates tonal balance and blend, both within and between sections

• identifies and performs the basic structure (e.g., repeats, codas)accurately

• identifies and performs technically demanding sections, key changes,and metre changes with control

• creates cohesive sounds, showing control of pulse, tempo, and rhyth-mic patterns

• performs articulations consistently and with uniformity

• uses musical techniques to create a sensitive, effective, and artisticperformance

• communicates musical ideas using artistic subtleties

• sight-reads material with accuracy in:

- notes, including key signatures and accidentals

- rhythms

- dynamics

- articulation

- phrasing

Key: 4—always performs skill accurately and expressively3—usually performs skill accurately and expressively2—sometimes performs skill accurately and expressively1—rarely performs skill accurately and expressively

APPENDIX EACKNOWLEDGMENTS

APPENDIX E: ACKNOWLEDGMENTS

E-2

E-3


Many people contributed their expertise to this document. The project co-ordinators wereAnne Hill and Kit Eakle of the Curriculum Development Branch, working with ministrypersonnel and our partners in education. The ministry would like to thank all who participatedin this process, including those who attended the Fine Arts Forum III, March 10–11, 1994.

LEARNING OUTCOMES WRITING COMMITTEE

Joe Berarducci School District No. 44 (North Vancouver)

Jodie Esch School District No. 62 (Sooke)

Susan Garret School District No. 38 (Richmond)

Peter Gouzouasis University of British Columbia

Mary Kennedy School District No. 61 (Greater Victoria)

Frank Ludwig School District No. 39 (Vancouver)

Gwenda Murray School District No. 36 (Surrey)

Judi Palipowski School District No. 68 (Nanaimo)

Sharyn White School District No. 43 (Coquitlam)

LEARNING OUTCOMES REVIEWS

Al Balanuik School District No. 68 (Nanaimo)

Sandra Davies University of British Columbia

Betty Hanley University of Victoria

Jan Manning School District No. 57 (Prince George)

Ian McDougall University of Victoria

Bette Otke School District No. 36 (Surrey)

Frances Smith School District No. 70 (Alberni)

Owen Underhill Simon Fraser University

John Willinsky University of British Columbia


E-4

IRP DEVELOPMENT SITES

School District No. 24 (Kamloops) John Churchley: Site manager

School District No. 45 (West Vancouver) Ian Brown: Site manager

MUSIC 8-10 IRP WRITING TEAM

Allan Anderson School District No. 38 (Richmond)

Jay Bigland School District No. 57 (Prince George)

John Churchley School District No. 24 (Kamloops)

Sydney Griffith School District No. 24 (Kamloops)

APPENDIX FGLOSSARY

APPENDIX F: GLOSSARY

F-2

F-3


This glossary defines terms used in this Instructional Resource Package as they pertain tomusic. Teachers may want to consult a specialized music dictionary for more comprehensivedefinitions of music terminology.

accidentals Sharps, flats, and naturals.

acoustic To do with the science of sound; also, not usingelectronic amplification (as in acoustic instru-ments).

ADSR The shape of the amplitude of a signal over time;attack: the beginning of a sound—the first part of anamplitude envelope; decay: the part of an amplitudeenvelope between the maximum volume of theattack and sustain; sustain: to maintain a consistentvolume—the section of an amplitude envelope atwhich the sound maintains a consistent volume;release: the final segment of an amplitudeenvelope—the time the sound takes to fall to zerofrom the sustain level after a key is released.

articulation Characteristics of attack and decay of tones and themanner in which the tone is started and ended.

binary AB, ABA Two phrases or sections, either or both of whichmay be repeated.

blues A vocal or instrumental jazz style, usually follow-ing a 12-bar, 8-bar, or 16-bar pattern.

canon The same melody sung or played by one or moreparts, beginning one after another; all parts endtogether.

contour The shape of a melody, as defined by the rise andfall of the sequence of pitches.

creative process An ongoing and circular process of exploration,selection, combination, refinement, and reflectionto compose music.

discography A bibliography of music recordings.


F-4

duration The length of time a pitch is sustained (from theattack to the release).

dynamics The degree of loudness or softness.

form The way a piece of music is structured (e.g., AB,ABA, rondo, canon, call and response, theme andvariations, march and trio).

harmony Simultaneously occurring pitches.

interval The distance between two music notes.

invented notation A system of music notation constructed to meet theunique requirements of a particular piece of music;may be diagrammatic, descriptive, narrative,pictorial, or a combination of any of these; detailsmay be precise or general in nature; computer andMIDI technology (e.g., MIDI event lists) may beused to create unique notation systems. (See alsostandard notation.)

melody The use of pitch and sequences of pitches.

metre The grouping in which a succession of rhythmicpulses or beats is organized; in standard notation,indicated by a time signature at the beginning of awork.

MIDI Musical Instrument Digital Interface—standardspecifications that enable electronic instrumentssuch as the synthesizer, sampler, sequencer, anddrum machine to communicate with one anotherand with computers.

Muzak A (trademarked) type of music used as backgroundor filler by restaurants, offices, shopping malls,telephone waiting, and so on; a general term forthis type of music.

ostinato A repeated rhythmic or tonal pattern, or both.

F-5


perform, performance Within the context of this IRP, performance refers toany production of sound or music and is notrestricted to formal presentations with a stage oraudience; can be seen as synonymous with play (ininstrumental settings) or sing (in choral settings).

percussion instrument An instrument with a resonating surface that isplayed by striking.

phrase A melodic sentence.

physical properties of sound The physics of sound: frequency, duration, ampli-tude, wave form, and sound envelope.

pitch The property of how high or low a note is, scientifi-cally determined by the frequency of vibrations.

polyrhythm Systematic exploitation of several rhythms per-formed simultaneously.

principles of design Unity, variety, repetition, emphasis, and pattern.

rhythm The arrangement of notes and silences of varyingduration.

sight-read Playing or singing music at first sight.

solfège Method of ear training, sight-reading, and notationthat uses syllabic names to represent the notes ofthe scale relative to the tonic—doh, re, mi, fa, sol, la,ti, doh (also known as sol-fa, tonic sol-fa, andsolfeggio).

solo One singer or player performing with or withoutaccompaniment.

soundscape A free-form composition using any arrangement orordering of sounds, and any combination of tradi-tional instruments, non-traditional instruments,voices, natural sounds, synthetic sounds, technol-ogy, and so on, may be represented in standardnotation, invented notation, or no notation.


F-6

standard notation Music notation that uses the five-line staff and ovalnotes with stems placed on the staff to representspecific pitch and rhythms in a standardized way.

tempo The use of slower and faster pulses or beats.

texture Various combinations of pitched or unpitchedsounds, or both.

timbre The character or quality of sound that distinguishesone instrument, voice, or sound source fromanother.

tonal centre The pitch on which a scale or melody is built.

voice May be categorized as soprano (S), alto (A), tenor(T), or bass (B), representing singing ranges fromhigh to low; music is often arranged in SATB formas well as SA, SSA, SAB, TTBB, and so on. Otherintermediate voices include mezzo-soprano, con-tralto, and baritone.

vocables Music where the voice is used primarily as aninstrument, producing vocal sounds as opposed towords.

APPENDIX GPLANNING YOUR PROGRAM

APPENDIX G: PLANNING YOUR PROGRAM

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G-3


The Music 8 to 10 Integrated ResourcePackage has been designed toprovide flexibility in organizing and

implementing courses and programs to bestmeet the needs of students, teachers, andcommunities.

Courses offered in music in grades 8 to 10may be designated as:

• Music 8• Music 9• Music 10

These courses could be further designatedaccording to the specific focus or methodol-ogy (e.g., Music 9: Concert Band, Music 9:Jazz Choir, Music 9: Multimedia Music).

Districts and schools may choose to developprograms that integrate more than one of thefine arts disciplines. For students to satisfythe fine arts requirement for grades 8 to 10,however, they must meet all learning out-comes from one of the disciplines (music,dance, drama, visual arts). This requirementensures that students receive a strong foun-dation in at least one of the fine arts disci-plines. Units within an integrated fine artsprogram might include:

• How the Arts Mirror and Influence Society• The Arts Within Cultures and Across Time• Musical Theatre• Design• Filmmaking• Arts in the Media

There are many common components acrossthe four fine arts curricula; identifying thesecommonalities will facilitate educators indeveloping integrated units or programs. Toassist this process, the graphic on the follow-ing page illustrates the curriculum organiz-ers for each of dance, drama, music, andvisual arts.

ORGANIZING FOR INSTRUCTION

Schools or districts may choose to deliver theprescribed learning outcomes in an instru-mental or vocal ensemble, or in a classroommusic setting. Teachers wishing to adaptexisting programs to fit the new curricularrequirements must ensure that all of theprescribed learning outcomes are met.

A classroom music course or program couldfocus on:

• music composition• multimedia music• musicology• music theatre• music criticism

An instrumental ensemble course orprogram could focus on:

• concert band• jazz band• orchestra• chamber ensemble• guitar• piano

A vocal ensemble course or program couldfocus on:

• concert choir• chamber choir• show choir• jazz choir

When planning a music program andsequencing lessons, teachers may considerwhether they have:

• addressed the prescribed learning out-comes

• included opportunities for creating,listening to, and performing music

• set appropriate goals• mapped out a sequence of lessons


G-4

Presentation andPerformance

Creation andComposition

Dance and Society Elements ofMovement

Exploration andImagination

Context Drama Skills

Body and VoiceDrama as Metaphor

Elements and StructuresRole

Technique

Image-Developmentand

Design Strategies

Context Visual Elements andPrinciples of Art

and Design

Materials,Techniques,

and Processes

Creating/CommunicationPerceiving/Responding




Thoughts, Images,and Feelings

Context Structure

Elements of ExpressionElements of MelodyElements of Rhythm

Form and the Principles of Design

Visual Arts

Drama

Dance

Music

Historical and CulturalSelf and Community

Social and CulturalMaking Connections

Critical AnalysisExpression and Trust

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• included opportunities for the students toexplore and express themselves throughmusic

• included opportunities for students toresearch ideas and topics

• included opportunities for both individualand group work

• included opportunities for students toreflect on their work

• included opportunities for listening andresponding to the music of others

• included a range of cultural content• addressed a range of learning styles• included activities and strategies relevant

for both male and female students• made lessons relevant to students and

their communities• made plans for assessing the extent to

which students are achieving the learningoutcomes

For examples of units specific to classroom,instrumental, and vocal instruction, see"Planning for Assessment" in Appendix D.

Whether classroom, instrumental, or vocal, amusic program should include a range ofopportunities for creating, listening to, andperforming music. These experiences willserve as the basis for exploration of musicconcepts as articulated by this curriculum.As students refine the use of the structuralelements, the principles of design, theirperceptions and responses (thoughts,images, and feelings), and their understand-ing of the personal, societal, historical, andcultural contexts of music, they are affordedgreater possibilities for a wider variety ofexperiences.

A number of considerations should be keptin mind when designing a music program

that includes a range of music styles. Musicchoices should include:

• music appropriate for students’ individualneeds, interests, and abilities

• music representative of the cultural diver-sity of the local community, BritishColumbia, and Canada

• music representing a range of historicaltime periods, regions and countries,cultures, and styles

• music from a range of acoustic, electronic,and environmental sound sources

• the work of both female and malecomposers and performers

To ensure that a broad range of learningopportunities is included in their musicprograms, teachers may want to co-ordinatewith teachers of other subject areas. Here aresome possibilities for integration:

Rhythm

• dance: rhythm and metre in dance• English language arts: metre in poetry• mathematics: fractions

Melody

• visual arts, dance, English language arts:use of line and phrasing; use of melody totell a story

• mathematics: graphing• science: physics of pitch

Elements of Expression

• visual arts: use of a variety of colours,textures, and so on

• dance: performance of individual dancerscombining to achieve a group effect

• drama, English language arts: dramaticuse of dynamics

• science: physics of sound


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Form and the Principles of Design

• dance, drama, visual arts, Englishlanguage arts: principles of design in otherart forms


• drama, visual arts, dance: thoughts,images, and feelings evoked by andrepresented through the other fine arts;use of one art form to enhance images inanother (e.g., use of music in drama, use ofvisual arts design principles in dance setsand costumes)

• English language arts, career and personalplanning: ability to articulate responses;respect for others

Self and Community

• dance, drama, social studies, businesseducation, career and personal planning:role and function of individuals withinorganizations or ensembles

• dance, drama, visual arts, businesseducation: common elements of concertpromotion and administration

• English language arts: writing of reviewsand critiques

• career and personal planning: careers andlifelong opportunities in music

Historical and Cultural

• drama, dance, visual arts, home econom-ics, social studies: elements of culture orhistory related to the music of that cultureor time period

LEARNING STYLES AND INSTRUCTIONAL

STRATEGIES

In order to meet the needs of the widestpossible range of learners, teachers arestrongly encouraged to use a variety of

instructional strategies when planning andimplementing a music program.

Types of instructional strategies and learningstyles include:

• direct instruction (e.g., teacher-directedrehearsal, structured overview, lecture,demonstration, didactic questions)

• indirect instruction (e.g., problem solving,case studies, inquiry, concept mapping)

• independent learning (e.g., research, com-puter-aided instruction, home practice,learning centres)

• experiential learning (e.g., field studies,experiments and exploring, games, perfor-mances, non-directed listening)

• interactive instruction (e.g., co-operativecomposition or performance groups, peercoaching, debates, problem solving,interviewing, role play, improvisation)

For more information on the use of many ofthese strategies, refer to the publicationSelected Strategies for Instruction (Province ofBritish Columbia, Ministry of Education,1995). For more information on strategiesrelated to classroom equity and inclusion(students with special needs, female andmale students, and students for whomEnglish is a second language), please refer toAppendix C of this integrated resourcepackage.

The view of music education embodied inthis curriculum reflects the belief that in-structional approaches should:

• emerge from and reflect the diverse musicexperiences of people throughout theworld

• allow all learners to be actively involved inmusic through opportunities to create,listen to, and perform music throughouttheir educational program

• reflect the variety of media and contextsthrough which people experience music

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Three broad strategies relevant to musicclasses are creating music (students composemusic), responding to music (live or recordedpresentations), and performing music. Thesethree strategies are outlined below.

CREATING MUSIC

Depending on the particular classroomsituation, initial activities in music creationmay need to be more structured. Oncestudents are familiar with the process, lessstructured activities can be included.

Equipment should be both available andfamiliar to the teacher. Found andhomemade instruments can be used alongwith classroom instruments and technology.

The following suggestions may help teachersstructure activities that allow students tocreate compositions as a whole class, in smallgroups, or individually. These suggestionsare intended to be flexible enough to suitstudents with varied musical backgrounds:some students in the class may be able toplay instruments, while others may havelittle or no formal training in playing amusical instrument.

• Provide a context or motivation for com-position. Student-created compositionscan illustrate a larger context, for example,students can demonstrate their under-standing of the elements of expression, theprinciples of design, or the historical andcultural contexts of music.

• Discuss objectives and establish criteria.• Guide students as they create composi-

tions. Assist them as they:- decide on a focus (e.g., expressing a

feeling or idea; matching sounds withvisual images; interpreting a poem orstory; creating a soundtrack for a car-toon; exploring specific elements ofrhythm, melody, or expression; trans-

forming a previously composed work;solving a given problem)

- collect sounds and melodic or rhythmicideas (e.g., animal sounds, electronicsounds, environmental sounds; foundobjects, acoustic and electronic musicalinstruments, voices, body percussion)

- explore (attempt to balance instructionaltime and problem-solving activities)

- develop compositions (combine andsequence sounds into compositions orforms of expression that are personallymeaningful)

- refine and evaluate• Give students opportunities to rehearse

and perform their compositions.• Encourage students to reflect on and

assess their work.• Help students extend and redirect their

experiences. Encourage students to talkabout their project to composers, to listento recordings of music that illustrate thesame principles they were using, to attendlive performances, to adapt or expandtheir original idea to create a new compo-sition, or to apply their composition toanother subject area such as dance, litera-ture, or visual arts.

Adapted from Arts Education: A Curriculum Guide forGrade 8 (Saskatchewan Education, Training andEmployment, September 1994).

RESPONDING TO MUSIC

Listening to live or recorded music should bean active experience for audience members.Teachers should encourage students tobecome totally immersed in the music:aurally, emotionally, and physically.

Students bring varied perspectives andassociations to their music presentations,unique cultural and personal backgrounds,and ways of knowing, Because these per-spectives are personal and will vary from


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student to student, an atmosphere of trustand respect must be established. Studentsshould be asked to express their opinions,and encouragedto realize that their uniqueperspectives will enhance other students’listening experiences.

People respond in different ways to the samemusic presentation. It is also true that oneperson can, and in most cases should, re-spond in more than one way. The followingare three ways students may respond to theirwork, the work of peers, or live or recordedmusic:

• on an emotional level—feelings evoked bythe music

• an associative level—associations madewith the music or with images in themusic; (may be of a personal nature orcome from a cultural perspective)

• on a formal intellectual level—responsesfollowing a formal analysis and interpreta-tion of the music

The three types of responses shift inemphasis and vary from listener to listenerand from one piece of music to another.

When structuring a formal response activity,teachers may wish to include the followingsteps:

• preparation—establish the focus for listen-ing to the music

• first impressions—respond spontaneously(no wrong answers)

• description—students take inventory ofwhat they heard, responding objectivelyrather than interpretively

• analysis:- use appropriate terminology to identify

the relationships between and amongthe structural elements of music and theprinciples of design

- identify the structure or form

- identify cultural indications representedin the music

- identify how the musicians used theelements and principles to achievecertain effects

• interpretation:- students reflect on and discuss what the

music means to them (e.g., What is thework about? What does it mean? Whydid the artist create the work?)

- students analyse how their responsesare influenced by their experiences andperceptions of the world

• background information—students researchor are provided with biographical, histori-cal, and cultural information about thecomposer or performer

• informed judgment—students refer back totheir first impressions and support theirinitial opinions of the work, or developand support a new opinion of the musicand its value based on their discussions,research, and reflections

These steps may be combined or rearrangedas to suit the situation.

When students research, analyse, and inter-pret the background of music of variouscultures and time periods, the followingtopics may be considered:

• the origin of the music• the purpose of the music (e.g., social,

ritual, ceremonial, celebratory, occupa-tional)

• the geography and climate of the countryof origin

• the beliefs and customs of the culture orera

• any historical factors that may have influ-enced the music

• the symbolism, if any, used in the music

Adapted from Arts Education: A Curriculum Guide forGrade 8 (Saskatchewan Education, Training andEmployment, September 1994).

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WORKING WITH THE MUSIC COMMUNITY

To broaden the range of music opportunitiesfor students, teachers may wish to teamteach with other music instructors andmusicians in the community (e.g., perform-ers, teachers, therapists, technicians).

Whether making or responding to music,students’ opportunities for learning may begreatly enriched when guest composers ormusicians from the community are involved.Students should also have opportunities towork as composers or conductors, creatingmusic for themselves or younger students.Teachers are encouraged to provide theseexperiences whenever possible.

When working with guest composers andmusicians, teachers should:

• arrange for a meeting to discuss appropri-ate learning outcomes and expectations,and areas of the curriculum to be ad-dressed (e.g., include focusses on thestructural elements and the historical,cultural, and societal contexts)

• prepare students for the experience (e.g.,discuss the expectations for process andetiquette, allow for pre-learning of special-ized techniques or background informa-tion)

• determine the needs of the guest musician(e.g., equipment, space, time)

• allow time for debriefing with studentsand guests

When students are working as composers orconductors with peers or younger students,encourage them to consider the following:

• What might the particular student musi-cians be reasonably able to accomplish atthat grade level?

• What warm-up activities and backgroundinformation need to be incorporated?

PERFORMING MUSIC

Music is a performing art. One of the mostefficient and effective ways to learn aboutmusic is to experience it through perfor-mance. Whether formal or informal, perfor-mance allows students to develop theirmusic abilities in all three areas of the cur-riculum: Structure; Thoughts, Images, andFeelings; and Context. Opportunities toperform their own and others’ music enablesstudents to shape and refine their ideastoward a more polished work and to inte-grate their music knowledge and attitudeswith their technical skills.

When designing activities related to perfor-mance, consider opportunities for studentsto develop and apply their knowledge andskills related to the following:

• appropriate warm-up and tuning tech-niques

• appropriate performance techniquesparticular to their instruments or voices

• ability to follow the conductor, and toconduct the ensemble themselves asappropriate

• posture, breath support, free and opentone, and accurate pitch

• interpretation and musical effect• performance etiquette (as appropriate to

the given situation)• notation reading skills• maintaining their individual part while

respecting the work of the ensemble• commitment to the rehearsal process

(including individual, section, and en-semble, and including out-of-class practiceas appropriate)

• application of elements of stagecraft (e.g.,video, lighting, sets, costumes)


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• Is the music appropriate for a schoolsetting?

• Is there a plan established for workingthrough and sequencing the various partsof the music?

• What are the criteria for success?

Teachers and students should consider thefollowing community resources for broaden-ing the range of learning opportunities inmusic:

• professional and community performanceensembles

• music studios, companies, and associa-tions

• community, provincial, and national artscouncils

• college and university fine arts depart-ments

• school and public libraries• music teachers’ associations• cultural associations• community and recreation centres• arts periodicals and publications• arts broadcasting (radio, television)• continuing education programs• cultural festivals• Internet web sites for music

ADDITIONAL CONSIDERATIONS FOR

INSTRUCTION IN MUSIC

When planning a music program, consider-ation must be given to health and safetyissues, facilities, materials, and sensitivecontent.

Creating a Safe Learning Environment

Teachers should address the followingquestions prior to, during, and after anactivity has taken place:

• Are students aware of established safetyrules and procedures (e.g., hearingconservation, health procedures whensharing instruments)?

• Is the activity suitable to the gender,interest, confidence, ability, and physicalcondition of the students ?

• Has the instruction been sequenced pro-gressively to ensure safety?

• Are the students being properly super-vised?

• Have students been given specific instruc-tions about how to use the facilities andtheir instruments appropriately?

• Are the facilities and equipment suitableand in good repair?

In addition to physical safety, teachersshould consider the emotional safety ofstudents when planning a music program.Be sensitive to individual students, and beprepared to respond to unique situationsand to develop creative strategies to dealwith rivalry, stress, stage fright, and so on.Teachers should also be aware of activitiesthat may cause emotional or psychologicalstress for individual students (e.g., publicperformances, performance tests) and beprepared to offer alternative strategies asnecessary.

Sensitive Content

Some students or their parents may feel adegree of sensitivity or special concerntowards certain matters arising from musicclassroom activities (e.g., religious or culturalcontexts, social pressure on adolescents,human sexuality, standards of personalbehaviour, assertive communication). Thefollowing are some suggested guidelines fordealing with sensitive issues:

• Inform parents of the objectives of thecurriculum before addressing any sensi-tive issues in the classroom, and provideopportunities for them to be involved intheir children’s learning.

• Be aware of district policy and proceduresregarding instruction involving sensitive

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issues (e.g., policy for exempting studentsfrom participation in certain classroomactivities).

• Be aware of provincial policy and legisla-tion related to matters such as disclosurein cases of suspected child abuse.

• Obtain the support of the school adminis-tration before engaging in any potentiallysensitive instruction.

• Inform an administrator or counsellorwhen a concern arises.

• Be aware of warning signals for eatingdisorders, suicide, and child abuse (e.g.,excessive perfectionism, compulsiveexercising, depression, very low or highbody weight).

• Obtain appropriate in-service training orconsult with those in the school who haverelevant expertise (e.g., a teacher counsel-lor) before beginning instruction in a new,unfamiliar, or potentially sensitive area ofstudy.

• Establish a classroom environment that isopen to free inquiry and to various pointsof view.

• Avoid dealing with controversial issuesuntil class members have had enough timetogether to become comfortable with eachother and to have learned an appropriateprocess for addressing such issues.

• Promote critical thinking and open-mindedness, and refrain from taking sides,denigrating others, or presenting a biassedpoint of view.

Of particular issue to music classes is theappropriateness of music repertoire. Whilethis curriculum advocates opportunities forstudents to play, listen to, and discuss theirmusic choices, teachers should ensure un-suitable music is not played if appropriatecontext has not been established (e.g., ob-scenities, images of violence, gender rolestereotypes). It is recommended that teachers

listen to students’ musical choices beforeallowing them to be played and prepare tofocus discussion on any sensitive issues thatmay arise. In addition, music for particularoccasions or contexts (e.g., Christmas, Hal-loween, national anthems, political protestsongs) may be religiously or culturallyobjectionable for some students. Teachersshould ensure that a range of contexts inperforming and listening repertoire arerepresented, and should be prepared to offeralternative strategies.

Facilities

Although several components of the curricu-lum can take place in regular classrooms(e.g., learning about the historical andcultural contexts of music), the performancecomponents of the curriculum requirecertain physical considerations. Whenchoosing or designing a facility for thephysical components of the curriculum,consider the following:

• Are the acoustics appropriate from asafety and aesthetic point of view?

• Does the facility offer flexibility in termsof seating and arranging musicians(e.g., movable chairs and risers)?

• Is the space open and unobstructed?• Is there adequate lighting, heating, and

ventilation?• Is there access to video equipment,

computer technology, and an adequatesound system?

• Is there access to storage (for instruments,music, equipment)?


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CAREERS RELATED TO MUSIC

The following list may help students andteachers to research careers in music.

Performer

advertisingamusement parks and tourist attractionscontemporary music ensemblesculture-specific companiesfilm, video, and televisionhistorical formsindependent, freelancenight clubspit orchestrasymphonic orchestra

Composer

advertisingarrangerartistic directorfestivals, spectacles (e.g., Olympics, CanadaDay)form own companyfreelance, independentmusical theatrevideos, film, and television

Teaching

colleges and universitiescommunity centrescompany teachingconservatoriesmusic therapyprivate studiopublic or private school systemsrehearsal director

Administration

archivistcommunity arts council

company managementconcessions, usherseducational programmingfacility management (e.g., theatre, commu-nity centre, parks and recreation program)festival organizersfinancial administrationfront-of-house managementfundraising, developmentmarketing, publicitynotatersproducingrepresentative or agent for artistsretailsecuritytour management

Technical

copyistfilm and video operatorsfilm and video production, post productionrecording techniciansequencersound design

Writing and Criticism

academicbiographiesbroadcast journalismcommunications specialistsdevelopmenthistoricaljournalsmagazinesnewspaperspublicity, promotion

Documents

Music 8 to 10 (1995)