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Hoover City Schools
Elementary Music Course of Study
2007
Adaptation of the Alabama State Course of Study
Hoover City Schools Elementary Music Course of Study
2007
Contributing Writers
Natalie Evans, Riverchase Elementary School Beth Galloway, Trace Crossings Elementary School Erin Gray, South Shades Crest Elementary School Paula LeBlanc, Rocky Ridge Elementary School
Carlee Means, Gwin Elementary School Vicki Portis, Bluff Park Elementary School
Angela Roebuck, Shades Mountain Elementary School Mary Shaw, Green Valley Elementary School
Lisa Vines, Deer Valley and South Shades Crest Elementary Schools Betty Wilson, Deer Valley Elementary School Sara Womack, Greystone Elementary School
Andy Craig, Superintendent
Dr. Deborah Camp, Director of Elementary Curriculum
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Table of Contents
Philosophy of Music Education . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 Elementary Music Course of Study Kindergarten . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 First Grade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Second Grade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Third Grade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Fourth Grade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Fifth Grade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16 Correlation to MENC National Standards. . . . . . . . . . . . . . . . . . . . . . . 18 Elements Scope and Sequence Rhythm . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 Melody . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Texture and Harmony . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 Timbre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Form . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 Expression . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 Suggested Teaching Timeline Kindergarten . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 First Grade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 Second Grade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 Third Grade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 Fourth Grade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 Fifth Grade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 Timeline at a Glance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 Appendix Music History Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 Cultural and Style Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 Suggested Inventory of Instruments . . . . . . . . . . . . . . . . . . . . . . 65
Suggested Curriculum Resources . . . . . . . . . . . . . . . . . . . . . . . 66
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Hoover City Schools Philosophy of Music Education
“During the Gulf War, the few opportunities I had for relaxation I always listened to music, and it brought me great peace of mind. I have shared my love of music with people throughout this world, while listening to the drums and special instruments of the Far East, Middle East, Africa, the Caribbean, and the Far North, and all of this started with the music appreciation course that I was taught in a third-grade elementary class in Princeton, New Jersey. What a tragedy it would be if we lived in a world where music was not taught to children.”
General H. Norman Schwarzkopf, United States Army
The Hoover City Schools music education philosophy is grounded in the premise
that all students should be engaged in a challenging and effective music education.
Current legislation and research has proven the need and demand for music education.
The No Child Left Behind Act consistently uses language that embraces support for the
arts programs. The definitions section of the law lists arts as a core subject area, along
with English, reading or language arts, mathematics, science, history, geography, civics
and government, economics, and foreign languages. When pointing out how decisions
are to be made on funding, the law states that the expenditures are to be made to
support the core subjects and the curricula and instruction that are aligned with the state
course of study and student achievement standards. A 2003 Gallup Poll found 95% of
Americans believe that music is a key component in a child's well-rounded education.
Three quarters of those surveyed feel that schools should mandate music education.
Another study found the schools that produced the highest academic achievement in
the United States are spending 20% to 30% of the day on the arts, with special
emphasis on music. (International Association for the Evaluation of Educational
Achievement Test, 1988).
The Hoover City Schools philosophy of music education is built upon teaching
the five concepts of music – rhythm, melody, harmony, form, and expressive qualities.
The curriculum is spiral based and highly developmental. Conceptual learning is also a
focus in that each concept will be taught while utilizing a variety of music skills – singing,
playing instruments, moving, listening to and analyzing music, reading and notating
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music, and composing and improvising music. The National Standards, Alabama
Course of Study, and Hoover City Schools Course of Study will serve as a guide. The
philosophies of Carl Orff and Zoltan Kodály will be the center of most of the activities
completed in the classroom. Through these philosophies, students spend the majority
of instructional time creating and recreating music instead of simply discussing music.
Students experience all aspects of music before learning the associated terminology.
The purpose of the music program is to insure that students will value music
throughout their lives. In order for a continuous appreciation of music to occur, students
must have a fundamental understanding of music and realize that being an active
participant in music, whether as a performer or listener, is an enjoyable experience.
While comprehending the basic functions of music is central to the purpose of this
music program, the foremost consideration is whether the students are excited about
the music making process. If the students do not feel that the subject matter is relevant
or entertaining, music will not become a necessary part of their lives in their middle
school, high school, college, or post college years. Music is made relevant to students
of all learning styles by utilizing music of all cultures and a variety of teaching tools.
Because student excitement regarding music learning is the foremost concern,
student needs drive the curriculum of the music program. The use of consistent and
comprehensive assessment reveals the students’ needs and guides curriculum
decisions in order to meet those needs. Parent support is also a necessary component
of the program. Parent suggestions are encouraged. A high expectation of exceptional
behavior from all students insures an inviting learning environment for the
administration, teachers, parents, and students.
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Hoover City Schools Elementary Music Course of Study
Kindergarten
Most children enter kindergarten, the beginning of their formal education, with a repertoire of songs they may have learned from family members or from childcare or preschool experiences. These songs are the basis from which music educators begin, moving the student from the familiar to new learning experiences in the area of music. The learning environment in kindergarten incorporates active participation by students. Students learn basic music skills by singing and echoing short rhythm patterns. They learn to differentiate between singing and speaking voices, begin learning basic conducting cues, demonstrate understanding of basic rhythmic concepts, learn to play various rhythm instruments, and begin to recognize changes in the dynamics and tempo of music. They also begin to discern differences in phrases and to improvise simple four-beat melodies. Kindergarten students are able to sing pitch within the range of D below the staff to second space A. Through content standards for kindergarten, students develop knowledge of various songs and musical styles and learn to express themselves through movement. They are engaged in activities that allow them to experience an enjoyment of music while developing skills in the areas of speaking, singing, moving, and playing instruments. The foundation gained in kindergarten prepares students for the study of music at the next grade level.
Produce Students will:
1. Sing simple songs alone and with others following the contour of melody. • Memorize songs • Sing with good posture and diction maintaining a steady tempo • Demonstrate the difference between speaking and singing
Examples: whispering, calling, speaking, singing • Use their age-appropriate vocal range utilizing head tone • Vocal Range - C4-A4; Tessitura - D4-A4
2. Demonstrate responses to nonverbal conducting cues.
Examples: sit, stand, listen, sing, start, stop, sing or play louder or softer.
3. Imitate a steady beat while playing various rhythm instruments. • Recognize the presence or absence of a steady beat • Demonstrate steady beat on barred instruments using bilateral motions • Differentiate between steady beat and rhythm
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4. Echo short rhythm patterns consisting of quarter notes, quarter rests, and paired
eighth notes. • Respond to iconic notation, i.e. play instrument, move, read aloud • Play and create rhythm patterns on body percussion and unpitched
percussion instruments individually and in unison with others
5. Improvise four-beat melodies using la, so, and mi. Example: Improvising on barred instruments on a pentatonic scale
6. Create expressive movement to folk songs, folk games, lullabies, marches, and
other musical genres. Examples: skipping to “Skip to My Lou,” marching to “Yankee Doodle”
• Express musical ideas using creative movement and body percussion
7. Demonstrate appropriate audience and performance behavior.
8. Play pitched and unpitched instruments with appropriate techniques. • Play a steady beat using bilateral motions.
9. Acquire and develop a repertoire of non-locomotor and locomotor movements.
Respond Students will:
10. Identify similarities and differences in familiar songs, including fast or slow, loud or soft, short and long, and high and low.
Example: comparing a march to a lullaby
11. Identify like and unlike phrases presented aurally in a piece of music.
12. Identify solo or group performances by sound.
13. Identify sets of two and three beats.
Understand Students will:
14. Recognize differences between adult and children’s voices. 15. Demonstrate singing, speaking, whispering, and calling voices.
Example: singing and reciting the alphabet
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16. Recognize holiday songs and simple songs from the United States and other cultures and countries.
Examples: United States – “America” holiday – “Jingle Bells” other cultures and countries – “Frère Jacques”
17. Identify various rhythm and orchestral instruments by sight and sound. Examples: drums, piano, trumpet
18. Differentiate high and low vocal sounds through vocal exploration.
Example: producing aurally the sounds of a bird and a cow
19. Identify the seven letters of the musical alphabet.
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Hoover City Schools Elementary Music Course of Study
First Grade
In first grade, students’ listening skills are more refined, as is their ability to be expressive through singing. Fine motor skills are becoming more developed, and through active learning experiences, their cognitive skills increase. In the music classroom, first-grade students continue to develop skills in speaking, singing, listening, playing instruments, and in creating movement. Students learn to identify dynamic markings, clap rhythm patterns, and begin to recognize the difference between a note and a rest. Basic music reading abilities, such as identifying quarter notes and rests and determining melodic direction on a staff, are also addressed during this grade. First-grade students are able to sing pitches within the range of D below the staff to third line B. The classroom environment in Grade 1 is one of active participation and exploration by students. Therefore, music educators of first-grade students should incorporate a variety of instructional strategies that allow students to learn by doing.
Produce Students will:
1. Sing songs from various cultures and countries within an age-appropriate vocal range using clear vocal tones. • Sing short melodic passages that indicate upward and downward
movement in a melody Example: singing “Hot Cross Buns” • Sing expressively using appropriate dynamics, tempo, and rhythm
Examples: piano (p), forte (f) • Match pitch • Distinguish between accompanied and unaccompanied songs • Sing songs in various pentatonic and major and minor keys • Sing songs in various meters, i.e. duple and triple • Vocal Range - D4-D5; Tessitura - D4-B4
2. Improvise four-beat melodies using mi, re, and do.
• Improvise on barred instruments on a pentatonic scale
3. Sing, play or imitate melodic patterns, individually and in unison with others. Examples: “Che che koolay” and “Cookie”
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4. Demonstrate rhythm patterns by reading quarter notes, quarter rests, paired eighth notes and half notes, including playing them on various rhythm instruments. • Clap repeated rhythm patterns or ostinati in familiar songs • Perform accompaniments on pitched or unpitched percussion instruments
using a steady beat • Improvise a response to a simple rhythmic pattern, i.e. question-answer
5. Play pitched and unpitched instruments with appropriate techniques. • Play a simple bordun • Play a steady beat using bilateral and alternating motions • Play along with others
6. Compose, using sound and movement, backgrounds or settings for poems, stories, songs, and speech pieces.
7. Interpret icons representing beat/strong beat, long/short, and tempo and dynamic
changes.
8. Read notation using quarter notes, quarter rests, and paired eighth notes.
Respond Students will:
9. Demonstrate vocal responses to conductor cues for loud and soft.
10. Identify melodic direction on the musical staff. Examples: upward, downward, and same
11. Identify notes as being line note or space note on a musical staff.
12. Identify so, mi, and la on the staff
13. Identify by sight and sound the difference between a note and a rest.
14. Identify musical symbols and terms
Examples: quarter note, eighth notes, quarter rest, staff, treble clef
15. Identify musical phrases in a song presented aurally. Example: “Twinkle, Twinkle, Little Star”
16. Use creative movement to express the mood, dynamics and tempo of musical selections.
Examples: skipping happily, tiptoeing when scared
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17. Identify duple meter as strong-weak beat organization and triple meter as strong weak, weak.
18. Identify AB and ABA form in a musical selection.
19. Identify long and short musical sounds.
Example: One sound per beat, two sounds per beat, no sound
Understand Students will:
20. Distinguish between low and high sounds produced by voices or instruments.
Examples: low pitch – kettledrum, man’s voices; high pitch – triangle, woman’s voice
21. Identify the number of lines and spaces on the treble clef staff. 22. Describe how vibrations produce musical sounds. 23. Identify ways in which music relates to other subjects. 24. Describe in simple terms how elements of music are used in music examples
from various cultures of the world and historical periods. 25. Devise and implement criteria for evaluating performances using
developmentally appropriate musical terms. 26. Classify rhythm instruments by method of tone production, including striking,
shaking, scraping, and ringing.
27. Develop awareness of tone color categories: woods, metals, shakers, scrapers, and skins.
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Hoover City Schools Elementary Music Course of Study
Second Grade
Students in second grade are beginning to exhibit more independence in their thought processes and are able to understand more complex concepts. They exhibit independence in using acquired knowledge to form opinions and personal choices. However, they continue to need teacher guidance and monitoring.
In the music classroom, second-grade students are refining their musical skills by accomplishing increasing rigorous standards. Aural skills needed to identify phrases, dynamics, form, and tone color are further developed, as are basic music reading skills.
Second-grade students are able to sing pitches within the range of D below the staff to third line B. They classify rhythm instruments by sound produced and use pitched instruments to perform accompaniments. They also explore components of music through listening, playing instruments, and discovering “found sounds” in their environments.
Produce
Students will:
1. Sing on pitch using good posture. • Sing simple melodic ostinati and patterns in call and response form • Engage in vocal exploration, blending chest and head voice throughout
the vocal range to produce uniform tonal quality in each register • Practice production of head voice sounds in the upper register and
sustaining tones • Expand vocal range upward • Develop aural perception of home tone or tonal center • Vocal Range - C4-D5; Tessitura - D4-B4
2. Improvise eight-beat melodies using la, so, mi, re, and do ending on home tone or tonal center.
3. Perform accompaniments to poems, rhymes, stories, dramatizations, and songs using pitched instruments.
• Demonstrate rhythm patterns by reading quarter notes, quarter rests, paired eighth notes, and half notes
• Select appropriate classroom instruments to create musical accompaniments
• Sing songs representative of other cultures and countries • Perform folk dances appropriate for age level to music from various
cultures Example: Chinese ribbon dance
• Play simple rhythmic ostinati by rote and from notation
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4. Develop basic mallet techniques.
5. Compose introductions and codas for songs and speech pieces.
Respond Students will:
6. Identify music terms related to tempo changes in music, including accelerando, ritardando, and fermata.
7. Identify ABA and verse-refrain form in a musical selection.
Examples: using shapes to illustrate patterns, comparing musical forms to visual arts
8. Identify steps, leaps, and repeated notes in printed music.
9. Recognize and use standard notation and terms.
Examples: repeat signs, accent, p, f, whole, note, half note, slurs, ties, introduction, coda, D.C.
Understand Students will:
10. Identify American patriotic songs. Examples: “Star Spangled Banner,” “America,” “God Bless America”
11. Identify letter names of lines and spaces on the treble clef staff.
12. Identify the difference between a verse and a refrain in a familiar musical
selection. 13. Identify dynamic markings of forte (f), piano (p), crescendo (cresc. and <), and
decrescendo (decresc. and >). 14. Distinguish between various vocal and instrumental timbres.
Example: male and female voices, simple classroom instruments.
15. Identify the four families of instruments in an orchestra. • Identifying and classifying individual instruments by sight.
16. Identify melodic sequences in a melody.
Example: motif from first movement of Ludwig von Beethoven’s Symphony No. 5
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Hoover City Schools Elementary Music Course of Study
Third Grade
Students in third grade are active, curious, and eager to learn. They need greater independence as they progress in cognitive, social, emotional, and physical development. Students remain primarily concrete learners, acquiring knowledge through visual and auditory stimulation as well as hands-on experiences.
The learning environment of the third-grade music classroom is one that reflects the energy and enthusiasm of its students. Students work together as a community of learners in an atmosphere in which their ideas and contributions are valued. This environment promotes self-confidence, and is one in which students are more receptive to suggestions for improvement.
Content standards in Grade 3 emphasize the development of proper vocal technique; performance of simple melodic, rhythmic, and chordal accompaniments; and identification of instruments by sight and sound. Third-grade students are also able to sing pitches within the range of D below the staff to fourth line D. These skills, along with others, continue to serve as the foundation for the advanced content in subsequent grades.
Produce
Students will:
1. Demonstrate proper vocal technique by using pure head tone, good posture, and correct rhythm.
• Use appropriate dynamics while singing expressively • Sing rounds • Sing songs of other cultures and countries • Vocal range - B3-E5; Tessitura - D4-D5
2. Sing melodic ostinati, canons, partner songs, and echo songs to create harmony.
3. Improvise eight-beat melodies using la, so, mi, re, and do and quarter note and eighth note rhythms.
• Improvise contrasting B and C sections in rondo form using sound and movement
• Improvise answers to given rhythmic and melodic phrases • Express musical ideas using creative movement, body percussion,
classroom instruments, and vocal sounds • Improvise simple melodies based on the pentatonic scale
4. Play rhythm patterns, including whole notes, dotted half notes, dotted quarter notes, sixteenth notes, and simple syncopation using pitched or unpitched instruments or by clapping.
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5. Perform rhythmic ostinati while others are singing a melody.
6. Develop crossover mallet technique for playing borduns and ostinati.
7. Create and compose music within specified guidelines. • Create AB, ABA, ABACA, using speech, instruments, voices, and
movement • Compose rhythmic and melodic patterns
Respond Students will:
8. Demonstrate melodic contour through creative movement. Example: using gestures or drawings to indicate upward and downward direction of melody
9. Recognize conductor cues in @ and $ meter signatures meter signatures.
10. Identify ABC form in musical selections.
11. Identify meter according to strong and weak beat organization.
Examples: strong, weak = @; strong, weak, weak, weak = $
12. Recognize and use standard notational symbols and terms. Example: dotted half note, single eighth note, eighth rest, staccato, legato,
musical alphabet, fermata, barline, measure, $, @, #, pitch names
Understand Students will:
13. Identify music symbols found on the staff, including the treble clef, meter signatures, bar lines, measures, double bar line, and repeat signs.
• Defining terms associated with printed music, including fermata, slur, legato, staccato, and da capo (D.C.)
14. Identify music terms related to dynamics in music, including fortissimo (ff), mezzo forte (mf), mezzo piano (mp), and pianissimo (pp).
15. Identify the musical alphabet ascending on lines and spaces from middle C to G above the staff.
16. Demonstrate perceptual skills by moving, by answering questions, and by describing aural examples of music of various styles representing diverse cultures.
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Hoover City Schools Elementary Music Course of Study
Fourth Grade Students in fourth grade are becoming more expressive. They are developing both socially and emotionally and often look to their peers for social acceptance. Fourth-grade students are intrigued with the varied sounds they make with their voices and find opportunities to use their speaking and singing voices with proper pitch, phrasing, pace, modulation, and gestures. To nurture their interest, the classroom environment promotes the active engagement of students in their own learning through independent and group projects. These experiences prepare student for new content found in the music curriculum. Content standards in Grade 4 continue to build upon prior knowledge. Additional concepts, techniques, and vocal requirements are added to those already mastered by students. At this grade level, students perform a varied repertoire of music, sing expressively, echo rhythmic and melodic pitches within the range of middle C to fourth line D. Through these musical experiences students continue to develop cognitively, physically, socially, and emotionally.
Produce Students will:
1. Perform a varied repertoire of music using vocal technique, pure head tone, good diction, good posture, proper pitch and rhythm, and breath control.
• Sing intervals within the major pentatonic scale
• Respond to conducting patterns of @, #, and $ meter signatures
• Sing legato and staccato • Sing songs of other cultures and countries • Sing using a variety of dynamics • Practice blending chest and head voice throughout the vocal range to
produce uniform tonal quality in each register • Sing with sensitivity to blend in a group or choral ensemble, responding to
cues from a conductor • Develop aural perception and inner hearing skills • Develop correct intonation • Vocal Range - A3-G5; Tessitura - C4-D5
2. Sing in rounds or canons to create harmony.
• Sing partner songs
3. Improvise eight-beat melodies using so, mi, la, re, and do with half notes, quarter rests, and syncopation.
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4. Perform simple chord progression on pitched instruments.
Example: I, V
5. Perform simple melodies on pitched instruments.
6. Perform rhythm patterns, including syncopation and eight and sixteenth-note combinations on various rhythm instruments.
• Play melodic and rhythmic ostinati
7. Recognize and label phrases.
8. Create and compose music within specified guidelines. • Create, notate, and perform a pentatonic melody • Create and perform speech, movement, and/or rhythm canons
9. Practice patterned locomotor movements in singing games and circle, line, and
folk dances.
Respond Students will:
10. Improvise pentatonic melodies using a variety of sound sources including recorder and pitched percussion.
11. Improvise pentatonic melodies using a variety of sound sources, including electronic sources.
12. Identify ledger-line notes C and B below the treble staff.
13. Identify theme and variations in musical selections.
Understand
Students will:
14. Classify orchestral instruments by family • Identify individual instruments by sound
15. Recognize styles of twentieth-century music Example: jazz, pop, country, folk
16. Explain personal preferences for specific musical works and styles using appropriate music terminology.
17. Identify by sound and describe roles of musicians and the elements of music in various music settings and cultures.
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Hoover City Schools Elementary Music Course of Study
Fifth Grade Students in fifth grade are experiencing rapid growth in their emotional and social development. As they become more aware of their immediate surroundings, students’ interest in the expanded environment begins to emerge. Students need guidance to recognize relationships between music and other disciplines as they develop a more sophisticated sense of music, using it to reflect their feelings and emotions. The fifth-grade music classroom provides a positive learning environment that encourages students to participate in classroom activities while using good posture, intonation, correct rhythm, and breath control. Content standards in Grade 5 offer opportunities for students to become engaged in singing, notating, and composing, while musically defining techniques and process. They are able to play rhythm patterns and begin to recognize instruments in the orchestra by sight and sound. Fifth-grade students are also able to sing pitches within the range of middle C to fourth line D. These skills enable students to transition smoothly into Grade 6-8 Music or into Level I of either Vocal or Instrumental Music.
Produce Students will:
1. Sing intervals on pitch within a major diatonic scale. • Further establish deep breathing skills and breath control • Vocal Range - A3-G5; Tessitura - C4-D5
2. Improvise eight-beat melodies using la, so, mi, re, and do with a variety of rhythms and phrases.
• Improvise extended phrases in question/answer form • Improvise melodies using various scales
3. Play rhythm patterns, including triplets and dotted eighth and sixteenth-note combinations on pitched and non pitched instruments
• Perform melodic and rhythmic patterns and songs in @, #, $, and P meter
signatures
• Notate rhythms in @, #, and $ meter signatures
• Identify tempo markings such as allegro, presto, largo, and andante
4. Perform simple melodies on recorders.
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5. Improvise melodies in a major diatonic scale by singing or using a pitched instrument.
6. Compose melodies and accompaniments to songs, poems, stories, and
dramatizations, using AB, ABA, and rondo forms.
7. Sing partner songs to create harmony. • Sing descants and two-part songs
8. Demonstrate appropriate use of legato and staccato in a song. 9. Compose, notate and perform compositions.
10. Perform creative movements while exploring concepts of space: level, direction,
size, place, pathways, focus.
Respond Students will:
11. Recognize conducting patterns of @, #, and $ meter signatures.
12. Identify ledger-lines notes A, B, and C above the treble staff.
Understand Students will:
13. Identify whole and half steps of the major diatonic scale in printed music. • Identify intervals of the diatonic scale in printed music • Recognize the difference between major and minor tonality
14. Recognize vocal timbre as soprano, alto, tenor, or bass.
15. Identify eras of music.
Examples: Baroque, Classical, Romantic, Contemporary • Identify composers of each era of music
16. Compare in two or more arts how the characteristic materials of each art can be
used to transform similar events, scenes, emotions, or ideas into works of art. 17. Describe ways in which the principles and subject matter of other disciplines
taught in the school are interrelated with those of music.
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Correlation to MENC National Standards
Standards and Skills
Kindergarten 1st Grade 2nd Grade 3rd Grade 4th Grade 5th Grade
National Standard #1- Singing, alone and with others, a
varied repertoire of music.
Vocal Range Vocal Range- C4-A4; Tessitura D4-
A4
Vocal Range- D4-D5; Tessitura- D4-
B4
Vocal Range- C4-D5; Tessitura- D4-
B4
Vocal range- B3-E5; Tessitura- D4-
D5
Vocal Range- A3-G5; Tessitura- C4-
D5
Vocal Range- A3-G5; Tessitura- C4-
D5
Main Point
Sing simple songs alone and with others following the contour of
melody.
Sing songs from various cultures and countries within an age-
appropriate vocal range using clear
vocal tones.
Sing on pitch using good posture.
Demonstrate proper vocal
technique by using pure head tone,
good posture, and correct rhythm.
Perform a varied repertoire of music
using vocal technique, pure head tone, good
diction, good posture, proper
pitch and rhythm, and breath control.
Sing intervals on pitch within a major
diatonic scale.
Types of Songs
/ Melody -Memorizing songs
-Singing short melodic passages
that indicate upward and down ward movement in
a melody
-Singing simple melodic ostinati
-Singing rounds -Singing intervals within the major pentatonic scale
-Sing partner songs to create
harmony.
-Demonstrating the difference between
speech and singing.
Example: singing “Hot Cross Buns”
-Singing melodic patterns in call and
response form
-Singing songs of other cultures and
countries
-Singing songs of other cultures and
countries
-Singing descants and two-part songs
Examples: whispering, shouting,
speaking, singing
-Singing songs in various pentatonic
and major and minor keys
-Singing simple drones and
melodic ostinati
-Sing melodic ostinati, canons,
partner songs, and echo songs to
create harmony.
-Sing in rounds or canons to create
harmony.
-Singing songs in
various meters, i.e. duple and triple
-Singing songs representative of
other cultures and countries
-Singing partner
songs
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Expression
Singing with good posture and diction
maintaining a steady tempo
-Singing expressively using
appropriate dynamics, tempo
and rhythm
Developing aural perception of
home tone or tonal center
-Using appropriate dynamics while
singing expressively
-Responding to conducting
patterns of 2/4, !, 4/4 meter signature
Examples: piano
(p), forte (f)
-Express musical ideas using vocal
sounds
-Singing legato and staccato
-Demonstrate vocal responses to conductor cues for
loud and soft.
-Singing using a
variety of dynamics
Vocal
Technique
Using their age-appropriate vocal
range utilizing head tone
-Matching pitch
-Engaging in vocal exploration,
blending chest and head voice
throughout the vocal range to
produce uniform tonal quality in each register
-Practice blending chest and head voice throughout
the vocal range to produce uniform tonal quality in each register
Improve deep breathing skills
and breath control
-Sing melodic patterns,
individually and in unison with others.
-Practicing production of head
voice sounds in the upper register
and sustaining tones
-Sing with sensitivity to blend
in a group or choral ensemble,
responding to cues from a conductor
-Expanding vocal
range upward
-Develop aural perception and
inner hearing skills
-Develop correct
intonation
20
National Standard #2- Performing on instruments, alone and with others, a
varied repertoire of music.
Main Point
Play pitched and unpitched
instruments with appropriate techniques.
Play or imitate melodic patterns, individually and in unison with others.
Perform accompaniments
to poems, rhymes, stories,
dramatizations, and songs using
pitched instruments.
Play rhythm patterns, including
whole notes, dotted half notes,
dotted quarter notes, sixteenth
notes, and simple syncopation using
pitched or nonpitched
instruments or by clapping.
Perform simple chord progression
on pitched instruments.
Example: I, V, I
Play rhythm patterns, including triplets and dotted
eighth and sixteenth-note
combinations on pitched and non
pitched instruments
Instrument Technique
Play a steady beat using bilateral
motions.
-Play pitched and unpitched
instruments with appropriate techniques.
Develop basic mallet techniques.
Develop crossover mallet technique
for playing borduns and ostinati.
-Play a steady beat using bilateral
and alternating motions
21
Rhythm
-Echo short rhythm patterns consisting of quarter notes,
quarter rests, and paired eighth
notes.
-Play a simple bordun
-Demonstrating rhythm patterns by
reading quarter notes, quarter
rests, paired eighth notes, and half
notes
Playing rhythmic
ostinati
Perform rhythmic patterns and songs in 2/4, !, 4/4, and
6/8 meter signatures
-Playing and creating rhythm patterns on body percussion and
unpitched percussion instruments
individually and in unison with others
-Demonstrate rhythm patterns by
reading quarter notes, quarter
rests, paired eighth notes and half
notes, including playing them on various rhythm instruments`
-Playing simple rhythmic ostinati by
rote and from notation
-Clapping repeated rhythm patterns or ostinati in familiar
songs
-Performing accompaniments
on pitched or nonpitched percussion
instruments using a steady beat
22
Expression
Play in combination with
each other (Example: ensemble)
-Selecting appropriate classroom
instruments to create musical
accompaniments
-Perform rhythmic ostinati while
others are singing a melody.
-Express musical ideas using body percussion and
classroom instruments
Melody
-Perform simple melodies on
pitched instruments.
-Perform melodic patterns and songs in 2/4, !, 4/4, and
6/8 meter signatures
Examples:
recorders and barred instruments
-Perform simple melodies on
recorders
-Playing melodic
ostinati
23
National Standard #3- Improvising
melodies, variations, and
accompaniments.
Melody
Improvise four-beat melodies
using “la,” “sol,” and “mi.”
Improvising on barred instruments
on a pentatonic scale
Improvise eight-beat melodies using “la,” “so,”
“mi,” “re,” “do,” and quarter-note and
eighth note rhythms.
-Improvise eight-beat melodies
using “sol,” “mi,” “la,” “re,” and “do”
with half notes, quarter rests, and
syncopation.
-Improvise eight-beat melodies
using “la,” “sol,” “mi,” “re,” and “do”
with a variety of rhythms and
phrases.
Example: Improvising on
barred instruments on a pentatonic
scale
-Improvise answers to given
rhythmic and melodic phrases
-Improvise pentatonic
melodies using a variety of sound
sources including recorder and
pitched percussion.
-Improvise melodies using various scales
-Improvise simple melodies based on
the pentatonic scale
-Improvise pentatonic
melodies using a variety of sound
sources, including electronic sources.
-Improvise melodies in a major diatonic
scale by singing or using a pitched
instrument.
Rhythm
Improvising a response to a
simple rhythmic pattern, i.e.
question-answer
Improvise answers to given rhythmic
and melodic phrases
24
Form
Improvise contrasting B and
C sections in rondo form using
sound and movement
Improvise extended phrases in question/answer
form
National Standard #4- Composing and
arranging music within specified
guidelines.
Melody
Compose introductions and codas for songs
and speech pieces.
-Create and compose music within specified
guidelines.
-Create and compose music within specified
guidelines.
Compose melodies and
accompaniments to songs, poems,
stories, and dramatizations, using AB, ABA,
and rondo forms.
-Compose melodic
patterns
-Create, notate, and perform a
pentatonic melody
Rhythm Compose melodic
patterns
Create and perform speech, movement, and rhythm canons
Form
Create AB, ABA, ABACA, using
speech, instruments, voices, and movement
Compose melodies and
accompaniments to songs, poems,
stories, and dramatizations, using AB, ABA,
and rondo forms.
25
Accompaniment
Compose, using sound and movement,
backgrounds or settings for poems, stories, songs, and
speech pieces.
National Standard #5- Reading and notating music.
Rhythm Responding to iconic notation, i.e.read aloud
Read notation using quarter notes, quarter
rests, and paired eighth notes.
Recognize and use standard notation and
terms.
Recognize and use standard
notational symbols and terms.
Examples: repeat signs, accent, p, f, whole, note, half note, slurs, ties,
introduction, coda, D.C.
Example: dotted half note, single
eighth note, eighth rest, staccato, legato, musical
alphabet, fermata, barline, measure, 2/4, !, 4/4, pitch
names
Meter Notate rhythms in 2/4,3/4, and 4/4 meter signatures
26
Notation
-Identify by sight and sound the
difference between a note and a rest.
-Identify steps, leaps, and
repeated notes in printed music.
-Identify music symbols found on the staff, including
the treble clef, meter signatures,
bar lines, measures, double
bar line, and repeat signs.
Identify ledger-line notes C and B
below the treble staff.
-Identify whole and half steps of the major diatonic scale in printed
music.
-Identify notes as being line note or space note on a
musical staff.
-Identify letter names of lines and
spaces on the treble clef staff.
-Identify the musical alphabet
ascending on lines and spaces from
middle C to G above the staff.
-Identify intervals of the diatonic scale in printed
music
-Identify so, mi,
and la on the staff
Example: naming the spaces on a blank treble clef
staff
-Identify melodic direction on the musical staff.
Examples: upward, downward, same
Expression -Identify musical
symbols and terms
Defining terms associated with printed music,
including fermata, slur, legato,
staccato, and da capo (D.C.)
Recognize and label phrases.
27
National Standard #6- Listening to, analyzing, and
describing music.
Expression
-Identify similarities and differences in
familiar songs, including fast or
slow, loud or soft, short and long,
and high and low
Identify musical phrases in a song presented aurally.
-Identify music terms related to
tempo changes in music, including
accelerando, ritardando and
fermata
Identify music terms related to
dynamics in music, including fortissimo
(ff), mezzoforte (mf), mezzopiano
(mp), and pianissimo (pp).
-Identifying tempo markings such as
allegro, presto, largo, and andante
Example:
comparing a march to a lullaby
Example: Twinkle, Twinkle, Little Star”
-Identify dynamic markings of forte
(f), piano (p), crescendo (cresc.
and <), and decrescendo
(decresc. and >).
-Recognizing the difference between
major and minor tonality
-Identify like and unlike phrases
presented aurally in a piece of
music.
-Identify long and short musical
sounds.
-Demonstrate appropriate use of
legato and staccato in a song.
-Differentiate high and low vocal
sounds through vocal exploration.
-Distinguish between low and
high sounds produced by
voices or instruments.
Example: producing aurally the sounds of a bird and a cow
Examples: low pitch- kettle drum, man's voices; high
pitch- triangle, woman's voice
28
Form Identify AB and ABA form in a
musical selection.
-Identify ABA and verse/refrain form
in a musical selection.
Identify ABC form in musical selections.
Identify theme and variations in
musical selections.
Examples: creating pictures that use
shapes to illustrate patterns,
comparing musical forms to visual arts
-Identify the difference between
a verse and a refrain in a familiar musical selection.
-Identify melodic sequences in a
melody.
Example: motif from first
movement of Ludwig von Beethoven’s
Symphony No. 5
29
Meter Identify sets of two and three beats.
-Identify duple meter as strong-
weak beat organization and triple meter as
strong weak, weak
-Recognize conductor cues in 2/4 and 4/4 meter
signatures.
Recognize conducting
patterns of two-four, three-four,
and four-four meter signatures.
-One sound per
beat, two sounds per beat, no sound
-Identify meter according to strong
and weak beat organization.
Examples: strong, weak 2/4; strong, weak, weak, weak
4/4
Instruments
Identify various rhythm and orchestral
instruments by sight.
Classify rhythm instruments by method of tone
production, including striking, shaking, scraping,
and ringing.
Identify the four families of
instruments in an orchestra.
Classify orchestral
instruments by family
Examples: drums,
piano, trumpet
Identifying and classifying individual
instruments by sight.
30
Timbre
-Identify solo or group
performances by sound.
Develop awareness of tone color categories: woods, metals,
shakers, scrapers, and skins
Distinguish between various
vocal and instrumental
timbres.
Identifying individual
instruments by sound (timbre)
Recognize vocal timbre as soprano,
alto, tenor, or bass.
-Recognize differences
between adult and children’s voices.
Example: male and female voices, simple classroom
instruments.
-Demonstrate singing, speaking, whispering, and calling voices.
Example: singing and reciting the
alphabet
-Identify various rhythm and orchestral
instruments by sound.
Examples: drums,
piano, trumpet
31
Staff Identify the seven
letters of the musical alphabet.
Identify the number of lines
and spaces on the treble clef staff.
National Standard #7- Evaluating
music and music performances.
Devise and implement criteria
for evaluating performances
using developmentally
appropriate musical terms.
Explain personal preferences for specific musical works and styles using appropriate
music terminology.
National Standard #8- Understanding
relationships between music, the
other arts, and disciplines outside
the arts.
-Describe how
vibrations produce musical sounds.
-Compare in two or more arts how the
characteristic materials of each art can be used to transform similar events, scenes,
emotions, or ideas into works of art.
-Identify ways that music is related to
other subject matter
-Describe ways in which the
principles and subject matter of other disciplines
taught in the school are
interrelated with those of music.
32
National Standard #9- Understanding music in relation to history and culture.
History Recognize styles
of twentieth-century music
-Identify eras of music.
Example: jazz,
pop, country, folk
Examples: Baroque, Classical, Romantic,
contemporary
-Identifying
composers of each era of music
Culture
Describe in simple terms how
elements of music are used in music
examples from various cultures of
the world and historical periods.
Demonstrate perceptual skills by
moving, by answering
questions, and by describing aural
examples of music of various styles
representing diverse cultures.
Identify by sound and describe roles of musicians and the elements of music in various
music settings and cultures.
33
Songs
Recognize holiday songs and simple
songs from the United States and other cultures and
countries.
Identify American patriotic songs.
Examples: United States "America," Holiday- "Jingle
Bells," other cultures and
countries- "Frere Jacques"
Examples: “Star Spangled Banner,”
“America,” “God Bless America”
Performance
Behavior
Demonstrate appropriate
audience and performance
behavior.
Movement
Acquire and develop a
repertoire of non-locomotor and
locomotor movements.
Use creative movement to
express the mood, dynamics and
tempo of musical selections.
Performing folk dances
appropriate for age level to music from
various cultures
Express musical ideas using
creative movement
Practice patterned locomotor
movements in singing games;
circle, line, and folk dances.
Perform creative movements while
exploring concepts of space.
Examples: skipping happily, tiptoeing when
scared
Example: Chinese ribbon dance
Demonstrate melodic contour through creative
movement.
Example: using gestures or drawings to
indicate upward and downward
direction of melody
34
Rhythm Scope and Sequence
K 1 2 3 4 5
Steady Beat
Long and short sounds
Longer/shorter
One and two sounds per beat
Silent beat
Simple rhythm patterns
Beat / Rhythm
Sets of two and three beats (strong beat/ weak beat)
Duple meter (strong, weak) /
triple meter (strong, weak, weak)
2/4 and 3/4 meter signatures
4/4 meter signature 6/8 meter signature; experience meter in
5/4
Recognize conductor cues in 2/4 and 4/4 meter
signatures
Recognize conductor cues in
3/4 meter signature
Sound/silence
Identify by sight and sound the
difference between a note and a rest .
Combinations including quarter
note, paired eighth notes and quarter
rests
Identify and label notes as quarter
notes, paired eighth notes, quarter rests
and half notes
Tie: Two tied quarter
notes/rests=half note/rest, two half notes/rests=whole
note/rest
Combinations including all
previous notes and sixteenth notes,
dotted half notes, half rests and
simple syncoptaion
Combinations including all
previous notes and sixteenth note
combinations and dotted half note
Combinations including all
previous notes and dotted eighth and
sixteenth note combinations
Ostinato Ostinati by rote and
notation
Identify bar lines, measures, double bar lines, repeat
signs
35
Melody Scope and Sequence
K 1 2 3 4 5
High/low
Higher/Lower
Upward/Downward
Identify melodic direction on the musical staff:
Upward, downward, and the same
Identify notes so, mi and la on the staff
Low to high
High to low
So, mi, la Pentatonic, major and minor songs
Perception of home tone or tonal center
Do and La centered pentatonic
(major/minor)
Same and different Melodic patterns
using: la, so, mi, do
Melodic patterns using: la, so, mi,re, do ending on home tone or tonal center
Melodic patterns using: la, so, mi,re, do, High do, Low la and Low so, ending
on home tone or tonal center
Melodic patterns using: ti, la, so, fa, mi,re, do, High do, Low la and Low so,
ending on home tone or tonal center
Melodic contour
Identify the seven letters of the
musical alphabet
Line note or space note on a musical
staff
Identify the musical alphabet ascending on lines and spaces from middle C to G
above the staff
Ledger-line notes C and B below the
treble staff
Steps, skips and repeated pitches
Steps, leaps and repeated pitches
Intervals, unison and octave
Simple melodic
ostinati and drones
Whole and half steps
36
Texture and Harmony Scope and Sequence
K 1 2 3 4 5
One sound/more than one sound
Accompaniment/ no accompaniment
Thick/thin Rounds
Ostinato Partner songs
Bordun
Major/minor
Chord changes including I-V7
Chord changes including I-V7, I-IV-
V
2-part singing
Chord, intervals,
root
37
Timbre Scope and Sequence
K 1 2 3 4 5
Speak, sing, shout, whisper
Vocal production
Solo/group A Capella singing
Child and adult voices
Individual: Male,
female, child
Individual: Soprano, Alto, Tenor, Bass
Body percussion Group: small and
large vocal ensembles
Unpitched percussion
Scrapers, Shakers, Woods, Metals and
Skins
Strings, Percussion, Woodwinds and
Brass Keyboards
Pitched percussion
Flute, trumpet, snare drum, guitar,
piano
All previous instruments
including: trombone, violin, timpani,and
clarinet
Group: Large and small instrumental
ensembles
Group: Concert Band and Symphony Orchestra
Nature and Environmental
sounds
Instrumentation from diverse
cultures
Synthesized sounds
38
Form Scope and Sequence
K 1 2 3 4 5
Like/unlike phrases
Echo
Phrase forms ab
and aba
Phrase forms ab, aba, aaba,
and aabb
Introduction Introduction and
coda Solo/chorus
Introduction and coda
Same and different sections
Cumulative song
D.C. al fine
(ABA)
Verse/Refrain:
AB
First and second ending
Section forms
including AB and ABA
Section forms including AB, ABA, AABA,
ABC and ABACA (rondo)
Theme and variations
39
Expression Scope and Sequence
K 1 2 3 4 5
Loud / Soft
Dynamics and dynamic markings
including p, f, crescendo and decrescendo
All previous dynamic markings
and: sudden
changes (subito, p, f), mezzo (mp, mf),
pp, ff
Getting louder / Getting softer
Sudden changes in
dynamics Dynamic contrasts
Dynamics as an
expressive choice
Fast / Slow
Tempo markings including
accelerando, ritardando, and
fermata
Tempo markings including allegro, moderato, and
adagio
Tempo markings including presto,
andante and subito
Tempo markings including allegretto,
lento, and largo
Getting faster / Getting slower
Tempo as an
expressive choice Sudden changes in
tempo
Changes in tempo Appropriateness of
tempo choices
Legato
Articulations and articulation
markings including legato, staccato,
and accents
Articulations and articulation
markings including various slurs and
marcato
Staccato Articulation as an expressive choice
Phrasing
Variety of moods
40
Kindergarten Suggested Timeline
New Concepts Listed in Red
First Nine Weeks Second Nine Weeks Third Nine Weeks Fourth Nine Weeks
Rhythm sing, speak, and move with locomotor and non-locomotor movement to the steady beat
with a variety of recorded music, rhymes, chants,
fingerplays, and circle games
play unpitched instruments to the steady beat while speaking
and singing
respond to iconic notation with steady beat
play pitched instruments to the steady beat while speaking and singing using proper
mallet technique
experience sound versus silence
demonstrate and identify long/short, longer/shorter
sounds
demonstrate and identify one and two sounds per beat and silent beat with iconic notation
echo, play, and move to simple rhythm patterns including
quarter notes, paired eighth notes and quarter rests
identify sets of 2 and 3 beats
Melody experience and identify sounds as high/low, higher/lower
experience and identify upward and downward melodic contour while following iconic notation
sing and memorize songs from a varied repertoire using
appropriate head voice in a limited range using good
posture and diction
sing and memorize a varied repertoire of patriotic and
holiday songs using appropriate head voice in a
limited range using good posture and diction
sing melodies using so and mi sing melodies with so, mi, & la improvise four-beat melodies using so, mi, & la on barred instruments in a pentatonic
identify the seven letters of the musical alphabet
Form echo rhythmic and melodic phrases with body percussion
and unpitched percussion
identify a song's introduction
identify same and different phrases and sections
41
Tone Color (Timbre)
demonstrate and identify differences between singing,
speaking, calling, & whispering voices
identify by sound the differences between childrens' voices and adults' voices; solo
and group; body percussion sounds; unpitched percussion
demonstrate and identify sounds from nature and the
environment
identify by sight and sound i.e. flute, trumpet, drum, guitar,
and piano
create, using sound and movement, backgrounds or settings for poems, stories, songs, and speech pieces
Texture & Harmony
identify differences between one sound and more than one sound; accompaniment and no
accompaniment
identify thick or thin textures
Expression demonstrate and identify differences between loud/soft,
louder/softer
demonstrate and identify differences between fast and
slow
demonstrate and identify changes in tempo including
getting faster and getting slower
identify differences between a march and a lullaby
identify various moods in music
Other identify ways that music is related to other subject matter
demonstrate appropriate audience and performance
behavior
describe how vibrations make musical sounds
experience music from a variety of time periods and
cultures
42
First Grade Suggested Timeline
New Concepts Listed in Red
First Nine Weeks Second Nine Weeks Third Nine Weeks Fourth Nine Weeks
Rhythm sing, speak, and move with locomotor and non-locomotor movement to the steady beat
with a variety of recorded music, rhymes, chants,
fingerplays, and circle games
recognize beat / no beat
respond to and notate rhythm patterns
identify by sight and sound the difference between a note
and a rest
play steady beat and rhythm while speaking and singing
echo, play, and move to simple rhythm patterns including quarter notes, paired eighth notes and
quarter rests
clap and move to a repeated rhythm pattern
sing and read a song with words and rhythm syllables
experience 2/4, 3/4, and 4/4 meters
read notation and sing a song written in duple meter
move to show strong and weak beats
Melody experience and identify leaps and upward and downward
melodic contour
identify steps, skips, and repeated pitches
play melody on pitched percussion to show melodic
direction
read and sing so and mi from iconic notation
read and sing pitch patterns that include so, mi, and la on
the staff
show hand signs for so and mi
experience mi, re, and do
identify note as line or space on a treble staff
identify the number of lines and spaces on a treble staff
43
Form recognize the refrain section of the song
perform locomotor and non-locomotor movements to like and different phrases in a call
and response song
play unpitched instruments to show difference in call and
response
move to show ABA section form of a song
identify ABA section form perform contrasting rhythms to show the sections of a
song in ABA form
identify phrase forms ab and aba
move to show verse and refrain in a song
move to show introduction and coda
play and move to contrasting sections, introduction and
coda
perform contrasting rhythms to show the sections of a
song in AB form
recognize and sing a cumulative song
Tone Color (Timbre)
demonstrate and identify differences between singing,
speaking, calling, & whispering voices
identify shakers, scrapers, woods, metals, and skins by
sound
play and identify shakers, scrapers, woods, metals, and
skins by sound production
identify pitched percussion instruments by sound
identify the different sounds of various percussion
instruments
follow instruments featured in a piece on a listening map
Texture & Harmony
play a simple bordun using proper mallet technique
experience ostinato sing a song with a spoken or instrumental accompaniment
44
Expression demonstrate and identify changes in tempo including
getting faster and getting slower
demonstrate and identify changes in tempo including
getting faster and getting slower
move to show louder and softer dynamics
sing and move to a song incorporating legato and
staccato
Other describe how vibrations make musical sounds
experience music from a variety of time periods and
cultures
45
Second Grade Suggested Timeline
New Concepts Listed in Red
First Nine Weeks Second Nine Weeks Third Nine Weeks Fourth Nine Weeks
Rhythm read and play to quarter note, paired eighth notes, and
quarter rest
read and play to quarter note, quarter rest, and half note
read and play whole notes and rests
recognize single eighth notes recognize two quarter notes/rests equal a half
note/rest
practice writing rhythms and counting beats in measures
echo, play, and move to simple rhythm patterns including
quarter notes, paired eighth notes and quarter rests
play and move to songs written in duple meter
Melody read, sing, and notate pitch patterns that include so, mi,
and la in different staff location
read and notate so, mi, and do identify, read, sing, and move to mi, re, and do
read and sing re with hand signs
notate and sight sing do, re, mi, so, and la melodies
sing, play, and improvise do-centered and la-centered
pentatonic songs
sing and play simple melodic ostinato
compose melody on pitched percussion to show melodic
direction
identify steps, skips, and repeated pitches
identify note as line or space and the number of lines and
spaces on a treble staff
identify letter names of lines and spaces on the treble staff
Form sing and move to show difference between call and
response
46
Form (continued)
identify, sing, and move to a song in aab phrase form
identify, sing, and move to a song in aaba phrase form
identify verse-refrain as AB section form
move to show A, B, and coda sections in music
listen and identify D.C. al fine in ABA form
experience rondo form
Tone Color (Timbre)
identify vocal (male/female, adult/child), instrumental, and
body percussion sounds
play with proper technique and identify shakers, scrapers,
woods, metals, and skins by sound production
identify the different sounds of various percussion instruments
identify and describe bowed, plucked, struck, and electronic string instrument by sight and
sound
identify and describe woodwind and brass
instruments
experience instrumentation from diverse cultures
Texture & Harmony
identify thick or thin textures
perform ostinato perform ostinato by rote and notation
perform rhythmic and melodic ostinati by rote and notation
play layered accompaniment
play bordun
Expression sing, move, and play loud and soft
play, sing, and move to crescendo and decrescendo
identify p and f perform fermata, p, and f
demonstrate and identify changes in tempo including accelerando and ritardando
move to show accented beats sing and move to legato and staccato
identify American patriotic songs
experience music from a variety of time periods and
cultures
47
First Nine Weeks Second Nine Weeks Third Nine Weeks Fourth Nine Weeks
Rhythm read and play quarter notes/rests, paired and single
eighth notes/rests, half notes/rests, and whole
notes/rests
read and play dotted half note (three quarter notes equal a
dotted half note)
read and play sixteenth notes
perform rhythm patterns in an accompaniment
read and play syncopated rhythms
differentiate between beat and rhythm
identify bar lines, measures, double bar lines, and repeat
signs
play and move to songs written in triple meter (strong,
weak, weak)
play and move to songs written in duple and triple
meter
recognize conductors cues in 2/4
recognize conductors cues in 4/4
Melody identify and perform on mallet instrument phrases that move
up, down, and repeat
sing songs from diverse cultures
sing pentatonic songs compose eight-beat melody in pentatonic scale
sing pentatonic songs with pitched syllables and hand
signs
identify and sing low la and low so
sing song following notation on the treble staff
sing song following notation using letter names B, A, and
G
identify and sing octave leap low do to high do
Third Grade Suggested Timeline
New Concepts in Red
48
Form identify and move to show AB/ verse-refrain form
identify, move, and play songs in AABA form
perform a piece in rondo form
sing, play, and move to show difference between call and
response
improvise question and answer rhyhmic and melodic
phrases
listen and identify D.C. al fine and first and second ending
create introduction and coda
Tone Color (Timbre)
sing using proper breathing techniques, good tone
quality, and diction
identify string instruments by sight and sound
identify brass instruments by sight and sound
explore alternative ways for playing pitched percussion,
i.e. xylophone, piano
Texture & Harmony
sing and play rhythmic and melodic ostinati
experience harmony, i.e. ostinato, bordun
sing partner songs and canons/ rounds
Expression sing and identify pp, p, mp, mf, f, ff
sing and play with appropriate dynamics
play, sing, and move to crescendo and decrescendo
demonstrate and identify changes in tempo
review terms for tempo i.e. allegro, adagio
compare and move to legato and staccato
experience music from a variety of time periods and
cultures
49
Fourth Grade Suggested Timeline
New Concepts in Red
First Nine Weeks Second Nine Weeks Third Nine Weeks Fourth Nine Weeks
Rhythm move to show strong and weak beats
perform and move to songs in triple meter
recognize conductor cues in 3/4 meter
perform rhythm patterns using quarter notes, quarter rests, paired eighth notes,
half notes, half rests, sixteenth notes, dotted half
notes, and syncopated rhythms
perform from notation quarter notes, paired eighth notes,
and sixteenth notes
create a composition using familiar rhythm patterns
Melody place pitch syllables on the staff
sing pentatonic song from notation with pitch syllables
read ledger line C and B below the treble staff
read and use hand signs to a do, re, mi, so, la melody from
notation
sing and play short melodic patterns using ti
sing and read from notation a song including do, re, mi, fa,
so, la, ti, do (diatonic)
show melodic contour identify melodic sequence
Form sing, play, and move to show difference between call and
response
identify and perform phrases marked with slurs
improvise question and answer rhyhmic and melodic
phrases
identify and move to show AB verse-refrain form
determine and demonstrate ABA form
create and perform a piece in rondo form (ABACA)
experience theme and variations
Tone Color (Timbre)
sing using proper breathing techniques, good tone
quality, and diction
distinguish vocal tone colors, i.e. soprano, alto, tenor, bass
identify string instruments by shape, sight, and sound
identify and describe percussion tone colors
identify a variety of instrumental and vocal
ensembles i.e. concert band, symphony orchesta, choir,
duet
50
Texture & Harmony
play ostinato accompaniment play I, V accompaniment
sing in harmony i.e. counter melody
sing and move to canons/rounds
listen and describe a recorded song's texture
Expression sing and identify dynamics and dynamic changes
move to show tempo and tempo changes
sing and move to legato and staccato
identify and perform accents where appropriate
experience music from a variety of time periods and
cultures
51
Fifth Grade Suggested Timeline
New Concepts in Red
First Nine Weeks Second Nine Weeks Third Nine Weeks Fourth Nine Weeks
Rhythm perform rhythm patterns using quarter notes, quarter rests, paired eighth notes,
half notes, half rests, variations of sixteenth notes,
dotted half notes, and syncopated rhythms
identify and practice 2/4, 3/4, and 4/4 conducting patterns
play and move to songs written in 6/8 meter
experience 5/4 meter
identify, read, and play sixteenth note patterns i.e. ti-
tika, tika-ti
read from notation and perform dotted-rhythm
patterns
Melody sing, identify, and play pentatonic song from notation
with pitch syllables
play recorder
sing and read notation including do, re, mi, fa, so, la
sing and play short melodic patterns using low ti
recognize the difference between low ti and do is a
half step
identify whole and half steps in a major diatonic scale in
printed music
sing and perform in minor keys
Form recognize, sing, and move to call and response form
sing song in AB verse-refrain form
perform pieces in ABA form create and perform piece in rondo form (ABACA)
Tone Color (Timbre)
sing using proper breathing techniques, good tone
quality, and diction
distinguish vocal tone colors, i.e. soprano, alto, tenor, bass
differentiate sounds in flute and recorder
52
Texture & Harmony
discover how harmony is created by combining two
different melodies
sing partner songs identify and perform three part round
sing in two-part harmony
identify major versus minor tonality
recognize chord changes including I, IV, and V
Expression sing using crescendo and decrescendo
identify and describe dynamics and articulation i.e.
pp,p, mp,mf,f ff, legato, staccato, crescendo,
decrescendo
differentiate between slurs and ties
experience music from a variety of time periods and
cultures
53
Timeline at a Glance
Kindergarten
1st Nine Weeks 2nd Nine Weeks 3rd Nine Weeks 4th Nine Weeks
Rhythm steady beat long/short one sound, two sounds,
silence
Melody high/low upward/downward
Form echo same/different
Tone Color voice types
Texture & Harmony
one sound/more than one sound;
accompaniment/ no accompaniment
thick/thin
Expression loud/soft fast/slow march/lullaby
First Grade
1st Nine Weeks 2nd Nine Weeks 3rd Nine Weeks 4th Nine Weeks
Rhythm q n Q!
$, @, #!
Melody SM step, skip, repeated
pitches
SML
Form ab, aba AB, ABA
Tone Color shakers, scrapers,
woods, metals, skins pitched percussion
Texture & Harmony
bordun
Expression legato, staccato
Second Grade
1st Nine Weeks 2nd Nine Weeks 3rd Nine Weeks 4th Nine Weeks
Rhythm e E! h H!
w W!
Melody SMD MRD DRMSL
Form aab aaba ABACA
Tone Color strings woodwind, brass
Texture & Harmony
ostinato
Expression p, f «¬, º»
54
Third Grade
1st Nine Weeks 2nd Nine Weeks 3rd Nine Weeks 4th Nine Weeks
Rhythm syncopation d D! y!
beat/rhythm
Melody octave, low L, & low S
Form AABA
Tone Color
Texture & Harmony
partner songs, canons
Expression pp, p, mp, mf, f, ff allegro, adagio
Fourth Grade
1st Nine Weeks 2nd Nine Weeks 3rd Nine Weeks 4th Nine Weeks
Rhythm
Melody T DRMFSLTD
Form phrases with slurs theme and variations
Tone Color SATB ensembles
Texture & Harmony
counter melody I, V
Expression
Fifth Grade
1st Nine Weeks 2nd Nine Weeks 3rd Nine Weeks 4th Nine Weeks
Rhythm m M!
dotted rhythms %!
P!
Melody recorder low T whole and half steps
Form
Tone Color
Texture & Harmony
major/minor three-part round
I, IV, V
Expression slurs/ties
55
Glossary
A Cappella – Vocal music performed without instrumental accompaniment.
A tempo – Return to previous tempo.
AB – Form of music that incorporates two parts. Also referred to as binary or verse-refrain form.
ABA – Three-part form in which the middle section is different from other sections. Also referred to as ternary form.
Accelerando – Grow gradually faster.
Accent ( >) – Placed above a note to indicate stress or emphasis.
Accidental – A sharp, flat, or natural placed before a note, used to alter the pitch of the note within a measure.
Accompaniment – A part, usually played by one or more instruments, that supports a main melody.
Adagio – Indicating a slow tempo.
Aesthetics – A philosophy dealing with the nature and expression of beauty, as in the fine arts.
Allegro – Indicating a fast, running tempo.
Alto – Low treble voice.
Andante – Indicating a moderate tempo.
Arrangement – An adaptation of a piece of music for a medium different from that for which it was originally composed.
Arranger – A person who makes decisions about how style, instrumentation, tempo, harmony, and dynamics can be changed in a piece of music.
Articulation – In performance, the characteristics of attack and release of tones and the manner and extent to which tones in sequence are connected or disconnected.
Balance – An appropriate arrangement of musical elements and sections.
Ballad – Song, usually slow, which tells a story.
Bar line – Vertical line placed on the staff to separate sets of beats into measures.
Bass – Lowest singing voice or instrumental range.
Beat – Pulse of the music.
Blend – Quality of sound that gives an ensemble its own distinctive sound.
Body percussion – Rhythmical use of snaps, claps, pats, and stomps.
Bordun – A repeated open fifth pattern used to accompany music.
Brass Instruments – Instruments which are made of a brass or silver tube and have cupped mouthpieces, including trumpet, horn, trombone, tuba and their families.
Call and Response – A form of choral singing. The call is sung by a leader. The response is usually sung by a group.
Canon – Composition where the melody is sung or played at staggered times.
Changed Voice – Adult singing voice.
Chord – Combination of two or more tones simultaneously.
Chord Progression – A series of chords used to harmonize a song or piece of music.
Chromatic – Moving by half steps.
Classroom instruments – Instruments typically used in the general music classroom. For example, percussion instruments, recorders, keyboards.
Clef – Symbol placed at the beginning of the staff to indicate the pitch of the notes on the staff. The most commonly used clefs in choral music are the G, or
treble clef (G) and the F, or bass clef
(?).
Coda – An added ending to a composition.
Compose – To write music.
Conductor - The leader of a musical ensemble who indicates through gestures or conducting patterns how the music should be interpreted by the musicians.
Countermelody – A different melody that is played or sung at the same time as the main melody.
Crescendo («¬) – Gradually louder.
Cut Time (!!or C) – A meter signature in which
there are two beats in a measure and a half note one beat.
Da capo, D. C. – Return to the beginning.
Da capo, al fine – Return to the beginning and continue until the end is indicated.
56
Decrescendo (º») – Grow gradually softer;
synonymous with diminuendo.
Descant – Countermelody, usually above the principal melody, to be sung by a few voices.
Diaphragm – Muscular area that separates the chest cavity and the abdomen; an important muscle in the inhalation-exhalation cycle.
Diatonic – The notes in a major or minor scale.
Diction – Degree of clarity and distinctness of pronunciation in singing.
Diminuendo – Decrescendo
Double bar – A pair of bar lines, one thick and one thin, used to mark the end of the song.
Downbeat – The strong beat.
Duration – The length of time per note.
Dotted Note – A dot to the right of a note head adds one half the length of the note.
Dynamics – Varying degrees of loud and soft.
Elements of music – Basic units that on their own or when combined make up music, including Expression, Form, Harmony, Melody, Rhythm, Texture and Timbre.
Expression, expressive, expressively –
Appropriate articulation, phrasing, style, and interpretation and appropriate variations of dynamics and tempo.
Fermata – The note of a composition as long as the conductor allows.
Fine – The end of a piece of music.
Flat (b) – Symbol that lowers the pitch of a
note one-half step.
Folk song – A song that has been preserved by oral tradition.
Form – Design or structure of a musical composition.
Forte ( f ) – Loud.
Fortissimo ( ff ) – Very loud.
Genre – Type or category of music such as sonata, opera, art song, gospel, work song, lullaby, spiritual, jazz, or march.
Half step – The interval between two adjacent pitches.
Harmony – Sounding of two or more tones simultaneously; the vertical aspect of music.
Head tone – The upper register of a voice because the sound seems to vibrate in the head of the singer; a flute-like quality in a young child.
Improvise – Art of playing or inventing music that has not already been composed.
Interval – Distance between two pitches.
Intonation – Degree to which pitch is accurately produced in performance, particularly among the players in an ensemble.
Introduction – Music that is played before the words are sung or the actual piece begins.
Key signature – Indication of sharps or flats to be played or sung.
Largo – Indicating a very slow tempo.
Ledger Line – An added short line to indicate pitch above or below the staff
Legato – Smooth and connected.
Literature – A musical composition.
Major scale – An arrangement of 8 tones ascending in the following pattern of steps or intervals: whole, whole, half, whole, whole, whole, half.
Mallet Technique – Control of the mallets to produce characteristic musical tones on barred instruments.
Measure – Group of beats containing a primary accent and one or more secondary accents, indicated by the placement of bar lines on the staff.
Melodic contour – The shape of the melody, moving higher, lower, or staying the same.
Melody – In general, a succession of musical tones; represents the linear or horizontal aspect of music.
Meter – Systematically arranged and measured rhythmic pulses or beats indicated by a meter signature at the beginning of a work.
Meter signature – Numbers placed at the beginning of a composition to indicate the meter of the music; the upper number indicates the beats in a measure; the lower number tells which kind of note receives one beat.
Mezzo – Moderately
Mezzo forte ( mf ) – Medium loud.
Mezzo piano ( mp ) – Medium soft.
57
MIDI (Music Instrument Digital Interface) – Standard specifications that enable electronic instruments, such as the synthesizer, sampler, sequencer, and drum to communicate with one another and with computers.
Minor – Designation for certain intervals and scales; a key based on a minor scale (La-based with half steps between 2
nd
and 3rd,
and 6th
and 7th
) is called a minor key.
Moderato – At a moderate pace.
Natural – Musical symbol that cancels a previous sharp or flat.
Nonpitched – Containing no pitch; usually describes instruments such as tambourines, triangles, or claves; also referred to as unpitched.
Notation – Term for a system of expressing musical sounds through the use of written characters called notes.
Note Values – See duration.
Octave – Eighth tone above a given pitch.
Orchestra – Group of instruments that includes brass, woodwind, string, and percussion sections.
Ostinato – Repeated melodic or rhythmic pattern.
Ostinati – More than one ostinato pattern
Partner Song – Two or more different songs that can be sung at the same time to create harmony.
Pentatonic scale – A scale composed of five notes in an octave typically consisting of do, re, mi, sol, and la.
Percussion Instruments – Instruments that are sounded by striking, shaking, plucking, or scraping.
Periods of Music – Historical periods of musical styles including Baroque (1600-1750), Classical (1750-1820), Romantic (1820-1900), and Contemporary (1900-present). See appendix.
Phrase – Relatively short portion of a melodic line that expresses a musical idea, comparable to a line or sentence in poetry.
Pianissimo (pp) – Very soft.
Piano (p) – Soft.
Pitch – Vibrations in sound.
Rallentando – Gradual slowing.
Range – The scope of notes that an instrument or a voice can produce. Also, the scope of a composition, from the lowest note to the highest.
Recorder – Straight end-blown flute, as opposed to side-blown or concert flute. Notes can be played by opening or closing eight holes in the instrument with the fingers.
Refrain – The song part that is sung the same way every time when a song has two or more verses.
Repeat Sign ( } ) – Repetition of a section or
a composition as indicated two vertical dots to the left of a double bar.
Rest – Symbol used to denote silence in
music.
Rhythm – Term that denotes the organization of sound in time; the temporal quality of sound.
Ritardando (Rit.) – Slowing down.
Rondo – Form of music that incorporates a recurring theme (as in ABACA).
Scale – Succession of tones. The scale generally used in Western music is the diatonic scale, consisting of whole and half steps in a specific order.
Sforzando – Loud or accented, then immediately softer.
Sharp (B)– Symbol that raises the pitch of a note one-half step.
Skip – Intervallic movement from one pitch to another, skipping the pitches in between.
Slur – A curved line indicating need to connect notes smoothly, legato.
Silent Beat – A rest.
Solfège – Vocal exercise sung on vowels or syllables. The practice of singing using syllables, do, re, mi, fa, sol, la, ti, and their association with specific pitches, especially in regard to the indication of intervals.
Solo – Singing or playing alone.
Soprano – Highest singing voice or instrumental range.
Spiritual – Type of religious folk song or hymn developed by Americans in the eighteenth and nineteenth centuries.
Staccato – Short and separated
58
Bibliography
Alabama Course of Study: Arts Education. Montgomery, Alabama: Alabama Department of Education, 2006. Beethoven, J., Brumfield, S., Campbell, P. S., Connors, D. N., Duke, R. A., Jellison, J. A., et al. (2005) Silver-
Burdett: Making Music. Glenview, Illinois: Pearson/Scott Foresman.
Bond, J., Boyer-White, R., Campbell-duGard, M., Davidson, M. C., de Frece, R., Goetze, M., el al. (1998). Share the Music. New York, New York: Macmillan/McGraw-Hill.
Virginia Polytechnic Institute and State University (2007). Virginia Tech Multimedia Music Dictionary.
Retrieved June 6, 2007, from http://www.music.vt.edu/musicdictionary.
Staff – Horizontal lines (usually five) used to notate pitches.
Step – Intervallic movement by whole step.
String Instruments – Any musical instrument that produces sound by means of vibrating strings.
Style – Distinctive or characteristic manner in which the elements of music are treated including country, gospel, jazz, pop, rock, and swing. See appendix.
Subito – Suddenly.
Syncopation – Accent on the weak beat.
Technique – Ability to perform with appropriate timbre, intonation and diction; to play or sing the correct pitches and rhythms.
Tempo – Rate of speed in a musical work.
Texture – Term used to describe the way in which melodic lines are combined either with or without accompaniment. Types include monophonic, homophonic, polyphonic, and contrapuntal.
Tenor – Singing voice or instrumental range between alto and baritone.
Tie – A curved line drawn over or under the heads of two notes of the same pitch indicating that there should be no break between them but they should be played as a single note.
Timbre – Characteristic quality of a voice or instrument.
Tonal Center – The home tone of a song.
Tonality – Term used to describe the organization of the melodic and harmonic elements; a feeling that one pitch, the tonic, is the pulling force or center.
Triple meter – Meter based on three beats, or a multiple of three, in a measure.
Triplet – Group of three notes performed in the time of two of the same kind.
Unison – Singing or playing the same notes by all singers or players, either at exactly the same pitch or in a different octave.
Upbeat – One or more notes before the first strong beat of a phrase.
Unpitched – Containing no pitch; usually describes instruments such as tambourines, triangles, or claves; also referred to as unpitched.
Verse – Words and music that make up the body of a song and that may alternate with the refrain.
Verse-Refrain Form – A song in which the words of the verse change following each repetition of the refrain; the verse and refrain usually have different melodies. Also referred to as AB or binary form.
Vocal technique – Control of the voice and vocal sounds; method of producing and phrasing notes with the voice.
Whole step – Pitch interval made by two half steps.
Woodwind Instruments – Instruments that are made of wood and sounded by means of air. All utilize reeds except for the flute family. Single reed instruments include the clarinet and saxophone families. The double reed instruments include the oboe family.
59
Music History Overview
Renaissance (Pre 1600)
Baroque (1600-1750)
Classical (1750-1825)
Romantic (1825-1900)
Contemporary (1900- )
Melody graceful arching contours, singable
motivic, ornamented, elaborate
singable, symmetrical, antecedent/consequent
tuneful, overly emotional, longer phrases, highly chromatic, expanded ranges
large leaps, highly dissonant intervals, de-emphasized, not singable
Harmony modes major/minor tonalities are used more than modes, basso continuo
major/minor tonalities, strong cadences, modulations are more common, Alberti bass, definite beginning, middle, and end
more dissonance, more frequent modulations, high chromaticism, dense harmonies, lush orchestrations, weakened sense of beginning, middle, and end, harmony enhances expression
weakening traditional harmonies, random harmonies in serialism, microtonal intervals
Rhythm simple very metrical, first use of bar lines and time signatures
more flexible, less predictable
more frequent changes in meter, fermata
polyrhythmic, loss of rhythmic structure, frequent meter changes
Texture monophony (chants, plainsong), polyphony (motets), homophony (chanson)
polyphonic from counterpoint
homophonic homophonic homophonic in pop music, polyphonic in art music
Dynamics no markings because music was hand copied
terraced dynamics graduated dynamics wider range (pppp, ffff) wider range, frequent changes
Tempo free some markings rubato, invention of the metronome, first use of metronome markings
more frequent changes in tempo
frequent tempo changes
60
Composers DuFay, Hildegard, Palestrina
Bach, Handel Haydn, Mozart, Beethoven
Berlioz, Brahms, Dvorak, Tchaikovsky, Strauss, Schubert, Schumann, Chopin, Mahler, Liszt
Copland, Orff, Debussy, Gershwin, Cage, Babbitt
Culture patronage of music, increased interest in exploration
upper class rule, Age of Great Contrasts, composers had to produce large quantities of music in a short period of time
Age of Enlightenment, rise of the middle class
fascination with nature, the macabre, Gothic, and supernatural, mass printing
widening gap between art music and pop music
Vocal mass (Kyrie, Gloria, Credo, Sanctus, Agnus Dei)
opera, oratoria, cantata, passion, mass
opera, oratorio, passion, mass
opera (Wagner, Rossini, Verdi), lied (Schubert, Schumann), mass, song cycle
vocal slides, large ranges, uncommon dissonances, nontraditional vocalizations
Instrumental dances, sonata harpsichord, concerto grosso, suite, fugue
piano, small orchestra (strings, woodwinds, some brass), sonata, symphony, concerto, string quartet
large orchestra, programatic music (idée fixe), nationalism, symphony, piano works
electronic instruments
Other intellectual, structured emotional, natural, form shaped expression
expression shaped form, virtuoso performers
serial music places much demand on the musicians, impressionists, neoclassicists, serialists, aleatoric
61
World Music Overview
Continent Melody Harmony Rhythm Instruments Vocal Function
Africa pentatonic, tritonic, heptatonic, Western
intervals
not as important as melody, important in
S. African choral music, polyphonic
texture
polyrhythmic, each drum plays one
rhythm repeatedly, highly accented
djembe, mbira, talking drum, musical bow, harp, lute, log
drum, shekere, metal bells, xylophones, instruments are
vehicles of speech
middle voice, call and response, songs inflected like spoken word, songs teach traditions, ululation,
unison
integrated into everyday life, music for all occasions and
events, communication,
secular and sacred
Asia/China
based on pentatonic or heptatonic scale,
pure tones, each tone has a mystical significance, music rooted in melody
drones on zithers, melody more
important duple meters
qin (most important solo instrument),
flute, sheng (mouth organ), metal
percussion, gongs
opera - main male sings baritone,
secondary male sang falsetto, heroines
sang with high nasal quality
early music meant to purify one's thoughts, sound influenced the
harmony of the universe, separation
of vocal and instrumental, art
music most appreciated
Asia/Japan
same scales, melodic contour not
as important, heterophony, microtones
melody more important
duple meters koto (most important
solo instrument, shakuhachi (flute)
evolved into middle range, some
improvisation on melody
separation of vocal and instrumental, art
music most appreciated
Asia/Indonesia
five-tone or seven-tone scale, not tuned to Western intervals,
melody broken between instruments,
little improvisation
heterophony produced by
elaborations of melody
duple or quadruple divisions, 4th beat
most important
gamelan is considered one
instrument, all tuned to one scale,
metallophones, gongs, 30-40 instruments
vocal music tends to be highly
ornamented
Bali - outdoor religious ceremonies
to inspire trances, Java - royal court music, music not
notated
62
Continent Melody Harmony Rhythm Instruments Vocal Function
Asia/India
ragas - sequence of pitches related to
certain time of day or night, mood, deity,
event, or sex, 7 basic tones that represent
a mood
drone of tonic, fifth, and octave
talas - rhythmic cycles of a fixed number of beats
grouped together in an orderly
arrangement, players free to improvise,
three tempos - solo, moderate, fast
sitar (plays melody, 7 strings, 13
sympathetic strings), tabla (right hand
drum), banya (left hand drum), tambura
(4-6 strings, plays drone)
singer improvises on raga
music intimately connected to spiritual word, music reflects inherent order of the universe, ragas and talas are memorized, very intense training
Australia overblowing creates
harmonics
breathing creates rhythm, tongue taps
on mouthpiece
didgeridoo (made from limbs or trees
hollowed out by termites, circular
breathing produces constant drone as
player hums or vocalizes, beeswax
mouthpiece)
originally a sacred instrument used in tribal rituals, only played by males,
gaining secular use
Asia/Russia (throat
singing)
imitates the sounds of nature
one person sings 2-4 pitches by singing
overtones
khoomii sung by males, also found in
the singing of the women in the Xhosa tribe in South Africa
pastoral music connected with
animism, the belief that natural objects
have souls
Asia/Russia folk melodies,
religious chants
balalaika (developed from the dombra of Siberia, triangular body, small sound hole, long narrow neck, 3 strings, 6
sizes from piccolo to contrabass,
organized into orchestras
traditional dance music, played along to accompany songs
and dance
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Continent Melody Harmony Rhythm Instruments Vocal Function
Europe/Ireland
melody, rhythm, and harmony closely
resemble music of western Europe
bodhran (goatskin drum), fiddle, tin
whistle, accordion
oral folk tradition, music for dancing
Europe/ Scotland
melody, rhythm, and harmony closely
resemble music of western Europe
bagpipe (originally came from Egypt),
fiddle, harp
jigs, reels, marches, retreats
Europe/ Eastern
harmonic minor scale, augmented
2nd chordal harmony
steady duple meter, heavily accented
klezmer band combines wind and string instruments,
clarinet, saxophone, accordion, drum,
shofar
religious, transmit history, melismatic,
nasal ululations
performed for social occasions, religious
prayer
Europe/ Switzerland,
Austria
intervallic leaps, 4th, 6th, and 7th most
common, 2-6 sections
major scale oriented regular beat rapid alternation of
registers, legato communication in mountain areas
South America/
Brazil (folk)
Portuguese heritage, European modes
European heritage African origin, polyrhythmic
guitar, cuica, guiro, cabasa, drums
Iberian polyphony celebrations, dance
music, Carnaval, samba
Central America/
Mexico (folk) text is important
flutes, maracas, drums, slit drums
high pitched dance, festivals, drama, poetry
Central America/ Mexico
(mariachi)
European models, text in couplets
European heritage triple rhythms guitars, bass guitar,
2 trumpets entertainment
Trinidad/ Tobago (folk)
call and response from Africa
polyrhythms conga drum,
calabash, rattle primarily vocal music
combining cultures and religions
Trinidad/ Tobago
(calypso)
call and response, short phrases,
European major scale oriented
duple meter, syncopation
steel drum bands primarily male social criticism, satire
64
Continent Melody Harmony Rhythm Instruments Vocal Function
Cuba/Puerto Rico (salsa)
European derived, improvisations
simple 4-bar or 8-bar progressions of primary chords
West African rhythms interlocking with rhythmic ostinati
vocals, piano, bass, trumpet, trombone, saxophone, bongos,
conga drums, timbales, claves, cymbals, cowbell,
maracas, woodblock, guiro
based on Cuban dance styles and
elements of jazz and rock
North America/
Blues European
12-bar blues form using pattern of primary chords
duple meters rhythm section solo self-expression
North America/
USA/Ragtime
European, 3 or 4 sections
European heritage duple meter, syncopation
piano listening
entertainment
North America/ USA/
Dixieland
European phrases, call and response,
group improvisation European heritage syncopation
Dixieland band (trumpet, trombone, tuba, clarinet, piano, string bass, banjo,
drum set
entertainment at weddings, funerals, political rallies, night clubs, originated in red light district of
New Orleans
North America/
USA/Swing
melody played by one section of band,
one person improvises at a time
European heritage less syncopated
big band (4 saxophones, 4
trumpets, rhythm section - piano,
drums, string bass, guitar)
dancing and listening
North America/ USA/
Bebop
melody obscured by rapid scalar
improvisation European heritage syncopation
small combo, lead instrument
(saxophone or trumpet), rhythm
section
listening to virtuosic
performances
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Suggested Inventory of Instruments
Barred Instruments Soprano Glockenspiel Alto Glockenspiel Soprano Xylophone Alto Xylophone Bass Xylophone
Soprano Metallophone Alto Metallophone Bass Metallophone Bass Bars
Auxiliary Instruments
African Pods Agogo Bells Autoharp Bass Drum Bell Tree Bird Call Bongos Cabasa Castanets Claves Congas/Tubanos Cowbell Cricket Call Djembe Egg Shakers Finger Cymbals Flexatone Gankogui Goat Hoof Rattle Gong Guiro Hand Drums Jingle Bells Kalimba Keyboard Kokoriko Log Drum Maracas Mini Steel Drum
Music Stand Ocean Drum Piano Piccolo Temple Blocks Pow Wow Drum Rain Stick Ratchet Rhythm Sticks Sand Blocks Shaekere Slapstick Slide Whistle Snare Drum Sound Shapes Spoons Stir Xylophone Suspended Cymbal Tambourine Temple Blocks Thunder Sheet Thunder Tube Timpani Tone Blocks Train Whistle Triangles Vibraslap Washboard Wind Chimes Wood Blocks
66
Suggested Curriculum Resources
Title Description Author/Artist
120 Singing Games and Dances Book Choksy, Brummitt
150 American Folk Songs Book Ed. by Peter Erdel
150 Rounds for Singing and Teaching Book Bolkovac and Johnson
2nd Rhyme Around Book Randy DeLelles and Jeff Kriske
3rd Rhymes the Charm Book Randy DeLelles and Jeff Kriske
All About Bongos Book & CD Kalani
All About Congas Book & CD Kalani
All About Jembe Book & CD Kalani
Amazing Jamnasium Book/CD-ROM & CD Kalani
Any Jig or Reel CD Davis, Amidons, Brass
As American As Apple Pie Book Randy DeLelles and Jeff Kriske
Assessing the Developing Child Musician Book Tim Brophy
Bach's Fight for Freedom DVD
Backwoods Heritage Book/CD/DVD Martha Riley
Beethoven Lives Upstairs DVD
Beginning Folk Dances Videos 1-5 Phyllis S. Weikart
Bizet's Dream DVD
Bought Me A Cat 2 Book/CD Jill Trinka
Changing Directions CDs (6) Phyllis S. Weikart
Chimes of Dunkirk Book/CD Davis, Amidons, Brass
Chimes of Dunkirk: Teaching Dance DVD Davis, Amidons, Brass
Classroom Instrument Bingo Game Harper
Come Join In! Book Elizabeth Gilpatrick
Conga Town Book Jim Solomon
D.R.U.M. Book Jim Solomon
Discovering Orff Book Jane Frazee
Down in the Valley Book/CD Davis, Amidons, Brass
Encore! Book Randy DeLelles and Jeff Kriske
English Country Dances Book/CD/DVD Martha Riley
Exploring Orff Book Arvida Steen
Feel It! Book/2 CDs Abramson
Game Plan Grade One Charts & Visuals Randy DeLelles and Jeff Kriske
Game Plan Grade One Curriculum Book Randy DeLelles and Jeff Kriske
Game Plan Grade Three Charts & Visuals Randy DeLelles and Jeff Kriske
Game Plan Grade Three Curriculum Book Randy DeLelles and Jeff Kriske
Game Plan Grade Two Charts & Visuals Randy DeLelles and Jeff Kriske
Game Plan Grade Two Curriculum Book Randy DeLelles and Jeff Kriske
Gameboard Components Randy DeLelles and Jeff Kriske
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GASA Strategies for Teaching Set A Book Published by MENC
GASA Strategies for Teaching Set B Book Published by MENC
Get America Singing…Again! Vol.1 Book Published by MENC
Get America Singing…Again! Vol.1 P/A CD 3-CD set Published by MENC
Get America Singing…Again! Vol.1 Singers Ed.-30 Published by MENC
Get America Singing…Again! Vol.2 Book Published by MENC
Get America Singing…Again! Vol.2 P/A CD 3-CD set Published by MENC
Get America Singing…Again! Vol.2 Singers Ed.-30 Published by MENC
Hand Drums on the Move Book Chris Judah-Lauder
Handel's Last Chance DVD
Highlighting the Holidays Book Randy DeLelles and Jeff Kriske
Homespun Book Shirley W. McRae
I Sing, You Sing Book/CD Pack Sally K. Albrecht and Jay Althouse
I Sing, You Sing: Holiday Songs Book/CD Pack Sally K. Albrecht and Jay Althouse
In All Kinds of Weather, Kids Make Music! Book Lynn Kleiner
In All Kinds of Weather, Kids Make Music! CD Lynn Kleiner
Instrument Bingo Game Cheryl Lavender
It's Elemental Book Don Dupont and Brian Hiller
It's Elemental 2 Book Don Dupont and Brian Hiller
John, the Rabbit 3 Book/CD Jill Trinka
Jump Jim Joe Book/CD Davis, Amidons, Brass
Kids Can Listen, Kids Can Move! Book/CD Pack Lynn Kleiner
Kids Make Music, Babies Make Music Too! Book Lynn Kleiner
Kids Make Music, Babies Make Music Too! CD Lynn Kleiner
Las Vegas Writes I Book Nevada's Desert-Valley Chapter
Las Vegas Writes II Book Nevada's Desert-Valley Chapter
Las Vegas Writes III Book Nevada's Desert-Valley Chapter
Lines & Spaces Bingo Game Cheryl Lavender
Listen to the Mockingbird Book/CD Davis, Amidons, Brass
Listening Resource Kit - Level 1 Book Denise Gagne
Listening Resource Kit - Level 2 Book Denise Gagne
Listening Resource Kit - Level 3 Book Denise Gagne
Listening Resource Kit - Level 4 Book Denise Gagne
Listening Resource Kit - Level 5 Book Denise Gagne
Liszt's Rhapsody DVD
Little Black Bull 4 Book/CD Jill Trinka
Making the Most of the Holidays Book Randy DeLelles and Jeff Kriske
Marsalis on Music: Listening for Clues Video
Marsalis on Music: Sousa to Satchmo Video
Marsalis on Music: Tackling the Monster Video
Marsalis on Music: Why Toes Tap Video
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Melody Bingo Game Cheryl Lavender
Monkey Business Book Jim Solomon
Music and Feelings DVD Mister Rogers
Music K-8 Periodical Plank Road Publishing
Music Styles Bingo Game Cheryl Lavender
Music Symbol Bingo Game Cheryl Lavender
Musical Instrument Bingo Game Cheryl Lavender
Musicplay for Kindergarten Book/CD Pack Denise Gagne
My Little Rooster 1 Book/CD Jill Trinka
One, Two, Three, Echo Me Book/CD Loretta Mitchell
One, Two, Three, Echo Me Orff Companion Book Dirksing
Orff Schulwerk Today Book Jane Frazee
Other Side of the Tracks CD Davis, Amidons, Brass
Peter and the Wolf DVD Prokofiev
Peter Ustinov Reads The Orchestra DVD
Playtime Instrumental Pieces Book Shirley W. McRae
Reading Rainbow: Barn Dance DVD
Reading Rainbow: Follow the Drinking Gourd DVD
Reading Rainbow: Zin! Zin! Zin! A Violin DVD
Recorder Routes I Book Carol King
Rhythm Bingo Level 1 & 2 Game Cheryl Lavender
Rhythmically Moving CD Set CDs (9) Phyllis S. Weikart
Round the Seasons Book Elizabeth Gilpatrick
Round We Go Book Elizabeth Gilpatrick
Sesame Street: Let's Make Music Video
Sesame Street: Zoe's Dance Moves Video
Simply Sung Book Mary Goetze
Sing Round the World Vol. 1 Book Shirley W. McRae
Sing Round the World Vol. 2 Book Shirley W. McRae
Sing with Me! Learn With Me! Book Elizabeth Gilpatrick
Singing Round the Year Book Robert deFrece
Solfege Bingo Game Cheryl Lavender
Sound Ideas Book Doug Goodkin
Sound Shape Playbook Book/CD Pack Lynn Kleiner
Strauss: The King of Three-Quarter Time DVD
Strike It Rich! Book Randy DeLelles and Jeff Kriske
Teaching Folk Dance Book Phyllis S. Weikart
Teaching Folk Dance Videos (Vol. 1&2) Phyllis S. Weikart
Teaching Movement and Dance Book Phyllis S. Weikart
The Amazing Jamnasium Book/CD Kalani
The Complete Recorder Resource Kit Book/CD Denise Gagne
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The Complete Recorder Resource Kit 2 Book/CD Denise Gagne
The Kodaly Method I Book Choksy
The Kodaly Method II Book Choksy
The Little Black Bull 4 Book Jill Trinka
The Magic Circle Book Isabel Carley
The Nutcracker DVD Tchaikovsky (Royal Ballet)
The Sound of Music DVD
The Tropical Recorder Book Jim Solomon & Mary Helen Solomon
The Tropical Recorder Student Packs Jim Solomon & Mary Helen Solomon
To Drum Book Chris Judah-Lauder
Together in Rhythm Book/DVD Kalani
Tops in Pops Book Arr. Marilyn Copeland Davidson
Tutoring Tooters Book Shirley W. McRae
Tyme for a Rhyme Book Randy DeLelles and Jeff Kriske
Where's Your Drum? CD Bloom
World Instrument Bingo Game Cheryl Lavender
World Music Drumming Book Will Schmid
World Music Drumming-New Ensembles Book/CD Pack Will Schmid