HARMONY AND COMPOSITION I

CURRICULUM

Newtown Public Schools Newtown, CT

Adopted by the Board of Education August 2009

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NEWTOWN SUCCESS-ORIENTED SCHOOL MODEL

Quality education is possible if we all agree on a common purpose as we work together to continuously improve the teaching and learning process. We believe that ALL CHILDREN CAN AND WILL LEARN WELL. The system strives to establish high standards for our students, faculty, and staff through the curriculum documents. Mastery of this curriculum depends on the effort and persistence of the learner, the support of the parents, and the knowledge, skills and persistence of the staff. In order for our students to reach the goals of cognitive achievement, students must learn how to use the process skills of decision-making, problem solving, and critical thinking. Students need to take responsibility for their learning by becoming self-directed, active participants in the educational process. We must continuously work to improve the learning environment and the curriculum. To improve, we must analyze what we believe, what we know, and what we want before we take action to reach these goals. It is the responsibility of the staff of the Newtown Public Schools to provide all children with the opportunity to learn well. We believe that the students and staff will be more productive when basic human needs are met. These needs include: Belonging, the need for positive relationships; Competence, the need to be successful; Freedom, the need to have control over decisions; Fun, the need to enjoy life; and Survival, the need for shelter, food and good health. Living and working with others enriches the experiences of students. Positive self-esteem brings productivity and personal satisfaction to students and to staff. This esteem can be nurtured through opportunities to self-evaluate constructively and see performance improve as a result of work.

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Newtown High School Mission and Learning Expectations

Newtown High School is committed to building a community that pursues rigorous academic goals and personal responsibility. We also

encourage dignity, civility, and tolerance. At Newtown High School, students and teachers work together so that all members of the school community can reach the highest possible level of individual potential.

In our partnership of students, teachers, parents, and community members, we work to promote success in a challenging environment

and to cultivate competent, contributing, and productive citizens.

Graduates of Newtown High School will:

Academic Expectations

Demonstrate strategies to identify, locate, and interpret information Relate and apply new knowledge using a variety of resources

including technology Take and support a position on information and ideas Convey information and ideas in a given written format Use inquiry strategies and apply appropriate procedures to solve and

communicate an authentic problem or situation Convey information and ideas to others in a presentation using spoken

language, non-verbal language and multi-media

Civic Expectations

Develop opinions on a variety of issues Exhibit involvement in the classroom, school, and larger community

through speech and action

Social Expectations

Value personal integrity, respect for others, and appreciation for diversity

Share responsibility with others to address and resolve issues

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HARMONY AND COMPOSITION I CURRICULUM

FOCUS ON THE MISSION STATEMENT

FOCUS GOALS: Academic Expectations

Relate and apply new knowledge using a variety of resources including technology

Convey information and ideas in a given written format Social Expectations

Value personal integrity, respect for others, and appreciation for diversity

OPPORTUNITIES TO MEET THE STANDARDS AS SCORED BY THE ANALYTICAL RUBRICS:

• Projects in original music composition provide opportunities to satisfy the Graduation Standard in Written Performance.

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Newtown Public Schools Harmony and Composition I

Music Standards with Objectives

Creating The students will…

Compose and arrange music within specified guidelines

• Compose simple, singable melody firmly rooted in a specific key or mode.

• Harmonize a melody using the simple procedures of parallelism (also called organum) and note-against-note counterpoint.

• Arrange an original melody into a short musical composition.

• Compose and realize a Roman numeral progression in simple keyboard texture and with strong voice leading.

• Compose strong melody to a given chord progression.

Performing The students will…

Sing, alone and with others, a varied repertoire of music

• Sight-sing simple melodies.

Perform on instruments, alone and with others, a varied repertoire of music

• Demonstrate key musical concepts through performance (using singing, keyboard, and student’s primary performance area).

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The students will…

Read and notate music

• Read and write music using basic notation in treble and bass clefs.

• Identify and notate the following fundamentals of music:

1. Pitches 2. Intervals 3. Scales and keys (major-minor, modes) 4. Triads (root-position and inversions) 5. Metric organization 6. Rhythmic values and patterns 7. Basic performance indications (tempo,

dynamics)

Responding

The students will…

Listen to, analyze, and describe music

• Apply terminology associated with the following fundamentals of music:

1. Pitches 2. Intervals 3. Scales and keys (major-minor, modes) 4. Triads (root-position and inversions) 5. Metric organization 6. Rhythmic values and patterns 7. Basic performance indications (tempo,

dynamics) • Complete rhythmic and melodic dictations. • Apply Roman numeral analysis to a diatonic chord

progression. • Identify and describe the following common-practice

procedures: 1. Functional triadic harmony in simple keyboard

texture (with vocabulary including diatonic triads)

2. Tonal relationships (e.g., standard root progressions)

3. Open versus closed cadence types 4. Standard rhythms and meters 5. Period phrase structure 6. Basic voice leading (i.e., how individual parts

move and interact linearly) 7. Simple non-harmonic tones (i.e., passing and

neighboring tones, pedal point)

• Analyze and apply appropriate terminology to aural examples of repertoire, including a wide variety of vocal and instrumental music taken from the standard Western tonal repertoires as well as vernacular styles.

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The students will…

Evaluate music and music performances

• Assess musical compositions for adherence to specified guidelines and principles.

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Harmony and Composition 1 (Newtown High School) Unit 1: Read and Notate Music

Essential Question: How is music written down and read? Big Idea: The ability to read and notate music allows one to perform and create musical works with accuracy and consistency. Standards with Objectives for this Unit: Read and notate music: Read and write music using basic notation in treble and bass clefs.

• Demonstrate understanding and fluency with the following concepts: • pitches on the musical staff (bass and treble clefs) • standard musical rhythms in standard meter • appropriate layout and spacing of a musical score

Identify and notate the following fundamentals of music: • Demonstrate understanding and fluency with the following concepts:

• Pitches • Intervals • Scales and keys (major-minor, modes) • Triads (root-position and inversions) • Metric organization • Rhythmic values and patterns • Basic performance indications (tempo, dynamics)

Performance Assessment: Assessment Task: Students will perform defined tasks (see Suggested Activities below) to demonstrate their ability to read and notate music. In general:

Teacher observes students individually for proper understanding of vocabulary and concepts.

Teacher observes submitted student work for adherence to specified guidelines and proper use of concepts.

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Standard: (Performance Standard Rubric)

Developing Standard Near Standard Meets Standard Exceeds Standard

Read and write music using basic notation in treble and bass clefs.

Inconsistently demonstrates ability to read and write a basic musical score with appropriate layout and accurate notation of pitch and rhythm.

Occasionally demonstrates ability to read and write a basic musical score with appropriate layout and accurate notation of pitch and rhythm.

Accurately demonstrates ability to read and write a basic musical score with appropriate layout and accurate notation of pitch and rhythm.

Consistently demonstrates ability to read and write a basic musical score with appropriate layout and accurate notation of pitch and rhythm.

Identify and notate

musical pitch.

Inconsistently demonstrates ability to identify and notate pitches on treble- and bass-clef staves.

Occasionally demonstrates ability to identify and notate pitches on treble- and bass-clef staves.

Accurately demonstrates ability to identify and notate pitches on treble- and bass-clef staves.

Consistently demonstrates ability to identify and notate pitches on treble- and bass-clef staves.

Identify and notate

intervals.

Inconsistently demonstrates ability to identify and notate pairs of pitches separated by specific musical intervals.

Occasionally demonstrates ability to identify and notate pairs of pitches separated by specific musical intervals.

Accurately demonstrates ability to identify and notate pairs of pitches separated by specific musical intervals.

Consistently demonstrates ability to identify and notate pairs of pitches separated by specific musical intervals.

Identify and notate scales

and keys.

Inconsistently demonstrates ability to identify and notate key signatures and scales corresponding to all major and minor keys in the tonal system.

Occasionally demonstrates ability to identify and notate key signatures and scales corresponding to all major and minor keys in the tonal system.

Accurately demonstrates ability to identify and notate key signatures and scales corresponding to all major and minor keys in the tonal system.

Consistently demonstrates ability to identify and notate key signatures and scales corresponding to all major and minor keys in the tonal system.

Identify and notate triads.

Inconsistently demonstrates ability to identify and notate collections of pitches that form the standard types of triad: major, minor, diminished, and augmented.

Occasionally demonstrates ability to identify and notate collections of pitches that form the standard types of triad: major, minor, diminished, and augmented.

Accurately demonstrates ability to identify and notate collections of pitches that form the standard types of triad: major, minor, diminished, and augmented.

Consistently demonstrates ability to identify and notate collections of pitches that form the standard types of triad: major, minor, diminished, and augmented.

Identify and notate metric organization

in music.

Inconsistently demonstrates ability to identify and notate notes and phrases that conform to standard musical meters (e.g., 3/4 and 4/4).

Occasionally demonstrates ability to identify and notate notes and phrases that conform to standard musical meters (e.g., 3/4 and 4/4).

Accurately demonstrates ability to identify and notate notes and phrases that conform to standard musical meters (e.g., 3/4 and 4/4).

Consistently demonstrates ability to identify and notate notes and phrases that conform to standard musical meters (e.g., 3/4 and 4/4).

Identify and notate basic

rhythmic values and patterns.

Inconsistently demonstrates ability to identify and notate notes and phrases that make appropriate use of basic rhythmic values and patterns.

Occasionally demonstrates ability to identify and notate notes and phrases that make appropriate use of basic rhythmic values and patterns.

Accurately demonstrates ability to identify and notate notes and phrases that make appropriate use of basic rhythmic values and patterns.

Consistently demonstrates ability to identify and notate notes and phrases that make appropriate use of basic rhythmic values and patterns.

Identify and notate basic performance indications.

Inconsistently demonstrates ability to identify and make appropriate use of basic performance indications with respect to tempo and dynamics.

Occasionally demonstrates ability to identify and make appropriate use of basic performance indications with respect to tempo and dynamics.

Accurately demonstrates ability to identify and make appropriate use of basic performance indications with respect to tempo and dynamics.

Consistently demonstrates ability to identify and make appropriate use of basic performance indications with respect to tempo and dynamics.

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Suggested Activities: As topics are introduced, students drill and reinforce concepts by completing frequent written homework assignments. These worksheets are generally completed individually and collected for grading. Because the task of correcting errors is an invaluable learning experience, the teacher may allow students to complete corrections on certain assignments. For further practice of course concepts and skills, students may utilize educational drill software. Such drill activities may be configured to stress specific materials or skills. Drilling independently, students have the benefit of immediate feedback and personalized configuration of activity. Teacher may lead class in sight-singing exercises. These exercises should be carefully graded for appropriate level of difficulty and may be performed as a class or individually. Teacher may facilitate practice in the dictation of musical materials. (In dictation, the student writes down in complete and appropriate musical notation that which the student hears.) The subjects for dictation should be carefully sequenced and graded for appropriate level of difficulty. Specific activities may include:

1. dictation of intervals and scales, 2. dictation of triad types, 3. dictation of isolated rhythms or rhythmic phrases, and 4. dictation of melodic phrases.

Teacher Resources: Books: Music Theory: Benward, Bruce and Marilyn Saker. Music in Theory and Practice, Vol. 1. 7th ed. Boston: McGraw Hill, 2003. Damschroder, David. Foundations of Music and Musicianship. 2nd ed. Belmont, CA: Wadsworth/Thomson Learning, 2002. Feldstein, Sandy. Practical Theory Complete: A Self-Instruction Music Theory Course. Alfred Publishing Co., Inc., 1982. Spencer, Peter. The Practice of Harmony. 5th ed. Upper Saddle River, NJ: Pearson Prentice Hall, 2004. Sight-singing: Berkowitz, Sol and Gabriel Fontrier and Leo Kraft. A New Approach to Sight Singing. 4th ed. New York: W. W. Norton and Company, 1997. Damschroder, David. Foundations of Music and Musicianship. 2nd ed. Belmont, CA: Wadsworth/Thomson Learning, 2002. Ottman, Robert W. Music for Sight Singing. 4th ed. Upper Saddle River, NJ: Prentice Hall, 1996.

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Student Resources: Software: MiBAC Music Lessons I. Version 4.0. Northfield, MN: MiBAC Music Software, Inc., 2004. MiBAC Music Lessons II. Version 1.1.1. Northfield, MN: MiBAC Music Software, Inc., 2004. Books: Music Theory: Benward, Bruce and Marilyn Saker. Music in Theory and Practice, Vol. 1. 7th ed. Boston: McGraw Hill, 2003. Damschroder, David. Foundations of Music and Musicianship. 2nd ed. Belmont, CA: Wadsworth/Thomson Learning, 2002. Feldstein, Sandy. Practical Theory Complete: A Self-Instruction Music Theory Course. Alfred Publishing Co., Inc., 1982. Spencer, Peter. The Practice of Harmony. 5th ed. Upper Saddle River, NJ: Pearson Prentice Hall, 2004. Sight-singing: Berkowitz, Sol and Gabriel Fontrier and Leo Kraft. A New Approach to Sight Singing. 4th ed. New York: W. W. Norton and Company, 1997. Damschroder, David. Foundations of Music and Musicianship. 2nd ed. Belmont, CA: Wadsworth/Thomson Learning, 2002. Ottman, Robert W. Music for Sight Singing. 4th ed. Upper Saddle River, NJ: Prentice Hall, 1996. Teacher-generated handouts, such as: Lee, Christopher. Course Textbook: Harmony and Composition I.

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Harmony and Composition 1 (Newtown High School) Unit 2: Compose and Arrange Music

Essential Question: How does one organize musical materials into well-constructed and expressive musical works? Big Idea: The ability to compose and arrange music within specified guidelines allows one to create musical works with solid construction and maximum expressivity. Standards with Objectives for this Unit: Compose and arrange music: Compose simple, singable melody firmly rooted in a specific key or mode.

• Describe key features of a simple, singable melody, utilizing the following concepts and vocabulary:

o Range o Step vs. leap o Conjunct vs. disjunct motion o Phrase o Rhythm o Tonic emphasis o Melodic flow and shape o Melodic peaks and valleys

• Set up a musical score with proper notation (e.g., clef, time and key signatures, bar lines, tempo marking).

• Compose melody according to specified guidelines, such as: o Utilize a specific scale (i.e., major/minor scale or church mode) o Utilize the phrase structure of a two-phrase period

Harmonize a melody using the simple procedures of parallelism (also called organum) and note-against-note counterpoint.

• Given a melody, compose a harmony part utilizing parallelism (organum). • Describe key features of a successful note-against-note countermelody, utilizing

the following concepts and vocabulary: o Types of motion (i.e., parallel, similar, oblique, and contrary motion) o Predominance of imperfect consonance (i.e., 3rds and 6ths) in the

harmonic intervals • Given a melody, compose a successful note-against-note countermelody.

Arrange an original melody into a short musical composition. • Create a musical arrangement utilizing the materials presented in class, such as:

o Simple, singable melody o Harmonization of melody o Pedal point accompaniment o Tempo/expression markings o Musical dynamics

Compose and realize a Roman numeral progression in simple keyboard texture and with strong voice leading.

• Create a strong chord progression with Roman numeral analysis and following specified guidelines.

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• Given a chord progression, create a keyboard realization (i.e., piano arrangement) with strong voice leading (i.e., smoothness of parts).

Compose strong melody to a given chord progression. • Demonstrate understanding of the following concepts:

o Chord tones o Non-chord tones (i.e., passing and neighboring tones)

• Create melody that is independently strong and combines well with a given chord progression.

Performance Assessment: Assessment Task: Students will perform defined tasks (see Suggested Activities below) to demonstrate their ability to compose and arrange music within specified guidelines. In general:

Teacher observes students individually for proper understanding of vocabulary and concepts.

Teacher observes submitted student work for adherence to specified guidelines and proper use of concepts.

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Standard: (Performance Standard Rubric)

Developing Standard Near Standard Meets Standard Exceeds Standard

Compose simple, singable melody firmly rooted in a specific key or mode.

Inconsistently demonstrates ability to compose tonal melodies that are notated properly and appropriately demonstrate specified concepts and guidelines.

Occasionally demonstrates ability to compose tonal melodies that are notated properly and appropriately demonstrate specified concepts and guidelines.

Accurately demonstrates ability to compose tonal melodies that are notated properly and appropriately demonstrate specified concepts and guidelines.

Consistently demonstrates ability to compose tonal melodies that are notated properly and appropriately demonstrate specified concepts and guidelines.

Harmonize a melody using the simple procedures of parallelism (organum) and note-against-note counterpoint.

Inconsistently demonstrates ability to harmonize a melody making appropriate use of the procedures of parallelism (organum) and note-against-note counterpoint.

Occasionally demonstrates ability to harmonize a melody making appropriate use of the procedures of parallelism (organum) and note-against-note counterpoint.

Accurately demonstrates ability to harmonize a melody making appropriate use of the procedures of parallelism (organum) and note-against-note counterpoint.

Consistently demonstrates ability to harmonize a melody making appropriate use of the procedures of parallelism (organum) and note-against-note counterpoint.

Arrange an original melody into a short musical composition.

Inconsistently demonstrates ability to create a musical arrangement making appropriate use of harmonization, pedal point, and performance/expressive markings.

Occasionally demonstrates ability to create a musical arrangement making appropriate use of harmonization, pedal point, and performance/expressive markings.

Accurately demonstrates ability to create a musical arrangement making appropriate use of harmonization, pedal point, and performance/expressive markings.

Consistently demonstrates ability to create a musical arrangement making appropriate use of harmonization, pedal point, and performance/expressive markings.

Compose and realize a Roman numeral progression in simple keyboard texture and with strong voice leading.

Inconsistently demonstrates ability to create a strong chord progression and realize it with smooth voice leading.

Occasionally demonstrates ability to create a strong chord progression and realize it with smooth voice leading.

Accurately demonstrates ability to create a strong chord progression and realize it with smooth voice leading.

Consistently demonstrates ability to create a strong chord progression and realize it with smooth voice leading.

Compose strong melody to a given chord progression.

Inconsistently demonstrates ability to compose a chord-based melody that is independently strong and makes appropriate use of chord tones and nonchord tones.

Occasionally demonstrates ability to compose a chord-based melody that is independently strong and makes appropriate use of chord tones and nonchord tones.

Accurately demonstrates ability to compose a chord-based melody that is independently strong and makes appropriate use of chord tones and nonchord tones.

Consistently demonstrates ability to compose a chord-based melody that is independently strong and makes appropriate use of chord tones and nonchord tones.

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Suggested Activities: Note: All of the following composition activities utilize paper-and-pencil notation in the rough-draft stage. Finale notation software is then used to create a professional-looking final copy. Students compose one-to-two simple and singable melodies according to specified guidelines. Guidelines include:

• Select a standard major or minor key and use the appropriate key signature. • Use a standard time signature. • Use only pitches from the selected key/scale. • Adhere to properties of simple, singable melody discussed in class (e.g., limited

range, conjunct motion). As an extension to the above activity, students compose simple, singable melody using the church modes (i.e., Dorian, Phrygian, Lydian, or Mixolydian). Using a melody composed in one of the above activities, students add harmony parts using the procedures of:

1. parallelism (also called organum), and 2. note-against-note counterpoint.

In the counterpoint writing, students are instructed to stress imperfect consonances and contrary motion among voices. Using the melody and harmony parts composed in the above activity, students arrange a short composition for piano or organ. Students incorporate pedal point to add accompaniment material and sonority; the pedal point may be developed further into a bass line. Students compose an original diatonic chord progression. They then realize it in simple keyboard texture (e.g., right hand chords and left hand bass notes), using smooth voice leading. Using a pre-composed chord progression (such as that created in the above activity), students add a melody that is independently strong and combines well with each chord. To achieve melodic flow, non-chord tones are utilized (e.g., passing and neighboring tones). As a final project, student may compose an original multi-phrase composition scored for instrumental ensemble. Materials and concepts learned in class should figure prominently in the composition. The instrumental ensemble may be drawn from student members of the class, allowing for a live reading session for all final projects.

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Teacher Resources: Software: Finale professional notation software (Manufactured by MakeMusic! Inc.) Books: Cope, David. Techniques of the Contemporary Composer. Schirmer Books. 1997. Feldstein, Sandy. Practical Theory Complete: A Self-Instruction Music Theory Course. Alfred Publishing Co., Inc., 1982. Russo, William with Jeffrey Ainis and David Stevenson. Composing Music: A New Approach. Chicago: The University of Chicago Press, 1980. Student Resources: Software: Finale professional notation software (Manufactured by MakeMusic! Inc.) Books: Cope, David. Techniques of the Contemporary Composer. Schirmer Books. 1997. Feldstein, Sandy. Practical Theory Complete: A Self-Instruction Music Theory Course. Alfred Publishing Co., Inc., 1982. Russo, William with Jeffrey Ainis and David Stevenson. Composing Music: A New Approach. Chicago: The University of Chicago Press, 1980. Teacher-generated handouts, such as: Lee, Christopher. Course Textbook: Harmony and Composition I.

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Harmony and Composition 1 (Newtown High School) Unit 3: Analyze, Describe, and Evaluate Music

Essential Question: How do we make sense of and discuss the music we hear? Big Idea: The ability to analyze, describe, and evaluate music using appropriate terminology allows one to fully experience and shape musical expression and to engage in meaningful conversation about musical compositions. Standards with Objectives for this Unit: Listen to, analyze, and describe music: Apply terminology associated with the following fundamentals of music:

• Describe a given musical example (written or aural), making appropriate use of the following concepts and terms:

o Pitches o Intervals o Scales and keys (major-minor, modes) o Triads (root-position and inversions) o Metric organization o Rhythmic values and patterns o Basic performance indications (tempo, dynamics)

Complete rhythmic and melodic dictations. • Given a short aural example of rhythm or melody, write it down in complete and

appropriate musical notation. Apply Roman numeral analysis to a diatonic chord progression.

• Given a written example of a diatonic chord progression, apply Roman numerals that appropriately reflect each chord’s function and chord-type.

Identify and describe the following common-practice procedures: • Given a musical example (written or aural), identify and describe the following

procedures: o Functional triadic harmony in simple keyboard texture (with vocabulary

including diatonic triads) o Tonal relationships (e.g., standard root progressions) o Open versus closed cadence types o Standard rhythms and meters o Period phrase structure o Basic voice leading (i.e., how individual parts move and interact linearly) o Simple non-harmonic tones (i.e., passing and neighboring tones, pedal

point)

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Analyze and apply appropriate terminology to aural examples of repertoire, including a wide variety of vocal and instrumental music taken from the standard Western tonal repertoires as well as vernacular styles.

• Given an aural example of music, discuss the following aspects and apply appropriate terminology:

o emotional effect o timbre o genre/style o texture o rhythm o melody o harmony o form

Evaluate music and music performances: Assess musical compositions for adherence to specified guidelines and principles.

• Given a completed assignment in musical composition, determine whether the composer has adhered to specified guidelines and principles.

Performance Assessment: Assessment Task: Students will perform defined tasks (see Suggested Activities below) to demonstrate their ability to analyze, describe, and evaluate music. In general:

Teacher observes students individually for proper understanding of vocabulary and concepts.

Teacher observes submitted student work for adherence to specified guidelines and proper use of concepts.

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Standard: (Performance Standard Rubric)

Developing Standard Near Standard Meets Standard Exceeds Standard

Apply terminology related to the

fundamentals of music.

Inconsistently demonstrates ability to make appropriate use of terminology related to such topics as pitch, intervals, scales, keys, triads, meter, rhythm, and performance indications.

Occasionally demonstrates ability to make appropriate use of terminology related to such topics as pitch, intervals, scales, keys, triads, meter, rhythm, and performance indications.

Accurately demonstrates ability to make appropriate use of terminology related to such topics as pitch, intervals, scales, keys, triads, meter, rhythm, and performance indications.

Consistently demonstrates ability to make appropriate use of terminology related to such topics as pitch, intervals, scales, keys, triads, meter, rhythm, and performance indications.

Complete rhythmic and

melodic dictations.

Inconsistently demonstrates ability to notate heard rhythms and melodies.

Occasionally demonstrates ability to notate heard rhythms and melodies.

Accurately demonstrates ability to notate heard rhythms and melodies.

Consistently demonstrates ability to notate heard rhythms and melodies.

Apply Roman numeral analysis

to a diatonic chord

progression.

Inconsistently demonstrates ability to apply Roman numeral analysis that appropriately reflects chord function and type.

Occasionally demonstrates ability to apply Roman numeral analysis that appropriately reflects chord function and type.

Accurately demonstrates ability to apply Roman numeral analysis that appropriately reflects chord function and type.

Consistently demonstrates ability to apply Roman numeral analysis that appropriately reflects chord function and type.

Identify and describe

common-practice procedures presented in

class.

Inconsistently demonstrates ability to identify and describe such procedures as functional triadic harmony, tonal relationships, cadence types, rhythms/meters, period phrase structure, basic voice leading, and simple non-harmonic tones.

Occasionally demonstrates ability to identify and describe such procedures as functional triadic harmony, tonal relationships, cadence types, rhythms/meters, period phrase structure, basic voice leading, and simple non-harmonic tones.

Accurately demonstrates ability to identify and describe such procedures as functional triadic harmony, tonal relationships, cadence types, rhythms/meters, period phrase structure, basic voice leading, and simple non-harmonic tones.

Consistently demonstrates ability to identify and describe such procedures as functional triadic harmony, tonal relationships, cadence types, rhythms/meters, period phrase structure, basic voice leading, and simple non-harmonic tones.

Analyze and apply

appropriate terminology to aural examples

of varied repertoire.

Inconsistently demonstrates ability to describe aural musical examples in terms of emotional effect, timbre, genre/style, texture, rhythm, melody, harmony, and form.

Occasionally demonstrates ability to describe aural musical examples in terms of emotional effect, timbre, genre/style, texture, rhythm, melody, harmony, and form.

Accurately demonstrates ability to describe aural musical examples in terms of emotional effect, timbre, genre/style, texture, rhythm, melody, harmony, and form.

Consistently demonstrates ability to describe aural musical examples in terms of emotional effect, timbre, genre/style, texture, rhythm, melody, harmony, and form.

Assess a musical composition for

adherence to specified

guidelines and principles.

Inconsistently demonstrates ability to assess the degree to which a composer has adhered to specified guidelines and principles.

Occasionally demonstrates ability to assess the degree to which a composer has adhered to specified guidelines and principles.

Accurately demonstrates ability to assess the degree to which a composer has adhered to specified guidelines and principles.

Consistently demonstrates ability to assess the degree to which a composer has adhered to specified guidelines and principles.

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Suggested Activities: An introductory unit on active listening and aural analysis may provide an effective start for the course. The teacher may present recorded examples of music that demonstrate key musical concepts; such examples may provide a compelling aural context in which to introduce such concepts and terminology. Concepts may include:

1. emotional effect 2. timbre 3. genre/style 4. texture 5. rhythm 6. melody 7. harmony, and 8. form.

As a follow-up activity, students may be asked to bring in recorded examples from their own collections. Such examples should be limited to short excerpts (e.g., 1 minute long) and should provide clear demonstration of at least one concept covered in class. Teacher may facilitate practice in the ear-training and dictation of musical materials. (In ear-training, students provide analysis for given aural stimuli, such as a scale played on the piano. In dictation, the student writes down in complete and appropriate musical notation that which the student hears.) The subjects for ear-training and dictation should be carefully sequenced and graded for appropriate level of difficulty. Specific activities may include:

1. ear-training/dictation of intervals and scales 2. ear-training/dictation of triad types 3. ear-training/dictation of isolated rhythms or rhythmic phrases, and 4. ear-training/dictation of melodic phrases.

Ideally, this practice should be linked to the concepts currently being studied in the music theory strand of the course. For further practice of course concepts and skills, students may utilize educational drill software. Such drill activities may be configured to stress specific materials or skills. Drilling independently, students have the benefit of immediate feedback and personalized configuration of activity. Throughout the course, students may be given worksheets to facilitate analysis of written musical examples. Such examples may vary in length and complexity; they may include pedagogical examples or examples taken from standard musical repertoires. Analysis may include:

1. Application of Roman numerals to a diatonic chord progression, and 2. Discussion of common-practice procedures, such as functional harmony, phrase

structure, and voice leading. As composition projects are completed, students may engage in self- and/or peer-assessment activities. Assignment sheets and rubrics may serve as tools through which students evaluate the success of their own work or the work of others. Such assessment may also take the form of informal feedback sessions in which constructive criticism is rendered through class discussion.

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Teacher Resources: Books: Music Theory: Benward, Bruce and Marilyn Saker. Music in Theory and Practice, Vol. 1. 7th ed. Boston: McGraw Hill, 2003. Feldstein, Sandy. Practical Theory Complete: A Self-Instruction Music Theory Course. Alfred Publishing Co., Inc., 1982. Spencer, Peter. The Practice of Harmony. 5th ed. Upper Saddle River, NJ: Pearson Prentice Hall, 2004. Ear-Training/Dictation: Berkowitz, Sol and Gabriel Fontrier and Leo Kraft. A New Approach to Sight Singing. 4th ed. New York: W. W. Norton and Company, 1997. Damschroder, David. Foundations of Music and Musicianship. 2nd ed. Belmont, CA: Wadsworth/Thomson Learning, 2002. Ottman, Robert W. Music for Sight Singing. 4th ed. Upper Saddle River, NJ: Prentice Hall, 1996. Student Resources: Software: MiBAC Music Lessons I. Version 4.0. Northfield, MN: MiBAC Music Software, Inc., 2004. MiBAC Music Lessons II. Version 1.1.1. Northfield, MN: MiBAC Music Software, Inc., 2004. Books: Music Theory: Benward, Bruce and Marilyn Saker. Music in Theory and Practice, Vol. 1. 7th ed. Boston: McGraw Hill, 2003. Feldstein, Sandy. Practical Theory Complete: A Self-Instruction Music Theory Course. Alfred Publishing Co., Inc., 1982. Spencer, Peter. The Practice of Harmony. 5th ed. Upper Saddle River, NJ: Pearson Prentice Hall, 2004. Ear-Training/Dictation: Berkowitz, Sol and Gabriel Fontrier and Leo Kraft. A New Approach to Sight Singing. 4th ed. New York: W. W. Norton and Company, 1997. Damschroder, David. Foundations of Music and Musicianship. 2nd ed. Belmont, CA: Wadsworth/Thomson Learning, 2002.

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Ottman, Robert W. Music for Sight Singing. 4th ed. Upper Saddle River, NJ: Prentice Hall, 1996. Teacher-generated handouts, such as: Lee, Christopher. Course Textbook: Harmony and Composition I.