Public Schools of North CarolinaState Board of EducationDepartment of Public Instruction

May 2003

ARTS EDUCATIONTeacher Handbook

MUSIC

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ARTS EDUCATION TEACHERHANDBOOK: MUSIC

May 2003

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Contents (if viewing in HTML format, click on links to go to sections) Page

INTRODUCTION 4

LESSON PLANS 6

• Lesson Plan Introduction 6

• Elementaryo Differentiating Types of Vocal Production

(see Assessment Item that aligns with this Lesson Plan)o Football Rhythmso Introduction to Melodic Notation: Sol-Mi

(see Assessment Item that aligns with this Lesson Plan)o Music Around the World: United Nations Weeko Original Band Compositionso Original Rhythm Compositions for Poetry

(see Assessment Item that aligns with this Lesson Plan)o Rhythm Compositionso Totally Ternary

(see Assessment Item that aligns with this Lesson Plan)o Vocal Awareness

(see Assessment Item that aligns with this Lesson Plan)o Write Your Own Rap

(see Assessment Item that aligns with this Lesson Plan)

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791113811519238326289030923294

• Middle Schoolo Composer/Musician Study (General/Vocal/Instrumental)

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o Creating Sight-Singing Originals (Vocal)(see Assessment Item that aligns with this Lesson Plan)

o Music Composition (Strings/Instrumental)o Rehearsal and Sightreading Techniques (Band/Instrumental)o Rhythm in Motion (General/Vocal)

(see Assessment Item that aligns with this Lesson Plan)o Starting at the Beginning (Band/Instrumental)

(see Assessment Item that aligns with this Lesson Plan)o Teaching Rhythm and Pitch Reading (Strings/Instrumental)o Using Numbers (Pitch Levels) to Teach the Major Scale

(General/Vocal)(see Assessment Item that aligns with this Lesson Plan)

4097434649

10552

1085658

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• High Schoolo Composing Project (Vocal)

(see Assessment Item that aligns with this Lesson Plan)o Connecting Literature, Writing and Music (Band/Instrumental)o Creating Sight-Singing Originals (Vocal)

(see Assessment Item that aligns with this Lesson Plan)o Rhythm Counting (Band/Instrumental)

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1126469

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ASSESSMENT ITEMS 75

• Introduction to Assessment in Arts Education Classrooms 75

• Elementaryo Differentiating Types of Vocal Production

(see Lesson Plan that aligns with this Assessment Item)o Introduction to Melodic Notation: Sol-Mi

(see Lesson Plan that aligns with this Assessment Item)o Original Rhythm Compositions Using Poetry

(see Lesson Plan that aligns with this Assessment Item)o Quarterly Performance Assessmento Totally Ternary

(see Lesson Plan that aligns with this Assessment Item)o Vocal Awareness

(see Lesson Plan that aligns with this Assessment Item)o Write Your Own Rap

(see Lesson Plan that aligns with this Assessment Item)

7879

88113832387902892309432

• Middle Schoolo Creating Sight-Singing Originals (Vocal)

(see Lesson Plan that aligns with this Assessment Item)o Playing Assessment (Orchestra/Instrumental)o Rhythm in Motion (General/Vocal)

(see Lesson Plan that aligns with this Assessment Item)o Starting at the Beginning (Band/Instrumental)

969740

10210549

108

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(see Lesson Plan that aligns with this Assessment Item)o Using Numbers (Pitch Levels) to Teach the Major Scale

(General/Vocal)(see Lesson Plan that aligns with this Assessment Item)

52110

58

• High Schoolo Composing Project (Vocal)

(see Lesson Plan that aligns with this Assessment Item)o Creating Sight-Singing Originals (Vocal)

(see Lesson Plan that aligns with this Assessment Item)o Interval Check-Off (Instrumental)o Performance Evaluation (Orchestra/Instrumental)o Rhythm Test (Band/Orchestra/Vocal)

11111261

11569

120122126

TIPS 129

• Curriculum Integrationo Introduction to Curriculum Integrationo Integration with Music/Multiple Disciplines

ß Integrated Performance: Music, Dance, and French

129130135

• Classroom Structures for Learningo Learning Centers in Elementary Arts Education Classrooms

137138

• Literacy and the Arts• Writing Across the Curriculum

o Introduction to Writing Across the Curriculumo Alignment Matrix with Music Education and Middle Grades Writingo Alignment Matrix with Music Education and 10th Grade Writing

Assessment

140145146148151

RESOURCES• Print/Video/CD• Web Resources• Resources that Assist With or Demonstrate Curriculum Integration

152153155158

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ARTS EDUCATION TEACHERHANDBOOK: MUSICINTRODUCTION

The Teacher Handbook for Music Education is available through NCDPI Publicationsand online in PDF and HTML formats. The handbook will be regularly revised andupdated as new sections are developed.

The PDF (print-friendly) and HTML versions of the Teacher Handbook, which include abank of lesson plans and assessment items that were developed by arts educationteachers in NC, may be accessed online at: http://www.ncpublicschools.org (click on"Curriculum," then "Arts Education," then "Resources.") The HTML version of theTeacher Handbook allows viewers to link to various sections of interest within thedocument.

Those interested in contributing a lesson plan, assessment item, or other material to theTeacher Handbook should visit: www.learnnc.org/dpi/instserv.nsf (click on "musiceducation," click on "news and happenings," click on "help us create the NEW TeacherHandbook)," to read more about this opportunity and to access templates for lessonplans, assessment items, resources, and other information. For questions or furtherinformation about the Teacher Handbook, please contact Christie Lynch Howell, ArtsEducation Consultant, NCDPI, at 919-807-3856 or cmhowell@dpi.state.nc.us.

OVERVIEW

The Teacher Handbook for Music Education was created to assist teachers with theimplementation of the North Carolina Standard Course of Study and Grade LevelCompetencies, K-12 (SCS). The SCS was revised through the cooperation andassistance of individuals and groups throughout the state and was approved by theState Board of Education in December of 2000. The implementation year for the SCS is2002-2003. The SCS will be regularly revised and improved to meet the needs of thestudents of North Carolina.

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Standard Course of Study

Based on the National Standards for Arts Education, the SCS describes what studentsshould know and be able to do as the result of instruction at each grade level or coursein each of the four arts areas: music, music, theatre arts and visual arts. The SCS wasgenerated to provide a foundation for teachers and curriculum specialists in each schoolsystem to develop classes or courses and instructional strategies. Objectives in theSCS describe content and skills that are not limited to particular materials ormethodologies, but that can be delivered through multiple approaches or materials. TheSCS may be accessed online: www.ncpublicschools.org (click on Curriculum) orpurchased through NCDPI Publications.

Teacher Handbook

The Teacher Handbook for Music Education is a supplement to the SCS. This teacherhandbook provides teachers with some ideas of how particular goals and objectivesmay be addressed in the classroom. This document is not intended to becomprehensive or sequential, but rather, to illustrate some possible ways to helpimplement the SCS. Because specific objectives are not taught in isolation, it may benoted that both lesson plans and assessment items correlate with multiple goals andobjectives, often within and across the arts and/or other content areas. The teacherhandbook is in development; so as new lessons, assessment items, or other sectionsare developed, they will be added to this resource.

Thank you to the teachers in NC who developed these plans, assessments, and ideasto support teachers across our state!

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Lesson Plan Introduction

The lessons contained in the Teacher Handbook were developed for teachers byteachers. You may access lesson plans by grade span and individual plans within eachspan. This database of lesson plans may be added to as further plans are developed.Those interested in contributing lesson plans to the Teacher Handbook should contactChristie Lynch Howell, Arts Education Consultant, NCDPI, at 919-807-3856 orcmhowell@dpi.state.nc.us.

The lesson plans developed are organized in the following format: Title; Grade Level orCourse; Time Allotment; Targeted Goals and Objectives from the 2000 North CarolinaArts Education Standard Course of Study and Grade Level Competencies, K-12;Targeted concepts or skills from other Content Areas; Alignment with the NC HighSchool Exit Exam; Lesson Objective(s); Materials/Equipment Needed; LessonProcedure; Assessment; and Special Considerations. Some lesson plans are linked toparticular assessment items. These lessons are noted in the table of contents andwithin the lessons themselves.

The lesson plans are not designed to be used as a step-by-step “cookie cutter”approach to implementing the SCS, but rather as a starting point to help teachers seehow particular goals and objectives from the SCS may be implemented in theclassroom. Perhaps a teacher reading through one of the lesson plans may use theplan as a place to begin with when mapping his/her course of study for students.Lessons should be modified to meet the individual learning needs of students within theclassroom.

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ELEMENTARY LESSON PLANS

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Submitted by Pamela Rose Ayers,Winston-Salem/Forsyth Schools

Lesson Title:Differentiating Types of Vocal Production

Grade Level or Course:Kindergarten Music

Time Allotment:Three thirty-minute class periods (at the beginning of the school year)

Targeted Goals and Objectives from the 2000 North Carolina ArtsEducation Standard Course of Study and Grade Level Competencies, K-12:1.01-Recognize and demonstrate the difference between speaking and singingvoices (and chanting);1.02-Match pitch within a developmentally appropriate range;1.03-Sing with correct posture;1.04-Respond to the cues of the conductor;1.05-Sing a variety of music.

Targeted Goals and Objectives from the North Carolina Standard Course ofStudy and Grade Level Competencies, K-12 for other content areas:Music: Identify body parts and range of motion;English Language Arts: Use new vocabulary in own speech and writing;Guidance: Demonstrate the ability to work independently, as well as the ability towork cooperatively with other students;Healthful Living: Describe health risks for age group.

Lesson Objective(s):1. The learner will differentiate between speaking, chanting, and singing voices.2. The learner will demonstrate the differences between speaking, chanting, and singing voices.3. The learner will learn and demonstrate the differences between solo and chorus voices.4. The learner will become aware of their own vocal production and the need to protect his or her voice.

Materials/Equipment Needed:CD Player; CD's of appropriate song literatureSuggestions: "Five Little Monkeys Jumping on the Bed," "Down, DownBaby," "Head Shoulders Baby," "Hickory, Dickory Dock, "Candy Man, Salty Dog,”"Cookie Jar," "Miss Mary Mack;"A set of cards for each student: (1) picture of two people talking, (2) picture ofcheerleader, (3) picture of group singing

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Lesson Procedure: Lesson 1-Introduce concept of singing voice, talking voice, and chanting voice.-Have students echo each to the types of voices and choose the appropriatevoice type for each.-Allow students to become the "teacher" or "leader" and have class echo thevoice type presented by the student and again assign the correct name or label.-Give students concrete examples of singing, chanting, and speaking.Use normal conversation as an example of speaking. Use a cheerleader for anexample of chanting. Use a recording that has both solo and choral voices forsinging.-Choose a chant from the student text. Have the students echo each line orphrase. Ask the students what type of voice they used? If the students havetrouble with distinguishing between the voices, relate the chant back to theexamples given in number 3. Does the piece sound more like a cheerleader,singer or choir, or people talking to each other?-Following the same procedure, play examples of pieces that are only singing ora recording of an aural presentation of a story. Choose a piece at this time torepresent only singing and teach the song to the children.-Choose a piece that is a mixed example and have students differentiate theparts that are spoken, chanted, or sung.-Conclude the lesson by giving each student a set of cards showing a cheerleader,singers, and people talking. Play examples or use your own examples of the threevoices. Have students show the appropriate card for each voice.

Assessment: (see Assessment Item that aligns with this Lesson Plan)-Use the set of 3 cards to assess individual progress.-Use student examples of singing, chanting, and speaking (from step # 2) toaurally assess each student.

Lesson 2:-Review the concepts of speaking, singing and talking voices.-Have each student echo you and tell you what type of voice they used.-Review the songs for the previous week allowing students to identify the voicetypes.-Teach new examples/pieces of each voice type. Be sure that one of theexamples includes a solo and chorus or call and response. Identify these musicalterms and although the students are not reading yet, place the words from yourword wall on the board along with the accompanying picture from the previousweek.-Ask students for volunteers to sing the solo part from one of the pieces. Remindthe rest of the class that they perform the part of the chorus. Note: When youbegin having students singing in this manner, it sometimes becomes competitive.Even if it doesn't, this is an opportunity to explain how the vocal chords are a partof the body and how they work. Try to get children to understand that screamingand overly loud singing can cause damage to the vocal chords. Use theopportunity to describe and help children feel the position that promotes healthyand appropriate singing: shoulders down and relaxed, chin level (neither pointingup or down), and singing at the appropriate volume levels.

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opportunity to describe and help children feel the position that promotes healthyand appropriate singing: shoulders down and relaxed, chin level (neither pointingup or down), and singing at the appropriate volume levels.-At this point encourage students to sing a familiar phrase of a song or createa phrase ("part" when referring to students) that the remainder of the class canecho. During this time is a great opportunity to observe the understanding of theconcept and also pitch matching. Record information in a log or grade book forfuture reference.-Conclude the lesson by a brief review using any of the techniques describedabove.

Assessment: (see Assessment Item that aligns with this Lesson Plan)-Using a rubric, record each child's progress by using 4 for mastering the concept.-Use a 3 when the student is right most of the time.-Use a 2 only when the child is occasionally right.-Use a 1 when the student cannot respond appropriately.

Lesson 3-Review the concept of speaking, singing, and chanting voices. Ask each child todemonstrate the concept at some point in the lesson. Be sure to record yourresults in your log or grade book as the lesson progresses from one activity toanother.-Allow the children to choose their favorite chant and song to review. ("CandyMan, Salty Dog" is wonderful because of the numerous changes in vocal usage).-Teach a few new songs or chants. (Note: I try to use literature that can be usedto start the concept that I will be teaching the following week. For example, I oftenfollow this concept with steady beat. I will use the singing voice and add sticks sothat greater variety is given and the opportunity is available for me to pre-assessstudent capability for the next week.)-Give students multiple opportunities to sing or chant alone.-As you see students who are using poor singing habits, address them individually.-Students can, if they are developmentally ready, listen to four examples andmark the correct examples on paper. For example provide pictures of thesame cheerleader, singers, and people talking on paper. Have them circle theright answer as they listen.

Assessment: (see Assessment Item that aligns with this Lesson Plan)-Student written assessment.-Teacher observation and recording by rubric the ability level of the childunderstanding the concept.

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Submitted by Carol V. CrockerWinston-Salem/Forsyth County Schools

Lesson TitleFootball Rhythms

Grade Level or Course5th Grade

Time Allotment:One or possibly two 45 minute lessons

Targeted Goals and Objectives from the 2000 North Carolina Arts EducationStandard Course of Study and Grade Level Competencies, K-12:

4.01 Create and arrange music to accompany readings or dramatizations.4.05 Show respect for the composing and arranging efforts of others.5.01 Read whole, half, dotted half, quarter, and eighth note and quarter restdurations in 2/4, 3/4, and 4/4 meters.5.05 Use standard symbols to notate meter, rhythm, pitch, and dynamics in simplepatterns.5.06 Show respect for the reading and notating efforts of others.6.01 Identify simple music forms when presented aurally including AB, ABA, AABA,Call and Response, and Introduction/Coda.6.03 Use appropriate terminology in explaining music, music notation, musicinstruments and voices, and music performances.7.01 Devise criteria for evaluating performances and compositions of self andothers.7.02 Explain personal reactions to specific musical compositions and styles usingappropriate terminology.7.03 Show respect for the musical efforts and opinions of others.9.03 Identify various uses of music and describe characteristics that make certainmusic suitable for each use.

Targeted Goals and Objectives from the North Carolina Standard Course ofStudy and Grade Level Competencies, K-12 for other content areas.Math - fractionsEnglish Language Arts - vocabulary

Lesson Objective(s):As a part of their learning to read varied rhythm patterns, students will create andwrite their own short football “chants” or “cheers”. They will perform their creationswith the class. Students will use a rubric for composition, performance, and groupevaluation. Their creations will be notated using traditional methods of rhythmicnotation on a prepared worksheet. Their creations will be performed with the classin a created B section for a song. The finished product can be placed in student’sportfolio.

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in a created B section for a song. The finished product can be placed in student’sportfolio.

Materials/Equipment Needed:Worksheet with notated one beat rhythm patterns using quarter, eighth, andsixteenth notes, and football vocabulary. Song sheet with the words for song “Mr.Touchdown” from Silver Burdett “Making Music” – 6th grade. Piano, or Keyboard toplay the song.

Lesson Procedure:A. Teach the song “Mr. Touchdown” from word sheet. Talk about experiences

students have had when they attended a football game. Discuss the types ofcheers and chants often heard from the fans and the type of music played bythe band in the stands. (Pep band styles)

B. Inform students that they will be composers and create their own football“chants” or “cheers”. They will incorporate what they have learned aboutvarious rhythm patterns to create their “chants” or “cheers” to create a B sectionfor their song. Inform students of and show students the rubric that will be usedfor assessment of their creations.

C. Provide students with the worksheet with various combinations of notes to formone beat rhythm patterns and various football words, and assign partners.Working with partners or a small group (2-4), students should put football wordswith the matching rhythm patterns. Provide an example four beat chant usingfootball words and appropriate rhythms written above the chant. Then havegroups create and notate two of their own four beat chants or cheers. Remindthem to use the rubric as a guideline for their chant.

D. Perform the song “Mr. Touchdown” with students groups adding their chants tomake a B section for the class.

E. Use criteria from the rubric for discussion about the chant compositions.F. Have students discuss what they have learned and file their compositions and

rubrics in individual portfolios.

Assessment:Assessment of group or individual work: Students will self and group assess usinga rubric designed by the teacher.Assessment of individuals: The teacher will assess each student using a rubric thatincorporates the guidelines for their compositions and performances.

Special Considerations:This lesson should be completed after students have been introduced to sixteenthnote rhythm patterns. This lesson may take more than one class time dependingon the abilities of the students, class size and how many are in each group. (2 – 4)

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Submitted by Christi O DavisCumberland County Schools

Lesson TitleIntroduction to Melodic Notation: Sol-Mi

Grade Level or CourseSecond Grade Music

Time Allotment35-40 minutes

Targeted Goals and Objectives from the 2000 North Carolina ArtsEducation Standard Course of Study and Grade Level Competencies, K-12:Goal 1: The learner will sing, alone and with others, a varied repertoire of music.1.01 Sing phrases or simple songs with increased pitch accuracy.1.02 Match pitch within a developmentally appropriate vocal range, using head

tones.Goal 5: The learner will read and notate music.5.02 Read simple melodic notation with increased accuracy.5.04 Use symbols (icons) to notate simple musical patterns.5.05 Show respect for the reading and notating efforts of others.Goal 6: The learner will listen to, analyze and describe music.6.03 Discuss music using appropriate terminology.6.06 Respond through purposeful movement to prominent music characteristics

while listening to music.6.07 Show respect while listening to and analyzing music.

Targeted Goals and Objectives from the North Carolina Standard Course ofStudy and Grade Level Competencies, K-12 for other content areas:Dance:1.02 Demonstrate and identify the element of space in dance, i.e. shape,level, and directionLanguage Arts:2:08 Interpret information from diagrams and charts.Mathematics: 2.05 Use spatial visualization to solve problems; demonstratevisual memoryMathematics: 3.05 Identify and correct errors in geometric patterns

Lesson Objective(s):Students will be introduced to the musical element of Melody by listening tomelodies and simultaneously moving to, tracing icons to and ultimately readingsymbols of melodies.

Materials/Equipment Needed:Flashlight; transparency of iconic representation of a short piece of classicalmusic e.g. “Waltz of the Doll” as used in Silver Burdett Gr. 3 and recording of

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piece; recorder or other melody instrument for teacher use; chart ortransparency of staff; individual slates/dry erase boards with writing implement

Lesson Procedure:Review melodic direction as up, down and same. Refer to song they are familiarwith i.e. “Fiddle-I-Fee.” In this lesson we will focus on writing down our melodies.

Activity 1: Flashlight traces contours on board or wall.As teacher shows up and down on wall with beam, students sing melody onnonsense syllables. Choose 2-3 other student leaders for more examples.

Activity 2: Tracing melodic contour from chart.Display transparency of prepared contour of classical piece like “Waltz of theDoll” from Silver Burdett, The Music Connection, Grade 3. Students will tracecontour in the air as the recording plays. As lights are turned back on, discuss ifthere is a record of what just occurred. How would a concrete visualrepresentation help us?

Activity 3: Staff Activity showing specific high and low sounds.Display chart of a music staff. Show how notes can be placed on lines orspaces. Name the higher pitch sol and the lower pitch mi. Choose 2-3 studentsto write mi after the teacher has written where sol is located. Pass out slates andchalk. Have students individually do problems where they copy sol and fill in mithen reverse.Teacher monitors student answers throughout.

Activity 4: Evaluate/SynthesizeDisplay transparency of sol-mi songs such as “Rain, Rain.” Have students singon pitch with proper head voice. Extend by having them make up words to sol-mimelodies.

Special Considerations:Students should have had previous experience in melodic movement such ashigher, lower and repeating tones. These are then refined to upward anddownward motions. This lesson focuses on iconic representations of melodiesand then moves to basic symbolic notation of two pitches.

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Submitted by Terry Anne Denny,Wake County Public Schools

Lesson TitleMusic Around the World: United Nations Week

Grade Level or CourseGrade 4 – Music (Can be easily adapted for Grade 5 by modifying objectives tomatch grade level)

Time Allotment2 forty to forty-five minute periods

Targeted Goals and Objectives from the 2000 North Carolina Arts EducationStandard Course of Study and Grade Level Competencies, K-12:1.01-Sung with pitch accuracy1.02-Match pitch within a developmentally appropriate vocal range, using headtones.1.03-Sing with rhythmic accuracy.1.04-Sing with proper vocal technique including pure head tone, clear diction, andcorrect posture.1.05-respond to the cues of a conductor.1.06-Sing expressively with appropriate dynamics and phrasing.1.09-Sing music representing diverse styles, genres and cultures.1.10-Show respect for the singing efforts of others.2.01-Play with pitch accuracy2.02-Play with rhythmic accuracy2.03-Play with appropriate technique and posture.2.04-Play expressively using appropriate dynamics.2.06-Respond to the cues of a conductor.2.07-Play music representing diverse styles, genres and cultures.2.08-Show respect for the playing efforts of others.6.02-Demonstrate perceptual skills by conducting, moving to, answering questionsabout, and describing aural examples of music of various styles and cultures.6.03-Use appropriate terminology in explaining music, music notation, musicinstruments and voices, and music performances.6.04-Identify visually and aurally a variety of instruments, including many orchestraand band instruments, and instruments from various cultures.6.06-Respond through purposeful movement to selected prominent musiccharacteristics or to specific music events while listening to music.6.07-Show respect while listening to and analyzing music.7.02-Explain personal reactions to specific musical works and styles usingappropriate music terminology.7.03-Show respect for the musical efforts and opinions of others.9.01-Identify the styles or genre of aural music examples from various historicalperiods and cultures.

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9.02-Describe in simple terms how elements of music are used in music examplesfrom various cultures in the world, past and present.9.03-Identify various uses of music, and describe characteristics that make certainmusic suitable for each use.9.04-Identify and describe roles of musicians in various music settings and cultures.9.05-Show respect for music from various cultures and historical periods.

Lesson Objective(s):Students will listen to and perform music and music from cultures around the world,and learn about United Nations Week. Students will become familiar with the goalsand purposes of the United Nations, and its history. Through examination of musicfrom some of the countries of the U.N., students will gain insight into the culturesand people of these nations.

Materials/Equipment Needed:World Map, pictures of the U.N., pictures of the different countries covered, CDplayer, suggested CD’s and tracks listed below, scarves, musical instruments:Hand drums, triangles, finger cymbals, castanets, sticks, opt. Orff instruments,Limbo Pole (could use low C boomwhacker) Asian fans(optional: PowerPoint Presentation using pictures of the UN, maps and photos ofthe countries. All of these can be downloaded from copyright-free sites on theinternet, and prepared in a PowerPoint presentation, if a computer is available.)

Optional CD and track list: (any multicultural recordings may be substituted)For the Children: (DISNEY) Track 1World Sound Matters 1: ( SCHOTT) Tracks 26, 5, 13World Sound Matters 2: (SCHOTT) Tracks 24, 21Island Steel Drum Favorites: (LASERLIGHT) Track 8Greek Party: (PPI) Track 15African Tribal Music and Musics: (LASERLIGHT) Track 4Japan:Traditional Music: (ELECTRA) Track 5

Lesson Procedure:Begin lesson with the song GIVE A LITTLE LOVE (Track 1 of For The ChildrenCD). Teach the refrain, have students sing along, and listen to the verses. After thesong, introduce the U.N. information. Explain that it is United Nations Week (if youare using this in conjunction with that event). Show pictures (or begin PowerPoint,if available) of the U.N. and have a short discussion of its purpose and goals.Compare the words of the song to the preamble of the U.N. constitution (which isavailable on-line). THE SENTIMENTS ARE VERY SIMILAR. Explain that thislesson will be an around-the-world tour of music from different countries that belongto the U.N. For each country show a map and some pictures, and briefly discussthe culture of that country. Trace the route on a world map also. There will bedifferent activities for the music. A suggested order for the lesson would be asfollows:

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Music from North America, Native American. Students will play drums andshakers as they listen to the music and discuss the heritage.Music from Cuba: play rhythm instruments with musical example.Music from Trinidad: examine steel drum, music the LimboMusic from Brazil: listen and play rhythm instruments

Part 2 of lesson continues here:

Music from Norway: listen to lullaby in NorwegianMusic From Spain: Play castanets and rhythm sticks, show video clip of Spanishdancing, if availableMusic from Greece: Students will perform scarf music with partners.Music from Egypt: listen to example, discuss art and cultureMusic from Africa: Play African shakers and drums, examine African instrumentsMusic from India: Listen and analyzeMusic from China: Play wooden instruments, woodblocks, temple blocksMusic from Japan: music with fansMusic from Indonesia: Play Orff instruments (imitate Gamelan) teacher playsrecorder

Closure: A review and comparison of countries covered over “world trip.”

Assessment:Written:Students will complete journal reflections on the music of the different cultures,either by writing their own thoughts, or by answering specific questions posed bythe teacher, such as “Compare the music of two cultures; for example, Spain andChina.”

Performance: Students will music or play instruments to show understanding ofstyles and musical elements.

Conversation:Teacher will conduct interviews, have informal discussion with the class and askoral questions during the lesson and following.

Observation:Teacher will observe formally and informally

Document:Teacher will use a checklist of items to document student success andunderstanding. Singing of opening song, rhythms played on instruments,participation in music and discussions.

Special Considerations:Music examples may be changed, added, or deleted as needed. The unit can beextended if desired by adding additional countries to the list. Songs could be addedfor singing as well.

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extended if desired by adding additional countries to the list. Songs could be addedfor singing as well.

Follow up activities may be used, if desired, in conjunction with learning centers:-Reading/Writing Center: research different cultures, answer questions or writejournal entries-Computer Center: Review PowerPoint, look at internet sites selected byteacher, use geography software if available.-Instrument Center: explore instruments around the world-Keyboard Center: Play simple folk tunes from around the world-Video Center: watch select videos of cultures-Listening Center: CD examples from class or additional, answer guide questions-Manipulatives: Jigsaw puzzle maps of various countries or continents

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Submitted by Lee F. Zimmerman,Wake County Public Schools

Lesson Title:Original Band Compositions

Grade Level or Course:4th and 5th Grade Beginning Band

Time Allotment:1 (40 minute) class period to present and model composition processIndividual student work at home (1-2 hours)1 (40 minute) class period for performance and evaluation

Targeted Goals and Objectives from the 2000 North Carolina ArtsEducation Standard Course of Study and Grade Level Competencies, K-12:4th Grade Music (can be adapted for 5th Grade):2.01-Play with pitch accuracy2.02-Play with rhythmic accuracy2.03-Play with appropriate technique and posture.2.04-Play expressively using appropriate dynamics, phrasing, and interpretation.2.08-Show respect for the playing efforts of others.4.02-Compose short music compositions for voices or instruments usingpentatonic and major diatonic scales and varied rhythmic values.4.04-Use a variety of sound, notational, and technological sources to composeand arrange music4.05-Show respect for the composing and arranging efforts of others.5.01-Read whole, half, dotted half, quarter, eighth note and rest durations in 2/4,3/4, and 4/4 meters.5.02-Read pitch notation in the treble clef.5.04-Use standard notation symbols to notate meter, rhythm, pitch, anddynamics in simple musical patterns.5.05-Show respect for the reading and notating efforts of others.7.03-Show respect for the musical efforts and opinions of others.

Targeted Goals and Objectives from the North Carolina Standard Course ofStudy and Grade Level Competencies, K-12 for other content areas:Mathematics, Fourth Grade-Find the fractional part of a whole number usingmodels and pictures.

Lesson Objective(s):As a part of their study of their band instrument, students will create originalmelodic compositions within specific guidelines and perform their compositionsfor the class. Compositions will be notated using traditional methods. Thecompositions will be performed for the class and evaluated by the teacher.Students will have a checklist of requirements to include in their compositionswhich they will check off before performing and submitting their composition forgrading by the teacher.

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which they will check off before performing and submitting their composition forgrading by the teacher.

Materials/Equipment Needed:Individual students’ instruments, music manuscript paper, checklist ofrequirements for students to follow and check their work.

Lesson Procedure:Lesson 1 (40 minutes)

A. Inform students that they will compose a short composition for theirinstrument and perform it for the class. Remind students that it will be abrand new piece, totally unique, and not music they have heard or seenelsewhere. They will have a set of requirements for their compositions andwill incorporate what they have learned about improvisation and readingand playing skills, with their own original ideas to create a short musicalcomposition.

B. Hand out the composition requirement and checklist sheet to each student.Explain the requirements to the students, reviewing such items as timesignatures, key signatures, note values, dynamics and tonality. (Optional:remind students about previous composition assignments they have hadwhere they had to complete one or two measures of a song).

C. Model the process for composition. Put a blank staff on the board and askfor suggestions from the class. Have students evaluate the suggestionsespecially with respect to proper number of beats in the measure, tonality,expression. As they add to the composition, refer back to the checklist andplay the completed measures on the piano or a band instrument. Ask forevaluations from the students. When the piece is done, play thecomposition (or have a student play it) and have students go down thechecklist to see if it meets the requirements.

D. Tell students that they will now take their manuscript paper, requirementsand checklist home and write their own composition. Give them the datethat it will be due and the consequences if it is late. Tell them they will begraded on a 1-4 scale on each item on the checklist and then the scoreswill be averaged for their final grade.

Individual Student Work at Home—1-2 hours

Lesson 2 (40 minutes)A. Have each individual perform his composition for the class on his

instrument.B. Use criteria from checklist for discussion about the compositions. Class

members may constructively criticize and praise the performance of thecompositions.

C. Students will give their composition and completed checklist to the teacherfor assessment.

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Assessment:Teacher will assess each student’s composition by assigning a number valuefrom 1-4 for each item on the checklist of requirements (see checklist at the endof this item) and averaging the scores to reach the final grade for thecomposition.

Special Considerations:This lesson should be completed after the students have had at least onesemester’s experience playing on their instrument. They should be able to playat least six notes and be proficient with reading and playing notation in theirproper clef. It is very helpful if the students have some experience with “minicompositions” such as found in the Standard of Excellence band book, so thatthis assignment will not be too overwhelming.

If the technology is available and students have had experience with notationsoftware, students could print out their compositions on the computer for a morepolished product.

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BAND COMPOSITION CHECKLISTName_____________________________

You are going to become a composer! In this assignment, you will compose a brand new pieceof music for your instrument and perform it for the class! Below you will find a checklist ofrequirements for your new composition. As you write your composition, be sure to follow theguidelines and then when your composition is done, put a check mark in the blank next to eachcompleted item. Good luck and have fun!

Composition Student TeacherRequirements Checklist Checklist

1. Your composition should be a brand new _______ _______ piece that you have written.

2. You must put your clef at the beginning of _______ _______ the staff that you use.

3. You must put a time signature after the _______ _______ clef sign. Use either 3/4 or 4/4 time.

4. You must have at least 8 measures in _______ _______ your composition. You may add more than that, but not less.

5. You must have at least one dynamic mark _______ _______ in your composition.

6. You must have the correct number of beats _______ _______ in each measure (3 in 3/4 and 4 in 4/4).

7. You must end your composition on the tonic _______ _______ pitch . Be sure to notate your key signature, if you have one.

8. You must give your composition a title. _______ _______

9. You must play your composition for the class. _______ _______

Total _______

Average _______

Composition Grade _______

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Submitted by Trudy ElliottWake County Public Schools

Lesson Title:Original Rhythm Compositions for Poetry

Grade Level or Course:Second Grade Music

Time Allotment:1 (45 minute) lesson for the composition process1 (45 minute) lesson for performances and evaluation

Targeted Goals and Objectives from the 2000 North Carolina Arts EducationStandard Course of Study and Grade Level Competencies, K-12:2.02-Play with rhythmic accuracy.2.03-Play with appropriate posture and increased technical accuracy.2.04-Play expressively with appropriate dynamics.2.05-Play instrumental parts while others sing and/or play rhythmic, melodic, or harmonic parts.2.08-Show respect for the instrumental playing efforts of others.4.04-Use a variety of sound, notational, and technological sources to compose and arrange music.4.05-Show respect for the composing and arranging efforts of others.7.01-Devise criteria for evaluating performances and compositions of self and others.

Targeted Goals and Objectives from the North Carolina Standard Course of Studyand Grade Level Competencies, K-12 for other content areas. (Example: EnglishLanguage Arts, Kindergarten-1.01)Reading, poetry

Lesson Objective(s):Goal 2: The learner will play on instruments, alone and with others, a varied repertoire ofmusic. As part of this study, students (placed in small groups) will read a poem andcreate original sound compositions within specified guidelines and perform theircompositions for the class. Students will use a rubric for self/group evaluation. Aseparate rubric for the composition and the performance of the composition will be used.Students will notate using traditional methods on paper and using technological notation ifpossible/available. The compositions will be performed for the class and finishedcompositions along with completed rubrics may be placed in each student’s portfolio as asample of his/her work.

Materials/Equipment Needed:Music manuscript paper, pencils, selected pitched and unpitched rhythm instruments,poem (or poems), (possibly notational program and printer), rubric for self/groupevaluation (developed in class with teacher guidance); composition rubric (teacher-created) for all students.

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evaluation (developed in class with teacher guidance); composition rubric (teacher-created) for all students.

Lesson Procedure:Lesson 1A. Inform the students that they will have the opportunity to read a poem, and create their own original rhythmic notation on pitched and unpitched rhythm instruments. They will be using previous learned reading and playing skills with their original ideas to create rhythmic sounds for the poem(s). The students will be given a copy of the rubric(s) that will be used for assessment of their compositions. Then, students will know the expectations from the beginning of this lesson.B. The teacher will model the process for the composition. The teacher may use a

different poem and guide students to offer input to create a whole group rhythmiccomposition. The idea can then be notated on the chalkboard or overhead (possiblycomputer) for the class to see the composing process. The teacher should discussdynamics, phrasing, syllables of words, patterns, etc. as part of this process. Theteacher should refer to criteria used on the rubric as the composition evolves.Students should participate in this idea sharing and play the composition as itdevelops. Students should feel free to make suggestions and revisions asappropriate. The teacher and students should use the rubric criteria to evaluate thiscomposition.

C. Divide the students into small groups (4-5 per group) to begin creating their rhythmcompositions. The students will need to work on this for the remainder of the classperiod (brainstorm, create, and notate their ideas for the composition). For the nextlesson, students will have time to practice their composition once before theperformances. If notation software is used, students will be allowed to take turns torecord and publish compositions.

Lesson 2A. Remind students of the lesson objective from Lesson 1 and the rubrics. Students will

also need to complete the group evaluation rubric.B. Each group will perform their original rhythm composition for the class.C. Use criteria from the rubric for discussion about the compositions. Class members

may constructively criticize performance groups. You may want to use the PAMprocess for constructive criticism (Praise; Ask questions; Make suggestions).

D. Have students discuss what they have learned. The rhythm compositions and rubricsmay be filed in individual portfolios.

Assessment: (See Assessment Item that Aligns with this Lesson Plan)Students will self-assess and group-assess using a rubric designed by the students andteacher. The rubric should incorporate students’ ability to evaluate group work. Theteacher will assess each student using the rubric that was distributed in Lesson 1. Thisrubric should use guidelines for their compositions and performances.

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Special Considerations:The lesson should be introduced after students understand the difference betweenpitched and unpitched instruments, and after the students have experience playing theseinstruments. Students should also have experience with reading poems or stories andadding rhythm instruments. Students should also have some experience with reading thesymbols for rhythmic notation. Modeling and previous experiences are important to thesuccess of this lesson.

Several adjustments and modifications can be made for this lesson. Students and groupsthat move quickly may want to add lyrics or movement to their composition. This lessonmay take more than 2 class periods depending on the class size and the abilities of thestudents. This lesson can easily be adjusted to make it easier or more challenging, asneeded and can be used with different grade levels.

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Submitted by Anna MillerStudent, Lenoir-Rhyne College

Lesson TitleRhythm Compositions

Grade Level or CourseFourth Grade Music

Time Allotment35-40 Minutes

Targeted Goals and Objectives from the 2000 North Carolina ArtsEducation Standard Course of Study and Grade Level Competencies, K-12:4.4—Composing and arranging music within specified guidelines4.5—Reading and Notating Music4.7—Evaluating Music and Music Performances

Materials/Equipment Needed:1) 4 sets of 20 note cards (each card will have a different rhythm on

them—consisting of different number of beats per card or measure)2) Teacher set of note cards containing different key signatures

Lesson Procedure:Directions:

Start by reviewing time signatures with the class. Use the note cards that will beused to play the game to achieve this.

Split students into 4 groups and distribute the sets of 20 note cards.Teacher holds up one time signature cardStudents will then race to see who can separate their cards into the ones that

represent the time signature presented.The fastest group then gets to stop playing the game and make a simple

composition by arranging the cards for that time signature.The other 3 groups continue to play until everyone has a time signature and

cards in their deck to represent it.After the game is complete—give students time to arrange the cards to make an

original compositionEach group will get to present their composition to the classThe class will then clap the rhythms along with the group

Assessment:Observation: The teacher will be able to evaluate how well the studentsunderstand time signatures by how fast they can separate their group’s cards.The teacher will also be able to see how well the students can read becauseafter only one time of seeing their classmates’ compositions—they must performalong.

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after only one time of seeing their classmates’ compositions—they must performalong.

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Submitted by Mary Anne Martin-Howell,Cumberland County Schools

Lesson TitleTotally Ternary

Grade Level or CourseFirst Grade Music

Time Allotment35-40 Minutes

Targeted Goals and Objectives from the 2000 North Carolina ArtsEducation Standard Course of Study and Grade Level Competencies, K-12:4.02 Compose a simple melody using at least three pitches4.03 Compose a simple rhythmic pattern using quarter and eighth note and

quarter rest durations2.04 Demonstrate and maintain a steady beat2.01 Recognize and play pitched and unpitched instruments2.02 Play with increased rhythmic accuracy6.01 Identify simple music forms when presented aurally, including AB, ABA, and

Introduction7.02 Demonstrate respect for the musical efforts and opinions of others

Materials/Equipment Needed:Nursery rhyme or poem; unpitched percussion instruments; visuals for eighthnote, quarter note, and quarter rest durations

Lesson Procedure:A. Select a two-phrase (8 measure) nursery rhyme or poem that is in 2/4 meter,

such as “Old King Cole” (may be found in Second Rhyme Around by RandyDeLelles and Jeff Kriske, 1995).

B. Echo text by phrase while class keeps steady beat.C. Speak the rhyme with a body percussion pattern for accompaniment (such as

patsch, patsch, clap where patsch = eighth notes and clap = quarter note).D. Have the students compose a tri-tonic melody for the rhyme. This may be

done individually, in groups, or as a class.E. Present visuals for eighth note, quarter note, and quarter rest.F. Have the students create four-beat patterns to use as a contrasting section for

ternary form, using the visuals.G. Perform A—rhyme with body percussion, B—four-beat pattern, four times,

A—rhyme with body percussion.H. As an extension, transfer contrasting sections to body percussion (i.e.: eighth

notes = patschen, quarter notes = clap, quarter rests = snaps) or unpitchedpercussion (ie: eighth notes = woods, quarter notes = membranes, quarterrests = metals).

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I. As a challenge, use the four-beat pattern as a separate ostinato to accompanythe rhyme. This can be turned into a rondo by having each child perform hisor her rhythm pattern as the contrasting sections.

Assessment:Assessment of individuals: The teacher will assess each student using achecklist with which students are familiar that incorporates the guidelines for theircompositions and performances (see Assessment Item that aligns with thisLesson Plan).

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Submitted by Lori EvansCumberland County Schools

Lesson Title:Vocal Awareness

Grade Level or Course:Kindergarten and First Grade

Time Allotment:3 - 45-minute sessions (including assessment time)

Targeted Goals and Objectives from the North Carolina Arts EducationStandard Course of Study and Grade Level Competencies, K-12:COMPETENCY GOAL 1: The learner will sing, alone and with others, a variedrepertoire of music.1.01 Recognize and demonstrate the difference between peaking and singing.1.02 Match pitch within a developmentally appropriate range.1.03 Sing with correct posture.1.06 Show respect for the singing efforts of others.

Lesson Objective(s):1. The students will develop the ability to effectively control their voice whensinging and speaking while using clear enunciation.2. Differentiate between and demonstrate pitches that upward and downward.3. Match pitch within the context of a song.

Materials/Equipment Needed:Stereo system with a microphone, jar of bubbles with a wand, selected tonguetwisters (I type my own on sheets of paper), 1 or 2 echo-type songs, 1 or 2 songsthat use various voice types to perform (singing vs. speaking), picture cards forsongs as needed

Lesson Procedure:Lesson 1 (40 minutes)• Explain that the voice can be used in many ways.• Discuss possibilities: singing, speaking, whispering, yelling, scary sounds,

etc.• Experiment with each type of voice.• Use bubbles as a means of focusing the students’ attention.

Have students laugh as a single bubble falls. They must stop when it pops(this is harder than it sounds)Have students make a “whoo” sound that descends as the bubble falls. (Likegoing down a slide)

• Practice vocalizing upward.• Sing Bathtime from Silver Burdett-Ginn’s The Music Connection, grade K (or

other song using various voice types)

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other song using various voice types)• Identify rhyming words and voice types used• Work for improved pitch accuracy.

Lessons 2 (40 minutes)• Review last week using bubbles• Re-emphasize various ways to use the voice.• Review Bathtime• Sing Peanut Butter and Jelly from Macmillan’s Music and You, grade 1• Point out different voices used—sing, whisper, speaking• Add dramatic movements to the lyrics• Introduce tongue twisters• Discuss the need for clear enunciation• Send the papers home for reinforcement

Lesson 3 (40 minutes)• Review as appropriate• Try tongue twisters as a class• Let students recite twisters on a mic (assess)• Sing call and response type songs for the assessment, letting students sing

solo.(Going on a Picnic, The Music Connection, grade K) Printing out pictures ofpicnic items for the students to hold helps them remember their part.

• Review Peanut Butter & Jelly (or similar song) for assessment of variousvoice usages

Assessment:The teacher will assess the students while they perform using the rubric createdby the teacher. (See Assessment Item that Aligns with this Lesson Plan)

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Submitted by Lori EvansCumberland County Schools

Lesson Title:Write Your Own Rap

Grade Level or Course:Third grade music

Time Allotment:3 or 4 -45-minute sessions

Targeted Goals and Objectives from the 2000 North Carolina ArtsEducation Standard Course of Study and Grade Level Competencies, K-12:COMPETENCY GOAL 1: The learner will sing, alone and with others, avaried repertoire of music.1.03 Sing simple songs with increased rhythmic accuracy.1.04 Sing with proper vocal technique including head tones, clear diction, andcorrect posture.1.08 Sing a variety of music representing diverse genres, styles, and cultures.1.09 Show respect for the singing efforts of others.(Note: While rap is not usually considered a method of singing, it is a method ofvocalization that our students can understand. I define the term “sing” in theabove objectives as a method of vocalizing. This unit is also helpful in teachingthe students the difference between melody and no melody.)COMPETENCY GOAL 4: The learner will compose and arrange music withinspecified guidelines. 4.02 Compose short pieces for voices or instrumentsusing the pentatonic scale and varied rhythmic values.4.03 Arrange simple pieces for voices or instruments.4.05 Show respect for the composing and arranging efforts of others.

Lesson Objective(s):The students, in teams of 3-5 will create original rap compositions withinspecified guidelines and perform their piece for the class. During the first classmeeting, students will help create a rubric for self/group evaluation that willinclude elements of performance and composition.

Materials/Equipment Needed:P/A system, rap tracks (rhythmic recordings that can be used for accompanimentpurposes), notebook paper, rubric (class/teacher created), Supermarket Shufflefrom The Music Connection by Silver-Burdett/Ginn—grade 3 (or similarappropriate rap)

Lesson Procedure:Lesson 1 (45 minutes)• Explain to the students that they are undertaking a project that will give them

the opportunity to create and perform their own rap song. To do this they willuse what they have learned about form, rhyming words, verse, and refrain.As a class they will create a rubric that will provide a way to evaluate theirperformances.

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the opportunity to create and perform their own rap song. To do this they willuse what they have learned about form, rhyming words, verse, and refrain.As a class they will create a rubric that will provide a way to evaluate theirperformances.

• Create the rubric that focuses on the elements students think should beincluded in a good song.

• Put students into teams and have them generate a list of 5 topics (themes)that they might write about.

• The team then chooses one topic.• Next, create a list of rhyming words that support the selected topic.• Teacher should now demonstrate quickly how to write a 2 section (AB) rap

that uses 4 phrases in each section and at least 4 rhyming words.Example: A_________ B_________ _________ _________ _________ _________ _________ _________

• Students may now begin their own composition if time allows.

Lessons 2 and 3 (45 minutes each)• Review from the previous week and emphasize that the rubric will be used for

evaluation.• Explain that each group will perform their rap. There are other jobs that

students can have if they don’t want to be the “rapper”. One or twopercussion instruments, dancers, etc. to accompany the performance will addvariety. As long as they helped write the rap, and fell that they are part of thegroup, they are successful.)

• Make arrangements for how the students will rehearse with the rap tracks.(Just put on repeat and the teams can all work at the same time.)

• Students now use the rest of the period and/or next week to finish andrehearse.

Lesson 4 (45 minutes)• Allow for last minute run-throughs.• Review the rubric.• Groups will perform and class will implement the rubric and use positive

comments about their peers’ work.

Assessment: (See Assessment Item that Aligns with this Lesson)The students will assess their work using the rubric created by the teacher andclass.

Special Considerations:This unit should be taught after the students have had experience with bothsinging and rap. They should have at least a basic understanding of how raplyrics are conceived (using rhyme scheme.) It is also advisable that theyunderstand phrasing, verse, refrain, AB and ABA form. Students will experiencesuccess quite easily since they are not responsible for writing rhythms. Theemphasis is on creating and performing a short vocal piece. This is a greatopportunity to have the classroom teacher offer input for the rap themes.Students can be encouraged to expand on a subject being taught in theirhomeroom.

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success quite easily since they are not responsible for writing rhythms. Theemphasis is on creating and performing a short vocal piece. This is a greatopportunity to have the classroom teacher offer input for the rap themes.Students can be encouraged to expand on a subject being taught in theirhomeroom.

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MIDDLE SCHOOL LESSON PLANS

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Submitted by Saundra Grogan,Wake County Public Schools

Lesson Title:Composer/Musician Study

Grade Level or Course:6th Grade (Could adapt for 7th and 8th Grade) Band, General Music, or Chorus

Time Allotment:Portion of 6 lessons, student time outside of class

Targeted Goals and Objectives from the 2000 North Carolina Arts EducationStandard Course of Study and Grade Level Competencies, K-12:Competency Goal 9: The learner will understand music in relation to history andculture.9.01-Identify the distinguishing characteristics of representative music genres andstyles from a variety of cultures.9.03-Compare across several cultures of the world and in history, the functions ofmusic, roles of musicians, and conditions under which music is typicallyperformed.9.04-Show respect for music from various cultures and historical periods.

Targeted Goals and Objectives from the North Carolina Standard Course ofStudy and Grade Level Competencies, K-12 for other content areas:English Language Arts Grade 6: apply conventions of grammar and languageusage; Demonstrate an understanding of conventional written expression; Identifyand edit errors in written English.

Alignment with NC High School Exit Exam:Communication:1-Learner will apply rules of standard English to written text.2-Learner will use main ideas and supporting details to organize and communicateinformation.

Lesson Objective(s):As part of their study of music styles, composers, and musicians, students willwrite a 5 paragraph minimum report that correlates with the English Language ArtsCurriculum. Students will listen to a music example written or performed by thechosen composer or musician. Students will perform/write etc… a free choiceactivity.

Materials/Equipment Needed:Composer/Musician Biographies from the Media Center or local libraries, EditingMarks (proofreading symbols chart), rubric, timeline, pencil/pen, paper, indexcards, the Internet, listening examples (tape/CD), CD Player/Tape Deck, ListeningSheet that must be signed by parents, other items that students may need for theirfree choice activities.

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Sheet that must be signed by parents, other items that students may need for theirfree choice activities.Note: For the biographies and internet, you can sign up for a day with your MediaCenter if they offer this service.

Lesson Procedure:Lesson 1: Introduce project by asking students to define the words composer andmusician. Have them name composers and musicians they know and list them onthe board or overhead. Ask if musicians can also be composers. Give an overviewof expectations for the project and include a timeline. Give a few fun and unusualfacts about famous composers and/or musicians or have the information on cardsand have some students read out loud. Assign students to choose acomposer/musician by the next lesson. (Note: You may have a list for them tochoose from, you could ask them to look for composers in their band methodbooks, or you may wish to work with the Social Studies teacher and give studentsa list of composers/musicians from the country and period they are currentlystudying in Social Studies. Make sure there are adequate resources in the MediaCenter)! If a student does not choose by then, you will assign them a composer ormusician. Hand out rubric with timeline.

A timeline might include the following events with specific dates foraccomplishment:1-Choose the musician/composer (student or instructor choice)2-Begin research – use note cards to answer the who, what, when, where, howand why questions.3-Turn in note cards for “check up”4-Use cards and resources to write report (Introduction, Body, and Conclusion)5-Peer review with rough draft6-Turn in rough draft7-Turn in project – final paper, listening verification, free choice activity (seedescriptions later in this lesson)8-All or part of the project is presented (teacher determination)

Lesson 2: Check each student’s choice. Go to the Media Center and havestudents check out books or get on the internet if they’re approved to do so. Makesure students have pencil/pen and hand out index cards. (Note: You may want todo the following and then go to the Media Center. Do what works for you). Go overthe “W” questions (who, what, when, where, how, why) and explain that you wantthe essay to include details that answer these questions. Have students do somereading with their note cards and pencils handy so they can take notes whilereading. Remind them that each note card needs a reference and page number.Hand out listening examples (tapes or CD’s). Have a sign out chart and givestudents a set period of time (such as 3 days) to do their listening and turn in thesigned sheet from parents indicating they have done so.

Lesson 3: Go over the parts of an essay/report. Explain that you want anintroductory paragraph that gives an overview of the report. Ask for examples ofdetails students might already know about their composers and tell students thisinformation will be in the main body (3 paragraph minimum) of the report. Ask astudent to define the words summary and conclusion. Tell students you want thereport to end with a concluding paragraph. Assign students to write a rough draftand have it ready for the next lesson.

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introductory paragraph that gives an overview of the report. Ask for examples ofdetails students might already know about their composers and tell students thisinformation will be in the main body (3 paragraph minimum) of the report. Ask astudent to define the words summary and conclusion. Tell students you want thereport to end with a concluding paragraph. Assign students to write a rough draftand have it ready for the next lesson.

Lesson 4: Brainstorm a list of free choice activities with students. Some ideas are:• Write a short one act skit based on an incident in the composer/musicians

life and act it out or video it.• Dress as the composer/musician, write a short (2 to 3 minutes) interview

and have someone interview you on a talk show. (You must write out theinterview).

• Write a journal pretending you are your composer/musician and have aweek of entries based on what a “typical” week would be like for yourperson.

• Make a scrapbook/photo album based on the life of your person and writecaptions under the pictures.

• Draw a cartoon pretending you’re an editorial cartoonist. Base it on acurrent event from the time of your composer/musician.

• Write a letter to the king, president etc… (whichever is applicable)pretending you are the composer/musician and feel strongly about a certainissue.

• Pretending you are a reporter, write a news article on youcomposer/musician about an important event in his/her life.

Lesson 5: Review the Editing Marks Chart and hand one to each student out.Have students select a partner, or have partners pre-selected. Students will tradereports, edit them, write their name as editor at the top, and turn in the report. Afteryou grade the reports, hand them back for students to type/write the final copy.

Lesson 6: At this point you could have individuals present the report and freechoice, (or you could have them present just their free choice activity) whilestudents fill out an evaluation rubric. Group assessment may depend on your classsize and time constraints. Give a copy of the report to the student’s Language Artsteacher so it can be filed in the portfolio.

Assessment:Students will assess the final product by using a rubric designed by the studentsand the teacher. The teacher will also assess each project as a whole. Thecomponents for the project would be weighted as follows: 33% written report, 33%listening, 33% free choice.

Special Considerations:You may find it extremely helpful to work with a Language Arts and or SocialStudies teacher. Ask them what they would like you to cover. They may even havea report format and rubric they want you to follow.

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a report format and rubric they want you to follow.

You may need to give some students time to go to the Media Center and do theirlistening. I have many students who don’t have home access to a tape deck or CDplayer. I wouldn’t make the listening examples too long. If you don’t have one foreach composer/musician, you may have to just use music from the time period.Students may also be able to check recordings out of the local public library forlistening.

This project would work nicely with Black History Month. I allowed students tochoose from Jazz musicians in addition to "Classical" composers/musicians. Iencouraged students to do orchestral musicians who play the instruments thestudents are studying. Another interesting approach might be currentmusicians/performers (including popular music).

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Submitted by Ramona P. Jenner,Wake County Public Schools

Lesson Title:Creating Sight-Singing Originals

Grade Level or Course6th Grade Chorus(can be adapted for Vocal Music I, 9-12)

Time Allotment3 Lessons: 1 (45 minute) lesson for the introduction of connecting rhythmic and melodic sight-singing examples to the choral selections, meters and note values being studied in class; 1 (45minute) lesson for students to write their own sight-singing examples; 1 (45 minute lesson) forstudents to perform their sight-singing examples for the class.

Targeted Goals and Objectives from the 2000 North Carolina Arts Education StandardCourse of Study and Grade Level Competencies, K-12:6th Grade:4.04-Show respect for the composing and arranging efforts of others.5.01-Read whole, half, quarter, eighth, sixteenth, and dotted note and rest durations in 2/4, 3/4,4/4, 6/8 and 2/2 meters.5.03-Sightread simple melodic notation in the treble clef.5.04 Identify standard notation symbols for pitch, rhythm, dynamics, tempo, articulation andexpression.5.05-Show respect for the reading and notating efforts of others.6.05-Show respect while listening to and analyzing music.Vocal Music I: (9-12)4.04-Show respect for the composing and arranging efforts of others.5.01-Read whole, half, quarter, eighth, sixteenth, and dotted note and rest durations in 2/4, 3/4,4/4, 6/8, 3/8, 2/2 and mixed meters.5.02-Sightread melodies.5.04-Use standard notation symbols for pitch, rhythm, dynamics, tempo, articulation, andexpression to record own musical ideas and musical ideas of others.5.05-Show respect for the reading and notating efforts of others.6.06-Show respect while listening to and analyzing music.

Targeted Goals and Objectives from the North Carolina Standard Course of Study andGrade Level Competencies, K-12 for other content areas.Mathematics –Patterns, Groupings, Addition

Lesson Objective(s):As part of their study of meters and note values in music, the students will create original sight-singing examples to be performed in class using specified guidelines. Students will use a rubricfor self/group evaluation. A rubric for the sight-singing example will be utilized as well. Sight-singing examples will be notated using traditional methods. Each sight-singing example will beperformed for the class and will then be combined to create a collection of sight-singingexamples to be used in all chorus classes for sight-singing exercises.

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performed for the class and will then be combined to create a collection of sight-singingexamples to be used in all chorus classes for sight-singing exercises.

Materials/Equipment Needed:Examples of Choral music being rehearsed in class utilizing different meters and note values;Sight-singing examples provided by teacher; music manuscript paper; pencil; rubric forself/group evaluation (developed in class with teacher guidance), rubric to assess sight-singingexample (teacher created). *See Assessment Item that aligns with this Lesson Plan for copiesof the rubrics

Lesson Procedure:Lesson 1 (45 minutes)A. Students are introduced to the idea that they will have the opportunity to create their ownsight-singing examples to use in Chorus class. They will be incorporating concepts that theyhave learned in class on meter, note values, writing in treble clef, notating music, etc. toproduce a short sight-singing example.B. A connection of rhythmic and melodic sight-singing examples to the Choral selections beingrehearsed in class is introduced. The teacher first introduces a written example of a rhythmicexercise (simply written on the chalk board) that utilizes a tricky rhythm from one of the Choralselections being rehearsed in class. The students were asked to identify the meter and notevalues used in the example. Students first count the rhythm, note specific measures that maypose difficulty, and then clap the rhythm as a group. This may be done between 1 and 3 times,or until students successfully perform the rhythm. The students are next introduced to amelodic sight-singing example created by the teacher on staff paper. Again, they identify themeter and note values used, note specific measures that may pose difficulty, clap the exampleif needed, then attempt to sing the example when provided the starting pitch. Again, thisexample could use a small portion of a melodic idea from one of the pieces being rehearsed inclass. The teacher should note how the sight-singing example is constructed and notated onmusic manuscript paper. At this point, a rubric that will be used as an assessment tool inevaluating sight-singing examples should be presented to the students and discussed.C. During the remainder of the lesson, students should note any specific measures that aretricky rhythmically or melodically while they rehearse their Choral pieces. These may or may notserve as a basis or idea in creating a sight-singing example in class.D. Inform students that when they return to class the next day, they will be working in groups of3 to 4 create their own sight-singing examples.

Lesson 2 (45 minutes)A. Students are divided into groups of 2 or 3, depending on class size. (Students with moreadvanced musical backgrounds may be allowed to work individually.) Review the sight-singingexample introduced in the previous class as a guide for the students and remind them to utilizedmeters and note values studied in class and in their Choral selections.B. Students are provided the remainder of class time to brainstorm, discuss, and record theirsight-singing example on music manuscript paper.C. At the end of class, groups will complete the group evaluation rubric.

Lesson 3 (45 minutes)

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A. Each group or individual performs their sight-singing example for the class.B. Use criteria from the rubric for discussion about the sight-singing examples. Class membersmay give positive comments about the examples with the teacher making any kind ofsuggestions for improvements, if needed.C. Have students discuss what they have learned from the process. Sight-singing examplescan be grouped by the teacher into a collection for Chorus classes to use during rehearsals.These can also be distributed to students.

Assessment: (see Assessment Item that aligns with this Lesson Plan)Assessments of group or individual work: Students will self/group assess using a rubricdesigned by the students and teacher. The rubric should incorporate students’ ability toevaluate group work.Assessment of individuals: The teacher will assess each student using a rubric that studentsare familiar with, that incorporates the guidelines for their sight-singing examples.

Special Considerations:This lesson should be completed after students have had experience reading and writingmusical notation in treble clef. Individuals with extensive music reading skills should be allowedto work on their own individual example. Students who move quickly with creating their ownsight singing examples my wish to add lyrics to be sung in place of numbers, syllables, etc.This lesson may take more than the allotted class times, depending on the abilities of students,and the size of the class.

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Submitted by Rebecca Green and Margaret Rehder,Winston-Salem/Forsyth Schools

Lesson Title:Music Composition

Grade Level or Course:Grade 6 (Instrumental Music) *May be adapted for more or less advancedstudents, 6-12.

Time Allotment:Per assignment: minimum of 45 minutes

Targeted Goals and Objectives from the 2000 North Carolina ArtsEducation Standard Course of Study and Grade Level Competencies, K-12:4.01 Compose short pieces using the basic elements of music to demonstraterepetition and contrast, and tension and release.4.02 Create an arrangement of an existing composition, using different voicesand/or instruments.4.03 Use a variety of sound, notational, and technological sources to composeand arrange music.4.04 Show respect for the composing and arranging efforts of others.5.01 Read whole, half, quarter, eighth, sixteenth, and dotted note and restdurations in 2/3, 3/4, 4/4, 6/8, 3/8, 2/2, and mixed meters.5.02 Read melodic notation in the treble and bass clefs.5.03 Identify symbols and traditional terms referring to expressive musicalqualities including dynamics and tempo.5.04 Use standard symbols to notate meter, rhythm, pitch, and dynamics insimple patterns.5.05 Show respect for the reading and notating efforts of others.7.02 Evaluate the quality and effectiveness of compositions, arrangements, andimprovisations by applying specific criteria appropriate for the style of the musicand offer constructive suggestions for improvement.7.04 Show respect for the musical efforts and opinions of others.

Targeted Goals and Objectives from the North Carolina Standard Course ofStudy and Grade Level Competencies, K-12 for other content areas:Mathematics: Select appropriate units and tools for measurement tasks withinproblem-solving situations; determine precision and check for reasonableness ofresults.

Alignment with NC High School Exit Exam:Communication4- listen carefully and thoughtfully to understand, record, and synthesizeinformation7- follow instructions to draw conclusions or make informed decisions

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Processing Information9- analyze information by comparing, contrasting, and summarizing to makeinformed decisions11- synthesize information from several sources to apply that information to anew situation12- organize tasks to accomplish an objectiveProblem Solving15- plan logical steps and organize resources to accomplish a task within a giventime frameUsing Numbers and Data22- apply real number operation and relationships (e.g., absolute value, radicalexpression, exponents) to solve problems related to home, work, and theenvironment26- use relationships among fractions, decimals, and percents to demonstrateunderstanding of mathematical and scientific concepts

Lesson Objective(s):Student follows pre-set criteria to compose an original melody.

Materials/Equipment Needed:Blank manuscript paper and pencils. Optional: Music notation software andcomputer; variety of instruments to perform melodies

Lesson Procedure:The following example is for first-year students who have been taught the notesfor a D-Major scale, basic rhythm notation, clefs, and time signatures.*This assignment may be adapted to more or less advanced students by addingor subtracting criteria.

Teacher writes following assignment on the board:1. Write a four-measure melody.2. Write your clef and a 4/4 time signature.3. Use whole, half, dotted half, and quarter notes and rests.4. Choose from the following pitches: D, E, F#, G, A , B, C#.5. End the piece on D.

While students work, teacher circulates to check work, monitor progress.When a student has a melody that is notated correctly, either have the studentplay it on their instrument or play it for them.

Assessment:• Informal discussions.• Oral questions posed to whole class or individuals.• Grade papers based on accuracy of rhythm, meeting of all criteria, and

correct notation of all symbols.

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Special Considerations:Can be adapted to general and choral music classes as well as instrumental.Can be adjusted easily to the learning abilities of the students.

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Submitted by Rick StarlingCumberland County Schools

Lesson Title:Rehearsal and Sightreading Techniques[Rehearse “American Celebration (last section, grade 4), Sightread “Patriotic Bitsand Pieces” (grade 2)]

Grade Level or Course:8th Grade Band

Time Allotment:45 minutes

Targeted Goals and Objectives from the 2000 North Carolina ArtsEducation Standard Course of Study and Grade Level Competencies, K-12:2.01 Play at least one instrument with appropriate posture, playing position, andtechnique.2.02 Respond to the cues of a conductor.2.05 Show respect for the instrumental playing efforts of others.2.06 Play on at least one instrument, music at an appropriate and increasinglydifficult level, with expressiveness and technical accuracy.2.07 Play music written in modest ranges which may include changes of tempo,key, and meter.5.01 Read whole, half, quarter, eighth, sixteenth, and dotted note and restdurations in 2/3, 3/4, 4/4, 6/8, 3/8, 2/2, and mixed meters.5.02 Read melodic notation in the treble and bass clefs.5.03 Identify symbols and traditional terms referring to expressive musicalqualities including dynamics and tempo.5.05 Show respect for the reading and notating efforts of others.6.03 Describe and explain the basic principles of meter, rhythm, tonality,intervals, chords, and harmonic progressions in the analyses of music.7.04 Show respect for the musical efforts and opinions of others.9.01 Describe and explain the distinguishing characteristics of representativemusic genres and styles from a variety of cultures.

Targeted Goals and Objectives from the North Carolina Standard Course ofStudy and Grade Level Competencies, K-12 for other content areas.Second Language1.03 Ask and answer questions using learned material orally and in writing.1.06 Use culturally acceptable vocabulary and idiomatic expressions inconversation.2.01 Follow oral and written directions, commands, and requests.2.06 Interpret phrases presented with accompanying gestures, intonation, andother visual or auditory cues.Mathematics

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1.09-Find the fractional part of a whole number using models and pictures.Information SkillsCompetency Goal 5 The learner will COMMUNICATE reading, listening, andviewing experiences. 5.01 Respond to reading, listening, viewing experiencesorally, artistically, dramatically, through various formats (print, graphical, audio,video, multimedia, web-based).

Lesson Objective(s):In preparation for an upcoming performance, students will demonstrate masteryof correct notes and rhythms in “American Celebration”, 126-end. They willdemonstrate previously learned sightreading techniques with “Patriotic Bits andPieces”, including using the STARS method, tizzling, and playing the piece.

Materials/Equipment Needed:2 Musical Scores, all parts, pencils, instruments, whiteboard with marker

Lesson Procedure: (45 minutes)1. WARM-UPStudents will begin with the warm up as stated on the classroom whiteboard.This includes the following scales: Concert Bb (conducted long tones) ConcertEb (Chorale form), and Concert G (All-District Style). Director will stop andcorrect fingerings, embouchure, etc as needed. (5 minutes total) Necessarybrief announcements will follow the warm-up. (2 minutes)

2. REHEARSALEnsemble will begin at m. 126 and play to the end. Then, individuals or groupsof instruments will be isolated and asked to play several measures. Director willcheck for any corrections to notes and rhythms as necessary. All other membersof the ensemble will “tizzle” designated section while the isolated group plays.This rehearsal strategy is repeated with different groups of instruments until allnotes and rhythms are correct. Students are asked to mark with a pencilindividual problem spots to avoid making the same mistakes in the future. Theentire ensemble will then play the same section, now more aware of not onlytheir own parts, but how they fit with the ensemble. (This awareness isaccomplished throughout the rehearsal when groups not asked to play out loudtizzle along with those who do. (15 minutes)

3. SIGHTREADSection leaders will pass out Patriotic Bits and Pieces to members of theirsections. Together, we use the STARS method for sightreading. We mentallyand verbally notate key changes, meter and tempo changes, etc. I ask for anyspecific questions. Starting at the beginning, students tizzle through the entirepiece with me. Then, I ask once more for questions. Upon answering anyspecific questions students may have, students play entire piece withoutstopping. The section leaders collect the music, and turn it in to me at the end ofthe lesson.

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Assessment:During warm-up, give immediate and specific feedback (Observations) regardingincorrect notes, posture, support, embouchure, and other musical elements.During REHEARSAL, small groups are corrected while the rest of the studentsengage in independent practice, and are then given the opportunity to apply thecorrections when playing through the section with the ensemble (Performance).Students assess themselves, their particular groups, and the ensemble. DuringSIGHTREADING, students assess themselves with guided practice(Conversations).

Special Considerations:Band students must understand the STARS method (as introduced in EssentialElements 2000) to execute this lesson. They must be accustomed to the tizzlingprocess (using air, fingerings, tongue) without producing a tone). They shouldhave at least two years of band experience to rehearse grade 4 and sightreadgrade 2. The order for the lesson should be on the board before class begins, sostudents will know what the goals are for the day.

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Submitted by Rainy Cassetta, Barbara L. Geer, and Tom Shelton,Winston-Salem/Forsyth Schools

Lesson Title:Rhythm in Motion

Grade Level or Course:6th Grade General Music (may also be used in Chorus)

Time Allotment:3 (45 minute) lessons

Targeted Goals and Objectives from the 2000 North Carolina ArtsEducation Standard Course of Study and Grade Level Competencies, K-12:4.03-Use a variety of sounds, notational, and technological sources to composeand arrange music.4.04-Show respect for the composing and arranging efforts of others.5.01-Read whole, half, quarter, eighth, sixteenth, and dotted note and restdurations in 2/4, 3/4, 4/4/, 6/8, and 2/2 meters.5.04-Identify standard notation symbols for pitch, rhythm, dynamics, tempo,articulation, and expression.5.05-Show respect for the reading and notating efforts of others.6.03-Identify the basic principles of meter, rhythm, and tonality in analyses ofmusic.6.04-Demonstrate auditory perceptual skills by conducting, moving, answeringquestions about, and describing aural examples of music.7.01-Devise criteria for evaluating the quality and effectiveness of musicperformances and compositions, and apply criteria in personal listening andperforming.

Targeted Goals and Objectives from the North Carolina Standard Course ofStudy and Grade Level Competencies, K-12 for other content areas:Mathematics, Grade 6-Relate fractions, decimals and percents.

Alignment with NC High School Exit Exam:Communication:4- listen carefully and thoughtfully to understand, record, and synthesizeinformation.Processing Information9- analyze information by comparing, contrasting, and summarizing to makeinformed decisions12- organize tasks to accomplish an objectiveProblem Solving15- plan logical steps and organize resources to accomplish a task within a giventime frameUsing Numbers and Data

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26- use relationships among fractions, decimals, and percents to demonstrateunderstanding of mathematical and scientific concepts.

Lesson Objective(s):A. Students will review concepts of steady beat, meter and basic note valuesthrough movement.B. Students will work independently and with a partner to demonstrateproficiency of steady beat, meter and basic note values.C. Students will create written patterns in 4/4 meter which will be demonstratedthrough movement.

Materials/Equipment Needed:Listening examples from a variety of genres (cd’s, tapes), cd player, chalkboard,chalk, pencil and paper for students, large open space for movement.

Lesson Procedure:Lesson 1 (45 minutes)A. Inform students that they will be creating rhythmic patterns through

movement. They will be incorporating concepts of steady beat, note valuesand meter.

B. Teacher will turn on the music, and ask students to gently tap the beat ontheir knees. Teacher will inform students that they are tapping quarter notes.Teacher will draw a quarter note on the board while students are tapping.Students will stand in front of chair and transfer the beat to their feet bywalking in place.

C. Teacher will inform students that he/she will call out a number. Students willfreeze when the number is called out and internalize the beat. For example,teacher will say “6”, and students will internalize for 6 beats, and then resumewalking in place. Teacher will vary numbers periodically.

D. When all students are correctly demonstrating the beat, teacher will continuecalling out numbers as students begin moving around the room.

E. When students have shown understanding, they will freeze in place. Teacherwill draw half, whole notes on the board. Students will identify each note andclap the note value.

F. Students will resume walking as the teacher incorporates the additional notevalues. (Note: this should be a review of concepts learned in K-5 Music).

Extension: After mastery of quarter, half and whole notes, teacher will add eighthand sixteenth notes.

Lesson 2 (45 minutes)A. Class will begin with review of Lesson 1 by demonstrating movement to

steady beat, internalizing the beat and walking to quarter, half, and wholenotes.

B. Review or introduce eighth and sixteenth notes.C. Students will have the opportunity to decide which note values to walk to.

They will form two lines facing one another. Each student will use his/herchosen note value and walk down the middle of the aisle one at a time. Otherstudents must decide what note value is being demonstrated.

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chosen note value and walk down the middle of the aisle one at a time. Otherstudents must decide what note value is being demonstrated.

D. Students will work with teacher assigned partners. (Partner #1 and Partner#2) Teacher will assign different note values to #1 and #2. For example #1walks to quarter notes while #2 walks to half notes. Teacher monitors pairsand assists where needed.

E. Teacher then varies note values for Partner #1 and Partner #2.

Extension:Choose volunteer to demonstrate a note value to entire class. The student whocorrectly identifies the value is next volunteer.

Lesson 3 (45 minutes)A. Review previous lessons by using Extension from Lesson 2.B. Teacher will begin by writing a 4 beat pattern on the board. Students will

echo-clap this pattern. Repeat several times using new patterns; graduallyextend to 16 beats.

C. Students will work independently to create a 16 beat pattern and will notatework on paper.

D. Class will conclude with students demonstrating their rhythmic patternthrough movement. A final copy of student work will be given to teacher.

Assessment:Assessment will be continual throughout unit. Teacher will visually monitorstudent progress. Students should achieve success in each activity beforemoving to the next level. Final assessment will be determined based on thecompleted portion of the written assignment. The assignment will be evaluatedon rhythmic accuracy, correct written notation, and overall presentation. *(SeeAssessment Item that aligns with this Lesson Plan)

Special Considerations:This unit should be completed after students have had experience with simplerhythmic activity (including steady beat) and basic notation skills. Modeling andparticipation are critical to the success of these lessons. The teacher shouldprovide students with options based on individual’s instructional needs andabilities. (For example, a physically handicapped student may need to clap therhythms or use rhythm sticks instead of walking.) *These lessons may take moreor less than three class times, depending on the abilities of students and the sizeof the class.

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Submitted by Danny Waynick Green,Winston-Salem/Forsyth Schools

Lesson TitleStarting at the Beginning

Grade Level or CourseBeginning Band (6th Grade)

Time AllotmentOne Week

Targeted Goals and Objectives from the 2000 North Carolina ArtsEducation Standard Course of Study and Grade Level Competencies, K-12:2.01 Play at least one instrument with appropriate posture, playing position, andtechnique.2.02 Respond to the cues of the conductor2.04 Show respect for the instrumental playing efforts of others

Targeted Goals and Objectives from the North Carolina Standard Course ofStudy and Grade Level Competencies, K-12 for other content areas:Mathematics, Grade 6-relating fractions, decimals and percents;English Language Arts, Grade 6-interacting appropriately in group settings by:listening attentively, showing empathy, contributing relevant comments,monitoring own understanding;Healthful Living, Grade 6-initiating requests for help or assistance,communicating own feelingsInformation Skills, Grade 6-partcipate in various reading experiences;Guidance, Grade 6- understanding and appreciation of life-long process oflearning, growing and changing

Lesson Objective(s):

-Learn to recognize the name of the first note in a music sample.-Learn to count the whole note.-Learn to assemble the instrument.-Learn to form the proper embouchure.-Learn the proper fingering for the first note.-Learn to produce the first note.-Learn to play the whole note on cue from the conductor.-Learn to play four quarter notes on cue from the conductor.

Materials/Equipment Needed:1. Sharpened Pencil.2. Staff Paper.3. Instrument and Appropriate Accessories. (This lesson teaches Flute, Clarinet,Trumpet and Trombone.)

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Trumpet and Trombone.)3. Beginning Band Book. (This lesson uses Essential Elements 2000. Any othermethod book may be substituted.)

Lesson Procedure:1. Instruct the students to leave their instrument in the case and place the caseon the floor to the right of their chairs.2. Instruct the students to place their staff paper, pencil, and band book on themusic stand in front of their chair. (Set up should occur prior to the start ofclass.)3. Instruct the students to open their band books to the designated page (p4 inthis example).4. Draw on the board a whole note that corresponds to the first note for eachinstrument. (Flute - top line F, Clarinet and Trumpet - second line G, Trombone -fourth line F.) Write the name of each note above each whole note. Drawanother whole note for each instrument, this time introducing the concept that thenote circles only one line. Draw examples of incorrect whole notes. Theseexamples should include notes that: circle two lines, circle an entire space andpart of a line, or circle two spaces and a line. (Staff lines should be drawn on theboard prior to the start of class. When drawing the whole notes for Trombone,explain that the notes for trombone are different than for the other instruments.)5. Instruct the students to draw their first note six times on the first line of theirstaff paper. (Move about the room and monitor this activity, making correctionsas needed.)6. Instruct the students to write the name of their first note above each wholenote that they drew.7. Explain that each whole note is divided into four parts, or quarters. (Use theanalogy of four quarters making a whole dollar.)8. Instruct the students to neatly write the numbers 1-2-3-4, directly under eachwhole note that they drew. (Move about the room and monitor this activity,making corrections as needed.)9. Count aloud and clap for the class "one and two and three and four and stop".Clap on the numbers only. Do not clap on the word "stop".10. Instruct the students to clap and count aloud "one and two and three andfour and stop". Clap on the numbers only. Do not clap on the word "stop".Repeat this activity as needed.11. Instruct the students to turn to page three of their band book.12. Assembling the instruments:Instruct the students to pick up their instrument cases and place them on theirlaps. Flute and clarinet cases remain on the lap, while trumpet and trombonecases are now moved to the floor directly in front of the student. All instrumentcase handles face the student. (Be sure that all instruments are right side upbefore allowing the students to open the cases.)First, have the clarinet students open their cases and give instructions onapplying cork grease. Have the clarinet students begin applying cork grease.(Have paper towels available.)

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Second, have the flute students open their case and talk them through steps 1and 2 on page three. (Have students read aloud the steps as they assembletheir instrument.) Have the student lay the instrument across their lap.Third, have the trombone students open their cases and talk them through steps1 and 2 on page three. Have the student lay the instrument across their lap.Fourth, have the trumpet students open their cases and talk them through steps1, 2 and 3 on page three. Have the student lay the instrument across their lap.Fifth, talk the clarinet students through steps 1, 2, 3 and 4 on page three.13. Proper hand position and fingering for the first note:First, talk the clarinet students through step 5 on page three. Emphasize that theright thumb should be placed under the thumb rest at the thumbnail. Use thepicture as a guide for instrument angle.Second, talk the flute students through steps 3, 4 and 5 on page three. Use thepicture as a guide for instrument angle.Third, talk the trombone students through steps 3, 4 and 5 on page three. Usethe picture as a guide for instrument angle.Fourth, talk the trumpet students through steps 4 and 5 on page three. Use thepicture as a guide for instrument angle.14. Instruct the students to turn to page two in their band book.15. Talk the band through the section on "Posture". (Have various students readeach portion aloud.) Talk the band through the section on "Breathing andAirstream". (Have various students read each portion aloud.) Talk eachinstrument group in turn through the section on "Producing the Essential Tone".(Have students read each portion aloud.) Talk each instrument group in turnthrough the section titled "Mouthpiece Workout". Have the students perform the"Mouthpiece Workout" individually and as a group.16. Instruct the students to turn to page 4 in their band book.17. Instruct the flutes on the proper fingering for top line "F" pointing out thecorresponding fingering chart at the beginning of line 1. Have them try to playthis note individually and as a group.(At this point, for every instrument group, praise each individual effort and explainthe importance of showing respect for the efforts of others.)Instruct the clarinets on the proper fingering for second line "G" pointing out thecorresponding fingering chart at the beginning of line 1. Have them try to play thisnote individually and as a group.Instruct the trombones on the proper fingering for fourth line "F" pointing out thecorresponding fingering chart at the beginning of line 1. Have them try to play thisnote individually and as a group.Instruct the trumpets on the proper fingering for second line "G" pointing out thecorresponding fingering chart at the beginning of line 1. Have them try to play thisnote individually and as a group.18. Prepare the students to play the first note together. Explain that you willcount off "Ready-To-Play-Breathe". One word per beat. The student shouldinhale when you say the word "Breathe". The student should blow the note onthe next beat in time. Remind the student to start the note with the syllablelearned in the "Mouthpiece Workout" on Page two. Have each student performthis activity individually, and then have the group perform this activity together.Give several examples of yourself doing this before having the students try toperform this activity.

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this activity individually, and then have the group perform this activity together.Give several examples of yourself doing this before having the students try toperform this activity.19. Prepare the students to play the note for four beats. Repeat the preparatorycommands and instruct the students to play while they are counting tothemselves "one and two and three and four and stop". Have each studentperform this activity individually, while you count aloud "one and two and threeand four and stop" for each student, and then have the group perform this activitytogether. Remind the student to start the note with the syllable learned in the"Mouthpiece Workout" on Page two. Give several examples of yourself doingthis before having the students try to perform this activity.20. Learning to play four quarter notes. Repeat the preparatory commands"Ready-To-Play-Breathe". Instruct the students to perform four notes in time withthe preparatory commands. Remind the student to start each note with thesyllable learned in the "Mouthpiece Workout" on Page two. Have each studentperform this activity individually, while you count aloud "one and two and threeand four and stop" for each student, and then have the group perform this activitytogether.21. For homework, assign the students to perform lines 1 and 2 in their bandbooks with the accompaniment CD. An additional assignment would be for thestudent to look ahead at lines 2 and 3 and also perform these with theaccompaniment CD.

Assessment:The teacher will monitor process of the individual and the group. A record will bekept indicating which student is successful in reaching the next step of thelearning process. The teacher will initial the student's individual book as eachline is mastered. The student will be introduced to every new concept or notethat occurs in the lesson, but repeat every process until a line is mastered. *SeeAssessment Item that aligns with this Lesson)

Special Considerations:Each individual student will possess different physical and mental attributes.Consideration must be given in teaching the student the fundamental basics ofbeginning to play a musical instrument. Allowances must be made for adifference in the size and shape of various hands, lips and mouths. The BandDirector will also encounter various degrees of muscle control and digitaldexterity. Each Band Director will have personal preferences concerning handposition, instrument position and embouchure, as well as which instruments areoffered in beginning band.

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Submitted by Rebecca Green and Margaret Rehder,Winston-Salem/Forsyth Schools

Lesson Title:Teaching Rhythm and Pitch Reading

Grade Level or Course:Instrumental Music Grades 6-8 (Objectives are from Grade 6 SCS, can beadapted to Grades 7 or 8)

Time Allotment:Per assignment: ten minutes

Targeted Goals and Objectives from the 2000 North Carolina ArtsEducation Standard Course of Study and Grade Level Competencies, K-12:Music, Grade 6:5.01 Read whole, half, quarter, eighth, sixteenth, and dotted note and restdurations in 2/4, 3/4, 4/4, 6/8 and 2/2 meters.5.04 Identify standard notation symbols for pitch, rhythm, dynamics, tempo,articulation, and expression.5.05 Show respect for the reading and notating efforts of others.8.02 Describe ways in which the concepts and skills of other content areastaught in the school including English Language Arts, Mathematics, Science, andSocial Studies are related to those of music.

Targeted Goals and Objectives from the North Carolina Standard Course ofStudy and Grade Level Competencies, K-12 for other content areas:Mathematics, Grade 6:Use variables to describe numerical expressions and relationships; English Language Arts, Grade 6:Interact appropriately in group settings by: listening attentively, showingempathy, contributing relevant comments connecting personal experiences tocontent, monitoring own understanding of the discussionand seeking clarification as needed. Explore informational materials that areread, heard and/or viewed.

Alignment with NC High School Exit Exam:Communication2- use main ideas and supporting details to organize and communicateinformation.4- listen carefully and thoughtfully to understand, record, and synthesizeinformation.Processing Information9- analyze information by comparing, contrasting, and summarizing to makeinformed decisions11- synthesize information from several sources to apply that information to anew situation.

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new situation.Problem Solving15- plan logical steps and organize resources to accomplish a task within a giventime frame.Using Numbers and Data22- apply real number operation and relationships (e.g., absolute value, radicalexpression, exponents) to solve problems related to home, work, and theenvironment26- use relationships among fractions, decimals, and percents to demonstrateunderstanding of mathematical and scientific concepts

Lesson Objective(s):Student will visually follow linear progression of musical notation and identifypitch and rhythm.

Materials/Equipment Needed:Printed music (method book)

Lesson Procedure:1-Teacher explains quarter, half, dotted half, whole notes and rests. (This shouldbe a review for all students who have had music K-5).2-System for notating pitches must be taught, specifically the pitches used in theassignment.3-Have students call out names, (A, B, C, etc.) in correct rhythm.

Examples:• After establishing beat, when a student calls out any note longer than a

quarter note, they add the words that go with the additional beats. Forinstance: F#, E, D, E, F#, F#, F#2, E, E, E2, etc.

• After establishing the beat, sing the note names, accenting additional beatswhere appropriate. For instance, F#, E, D, E, F#, F#, F#, E, E, Eeee, etc..

• Use any or all of the following variations until students demonstrateproficiency: clapping, pizzicato, air-bowing, silent fingering.

Assessment:• Observation• Written tests: matching, note identification - pitch and rhythm, short answer.• Performance task: Give blank manuscript paper to students and have them

notate pitches and rhythm, or compose their own short melodies usingcombinations of pitches and rhythms given.

Special Considerations:Can be adapted to general and choral music classes as well as instrumental.Can be adjusted easily to the learning abilities of the students.

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Submitted by Cynthia L CampbellCumberland County Schools

Lesson TitleUsing numbers (pitch levels) to teach the major scale..

Grade Level or Course6-8 Choral Music

Time Allotment1 45-minute class period for two weeks. It is important to note that students willneed to utilize the skills learned in this lesson on a daily basis in order to becomecompetent sight-readers.

Targeted Goals and Objectives from the 2000 North Carolina ArtsEducation Standard Course of Study and Grade Level Competencies, K-12:(From 6th grade SCS, can be adapted for 7th or 8th grades)1.01 Sing with pitch and rhythmic accuracy and proper breath control, in an

appropriate range.5.03: Sightread simple melodic notation in the treble clef.

Lesson Objective(s):The learner will be able to recognize the sound of and sing the major scale bysinging it with numbers/pitch levels. The teaching of the major scale givesstudents a process by which to learn simple sight-reading passages for thepurpose of sight-reading for adjudication at local and state choral festivals.

Materials/Equipment Needed:Chalk board, staff liner, piano, teacher-made sight-exercises or exercises from atext.

Lesson Procedure:Begin by giving examples of the major scale that students most likely have beenexposed to such as “Do Re Mi” from “The Sound of Music” and the “Scales andArpeggio” song from Disney’s “Aristocats. Another example would be to play“Joy to the World making all note values equal and asking students to name thefamous Christmas song. They won’t be able to do it unless the familiar rhythm isadded back in. Then the teacher can point out that it is the major scale.

Write a C major scale in notation on the board. Then assign each pitch a numberwith low C being one and moving up by step. The top pitch is called “1” alsohowever the teacher must point out that it is high “1” as opposed to low “1”. Playthe major scale on the piano and have students sing it back using the rhythm ofquarter, 6 eighths, quarter, 6 eighths, whole in common time. At this point theteacher can change the key and have the students sing it back. Explain that themajor scale sounds the same in any key because it follows a certain pattern ofwhole and half steps. This can lead to a discussion of the piano keyboard andusing the keyboard to identify this difference between whole and half steps.Once it is assessed that everyone understands the difference between wholeand half steps, students can be given the assignment to create major scalesbeginning on various notes. This is most often done orally by the class with meat the board and the students telling me which notes to write next. It is importantthat students learn the sound of the major scale in their head. It should beplayed and sung every day as well as sung a cappella. Once the sound of the

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whole and half steps. This can lead to a discussion of the piano keyboard andusing the keyboard to identify this difference between whole and half steps.Once it is assessed that everyone understands the difference between wholeand half steps, students can be given the assignment to create major scalesbeginning on various notes. This is most often done orally by the class with meat the board and the students telling me which notes to write next. It is importantthat students learn the sound of the major scale in their head. It should beplayed and sung every day as well as sung a cappella. Once the sound of thescale is in their heads the teacher can begin to mix up the scale tones usingfinger exercises. (Teacher holds up the number of fingers to indicate the pitchnumber desired.)

It also works well to use the floor tiles to help students understand therelationships between steps and skips in the major scale. The finger and tileexercises should begin with movement up and down by step and slowlyprogressing to skips between the notes of the tonic triad. When students arecomfortable with the vocal exercises, the teacher can begin to write simple sight-reading exercises on the board. The written exercises should begin with up anddown stepwise movement within the scale and slowly progressing to skips withinthe tonic triad. Once the melodic aspect of sight-reading is taught, the teachercan add the rhythmic element.

Assessment:I most often assess student progress with oral exercises involving the wholeclass using finger exercises. Once the class is comfortable, the teacher canmore thoroughly assess individual student achievement by dividing the class intosmall groups. Once the written aspect of sight-reading has been introduced theteacher can use written evaluations in which simple sight-reading exercises arewritten with the students being given the number of the starting pitch. Thestudents would then be assigned to write in the rest of the pitch numbers. Thestudents could then sing the written exercises in large and small groups.

Special Considerations:It is important to note that it is difficult to place a time limit on this lesson. Theconcepts should be introduced in a systematic way with one skill building uponthe next. The skills should be practiced and assessed on a daily basis.

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HIGH SCHOOL LESSON PLANS

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Submitted by Denise M HallCumberland County Schools

Lesson Title:Composing Project

Grade Level or Course:Vocal Music I

Time Allotment:Nine Week Session (20 minutes during each class meeting)

Targeted Goals and Objectives from the 2000 North Carolina ArtsEducation Standard Course of Study and Grade Level Competencies, K-12:3.01 Improvise simple melodic and rhythmic patterns.3.02 Show respect for the improvisational efforts of others.4.01 Compose and arrange music incorporating appropriate voicings and ranges.5.01 Read whole, half, quarter, eighth, sixteenth, and dotted note and restdurations in 2/4, _, 4/4, 6/8, 3/8, 2/2, and mixed meters.5.02 Sightread melodies.5.03 Notate melodies5.04 Use standard notation symbols for pitch, rhythm, dynamics, tempo,articulation, and expression to record own musical ideas and musical ideas ofothers.6.01 Identify the basic musical forms.6.02 Demonstrate a basic knowledge of the technical vocabulary of music.6.03 Recognize and identify a variety of compositional techniques.6.05 Demonstrate auditory perceptual skills by conducting, moving, answeringquestions about, and describing aural examples of music.6.06 Show respect while listening to and analyzing music.7.02 Evaluate musical works by comparing them to similar or exemplary models.7.05 Describe the aesthetic nature of music and how perceptions of interactingmusical elements affect one’s feelingful responses to music.7.06 Show respect for the musical efforts and opinions of others.8.02 Use knowledge of mathematical relationships to create originalcompositions.

Alignment with NC High School Exit Exam:Domain 1 Communication: Follow instructions to draw conclusions or makeinformed decisions.Domain 2 Processing Information: Analyze information by comparing,contrasting, and summarizing to make informed decisions. Learner will alsointerpret multiple sets of data to determine the best course of action.Domain 3 Problem Solving: Plan logical steps and organize resources toaccomplish a task within a given time frame (e. g., investigation).Domain 4 Using Numbers and Data: Use relationships among fractions,decimals, and percents to demonstrate understanding of mathematical andscientific concepts.

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decimals, and percents to demonstrate understanding of mathematical andscientific concepts.

Lesson Objective(s):The learner will improvise simple melodic and rhythmic patterns and demonstraterespect for the improvisational efforts of others; compose and arrange musicincorporating appropriate voicings and ranges; demonstrate the ability todistinguish between a whole note, half note, quarter note, eighth note, sixteenthnote and rest durations, and demonstrate an understanding of a given time(meter) signature; identify the basic principles of meter, rhythm, and tonality inanalyses of music; evaluate musical works by comparing them to similar orexemplary models, and describe the aesthetic nature of music and howperceptions of interacting musical elements affect one’s feelingful responses tomusic.

Materials/Equipment Needed:Materials needed include manuscript paper, piano or keyboard (“pretend”keyboards may be used for note location if necessary).

Lesson Procedure:Students will be given a 4-measure “prompt” by the teacher designating a keysignature, time signature, tempo, and simple voicing for a melody line. Studentswill be instructed to compose an additional 4 measures of music. Students willdemonstrate his or her composition orally using proper keyboard techniques.Upon completion of the project, all original student compositions will be joinedtogether by the teacher to produce a larger work. The work will be cataloged inthe media center for future reference for other students.

Assessment:The written composition of each student should accurately reflect the following:

1. Proper application of note value based on a given time (meter) signature.2. Appropriate letter names assigned to each pitch used.3. An explanation of the time (meter) signature.4. Bar lines and double bar lines used correctly.5. Explanation of rhythm pattern selected.

The oral presentation of the composition of each student should reflect thefollowing:

1. Correct performance of the composition on the piano or keyboard.2. Correct use of dynamics.3. Adherence to given tempo.

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Special Considerations:Students will learn the preliminary elements required for this lesson at varyingpaces. Therefore, the teacher should have students produce portions of his orher work periodically in order to clarify, correct, and encourage student’sprogress. Also, teacher will need to make a keyboard or piano available tostudents periodically before or after school for the perfection and preparation ofthe final product requested. Students must possess basic information regardingnote values and interpretation of time signatures, ability to read the treble andbass staves, and location of note on the keyboard prior the introduction of thisproject.

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Submitted by Jim D. Kirkpatrick,Winston-Salem/Forsyth Schools

Lesson Title:Connecting Literature, Writing and Music

Grade Level or Course:Instrumental Music (Band) IV

Time Allotment:2 lessons (90 minutes each) (Block periods)

Targeted Goals and Objectives from the 2000 North Carolina ArtsEducation Standard Course of Study and Grade Level Competencies, K-12:2.01 Play instrumental literature of an appropriate and increasingly difficult level,with expression and technical accuracy. 2.03 Play a varied repertoire of instrumental music representing diverse styles,genres, and cultures.2.04 Show respect for the instrumental playing efforts of others.6.02 Demonstrate extensive knowledge of the technical vocabulary of music.6.03 Analyze and describe the elements of music in a given work that make itunique, interesting, and expressive.6.04 Demonstrate the ability to perceive and remember music events bydescribing in detail significant events occurring in a given aural example.6.05 Demonstrate perceptual skills by conducting, moving, answering questionsabout, and describing aural examples of music.6.06 Show respect while listening to and analyzing music.7.01 Apply specific criteria for making informed, critical evaluations of the qualityand effectiveness of performances, compositions, arrangements, andimprovisations and apply the criteria to one’s personal participation in music.7.02 Evaluate musical works by comparing, contrasting, and summarizing themin relation to similar or exemplary models.7.03 Apply rules of standard English in written evaluations of music.7.04 Evaluate a given musical work in terms of its aesthetic qualities and explainthe musical devices it used to evoke feelings and emotions.7.06 Show respect for the musical efforts and opinions of others.8.01 Compare and contrast using main ideas and supporting details to organizeand communicate information about the uses of characteristic elements, artisticprocesses, and organizational principles among the arts areas in differenthistorical periods and cultures.8.02 Generalize ways in which the concepts and skills of other content areasoutside of the arts are interrelated with those of music.8.04 Compare and contrast the roles of creators, performers, and others involvedin the production and presentation of the arts.8.05 Demonstrate the character traits of responsibility, self-discipline, andperseverance while informally or formally participating in music.

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Alignment with NC High School Exit Exam:Communication1-apply rules of standard English to written text.2- use main ideas and supporting details to organize and communicateinformation.3- evaluate ideas and information to make informed decisions.4- listen carefully and thoughtfully to understand, record, and synthesizeinformation5- evaluate information in order to recognize the author's purpose, drawconclusions, or make informed decisions.7- follow instructions to draw conclusions or make informed decisions.Processing Information10- use patterns, relationships (e.g., cause and effect relationship), and trends todraw inferences and make predictions concerning environmental and socialoutcomes.11- synthesize information from several sources to apply that information to anew situation.12- organize tasks to accomplish an objective13- evaluate information, explanations, or ideas by identifying and applyingcriteria to draw conclusions or make predictions.Problem Solving15- plan logical steps and organize resources to accomplish a task within a giventime frame17- assess consequences of personal actions to determine legal, economic,political, environmental, and social impact.18- analyze the roles of the executive, judicial, and legislative branches of the USgovernment to make informed choices as a productive, contributing citizen.Using Numbers and Data26-. use relationships among fractions, decimals, and percents to demonstrateunderstanding of mathematical and scientific concepts

Lesson Objective(s):1. Students will develop an understanding of programmatic music by comparingoriginal writings of Rosa Parks and a musical portrayal of Rosa Parks.2. Students will reflect and write answers to questions related to ten different"themes" as titled in each chapter of the book Quiet Strength.3. Students will use a rubric for written compositions and cite connections ofeach theme in "A Movement for Rosa."4. Students will discuss historical significance of Rosa parks as a Civil RightsHeroin.5. Students will discuss incidents of discrimination in present day life.6. Students will describe musical ways Mark Camphouse creates imagery andemotion through music.7. Students will draw conclusions on the significance of music as a means ofexpression.

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Materials/Equipment Needed:Band Composition: "A Movement For Rosa" by Mark CamphouseFull Instrumentation of Wind BandPaperPen or PencilCompact Disc PlayerCompact Disc recording of "A Movement for Rosa"Quiet Strength; author, Rosa ParksDry erase board and markers

Lesson Procedure:Introduce the concept that music can be created for more than entertainmentpurposes alone. Describe how music can often times depict emotions, events orideas. Have students listen to a recording of "A Movement for Rosa" and writenon-musical words to describe each section of the piece citing measure numbersfor reference. After listening, have students volunteer measure numbers whenthey felt a sudden change of mood and style, list those measures on the board incolumn format. As a class, teacher directed, organize a consensus of exactmeasures where there is a change in mood. Have students list words thatdescribe the mood change under each column. Introduce the book, QuietStrength, by Rosa Parks, and name out loud the different names of the chapters(many of the words listed on the board will be in the book). Identify where thechapter titles can fit directly into the form of the composition. Discusscomposition techniques (dissonance, dynamic contrast, change of key, rhythm,articulation, voicing, instrumentation, etc.) Mark Camphouse used to evokedifferent moods. To set the tone, read two chapters, "Fear" and "Defiance" out ofQuiet Strength. Assign students to answer the following questions for homework:

Fear: Explain what fear means to you. What are your fears? Where do youthink they originated? Do you feel that you fears have changed over time, howso? Is there one fear that has not changed or you think will never change overtime?

Defiance: Explain what injustice means to you. Name two or three instances ofdefiance that you see every day at school. Why do you think these acts ofdefiance occur? When have you acted out of defiance? Did something tell younot to do it, if yes why did you follow through?

Injustice: Explain what injustice means to you? Have you ever seen acts ofinjustice around you cite specific instances. Interview five people, ask all fivepeople the following question exactly as written: "What is the most memorable orsever act of injustice that you have personally seen in your life and when did ithappen?" Person #1 (Graduated no later than 1993, but no earlier than 1988)

Person #2 (Graduated no later than 1987, but no earlier than 1979) Person #3 (Graduated no later than 1979, but no earlier than 1971)

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Person #4 (Graduated no later than 1970, but no earlier than 1962) Person #5 (Graduated before 1961)

Character: What does character mean to you? Where does the concept ofcharacter fit into your ideals? How does it fit into your family's ideals? Howwould you like people to perceive you?

Role Models: Who is your #1 Role Model? What makes that person your rolemodel? Do you feel that you have ever been a role model to someone? Do youthink it is important to have role models?

Faith: In one word explain what faith is to you.

Values: Explain some of your values. Is it okay for people to have differentvalues? How do you feel when you meet people who's values are opposite ofyour own? If there were one value that you wish the entire world would share,which one would it be?

Determination: What is determination to you? Think of a time whendetermination was an important factor for you to reach a goal. Who is someonewho taught you what determination can be? Is there something in your life whendetermination is always in the picture?

Lesson #2Have students come together and discuss responses in small groups (teacherassigned to guarantee a diverse response to each question). At the end of thesmall group session, have students come together as a large group and sharetheir responses, voluntarily, for each writing prompt.

Read one more chapter out of Quiet Strength to bring conclusion to the use ofthe book. Review composition techniques of Mark Camphouse to portray thepersonality of Rosa Parks. Continue to rehearse "A Movement for Rosa" usingwritten exercises as rehearsal strategies for students to begin emoting the musicas Camphouse intended.

Have students turn in written responses.

Assessment:Assessment of individual's writing will be based on a rubric of organization,thoughtfulness, the range of their responses, and whether or not they completeall the questions. Participation of small and large group conversations will beassessed based on participation.

Special Considerations:Before starting this lesson, students should have at least a moderate ability toplay the piece of music. It is important that the students be able to listen to thepiece of music and perform the music to have a complete musical correlationbetween Rosa Parks as a person and Mark Camphouse's composition portrayingRosa Parks. This lesson is based on working in a 90-minute class period; it maybe necessary to split the lesson more if the class period is shorter.

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piece of music and perform the music to have a complete musical correlationbetween Rosa Parks as a person and Mark Camphouse's composition portrayingRosa Parks. This lesson is based on working in a 90-minute class period; it maybe necessary to split the lesson more if the class period is shorter.

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Submitted by Ramona P. Jenner,Wake County Public Schools

Lesson Title:Creating Sight-Singing Originals

Grade Level or CourseVocal Music I, 9-12(can be used with 6th Grade Chorus)

Time Allotment3 Lessons: 1 (45 minute) lesson for the introduction of connecting rhythmic and melodic sight-singing examples to the choral selections, meters and note values being studied in class; 1 (45minute) lesson for students to write their own sight-singing examples; 1 (45 minute lesson) forstudents to perform their sight-singing examples for the class.

Targeted Goals and Objectives from the 2000 North Carolina Arts Education StandardCourse of Study and Grade Level Competencies, K-12:6th Grade:4.04-Show respect for the composing and arranging efforts of others.5.01-Read whole, half, quarter, eighth, sixteenth, and dotted note and rest durations in 2/4, 3/4,4/4, 6/8 and 2/2 meters.5.03-Sightread simple melodic notation in the treble clef.5.04 Identify standard notation symbols for pitch, rhythm, dynamics, tempo, articulation andexpression.5.05-Show respect for the reading and notating efforts of others.6.05-Show respect while listening to and analyzing music.Vocal Music I: (9-12)4.04-Show respect for the composing and arranging efforts of others.5.01-Read whole, half, quarter, eighth, sixteenth, and dotted note and rest durations in 2/4, 3/4,4/4, 6/8, 3/8, 2/2 and mixed meters.5.02-Sightread melodies.5.04-Use standard notation symbols for pitch, rhythm, dynamics, tempo, articulation, andexpression to record own musical ideas and musical ideas of others.5.05-Show respect for the reading and notating efforts of others.6.06-Show respect while listening to and analyzing music.

Targeted Goals and Objectives from the North Carolina Standard Course of Study andGrade Level Competencies, K-12 for other content areas.Mathematics –Patterns, Groupings, Addition

Lesson Objective(s):As part of their study of meters and note values in music, the students will create original sight-singing examples to be performed in class using specified guidelines. Students will use a rubricfor self/group evaluation. A rubric for the sight-singing example will be utilized as well. Sight-singing examples will be notated using traditional methods. Each sight-singing example will beperformed for the class and will then be combined to create a collection of sight-singingexamples to be used in all chorus classes for sight-singing exercises.

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performed for the class and will then be combined to create a collection of sight-singingexamples to be used in all chorus classes for sight-singing exercises.

Materials/Equipment Needed:Examples of Choral music being rehearsed in class utilizing different meters and note values;Sight-singing examples provided by teacher; music manuscript paper; pencil; rubric forself/group evaluation (developed in class with teacher guidance), rubric to assess sight-singingexample (teacher created). *See Assessment Item that aligns with this Lesson Plan for copiesof the rubrics

Lesson Procedure:Lesson 1 (45 minutes)A. Students are introduced to the idea that they will have the opportunity to create their ownsight-singing examples to use in Chorus class. They will be incorporating concepts that theyhave learned in class on meter, note values, writing in treble clef, notating music, etc. toproduce a short sight-singing example.B. A connection of rhythmic and melodic sight-singing examples to the Choral selections beingrehearsed in class is introduced. The teacher first introduces a written example of a rhythmicexercise (simply written on the chalk board) that utilizes a tricky rhythm from one of the Choralselections being rehearsed in class. The students were asked to identify the meter and notevalues used in the example. Students first count the rhythm, note specific measures that maypose difficulty, and then clap the rhythm as a group. This may be done between 1 and 3 times,or until students successfully perform the rhythm. The students are next introduced to amelodic sight-singing example created by the teacher on staff paper. Again, they identify themeter and note values used, note specific measures that may pose difficulty, clap the exampleif needed, then attempt to sing the example when provided the starting pitch. Again, thisexample could use a small portion of a melodic idea from one of the pieces being rehearsed inclass. The teacher should note how the sight-singing example is constructed and notated onmusic manuscript paper. At this point, a rubric that will be used as an assessment tool inevaluating sight-singing examples should be presented to the students and discussed.C. During the remainder of the lesson, students should note any specific measures that aretricky rhythmically or melodically while they rehearse their Choral pieces. These may or may notserve as a basis or idea in creating a sight-singing example in class.D. Inform students that when they return to class the next day, they will be working in groups of3 to 4 create their own sight-singing examples.

Lesson 2 (45 minutes)A. Students are divided into groups of 2 or 3, depending on class size. (Students with moreadvanced musical backgrounds may be allowed to work individually.) Review the sight-singingexample introduced in the previous class as a guide for the students and remind them to utilizedmeters and note values studied in class and in their Choral selections.B. Students are provided the remainder of class time to brainstorm, discuss, and record theirsight-singing example on music manuscript paper.C. At the end of class, groups will complete the group evaluation rubric.

Lesson 3 (45 minutes)

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A. Each group or individual performs their sight-singing example for the class.B. Use criteria from the rubric for discussion about the sight-singing examples. Class membersmay give positive comments about the examples with the teacher making any kind ofsuggestions for improvements, if needed.C. Have students discuss what they have learned from the process. Sight-singing examplescan be grouped by the teacher into a collection for Chorus classes to use during rehearsals.These can also be distributed to students.

Assessment: (see Assessment Item that aligns with this Lesson Plan)Assessments of group or individual work: Students will self/group assess using a rubricdesigned by the students and teacher. The rubric should incorporate students’ ability toevaluate group work.Assessment of individuals: The teacher will assess each student using a rubric that studentsare familiar with, that incorporates the guidelines for their sight-singing examples.

Special Considerations:This lesson should be completed after students have had experience reading and writingmusical notation in treble clef. Individuals with extensive music reading skills should be allowedto work on their own individual example. Students who move quickly with creating their ownsight singing examples my wish to add lyrics to be sung in place of numbers, syllables, etc.This lesson may take more than the allotted class times, depending on the abilities of students,and the size of the class.

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Submitted by Michael Williams,Cumberland County Schools

Lesson TitleRhythm Counting

Grade Level or CourseBand (Instrumental Music I)

Time Allotment3 (55 minute) lessons for the process1 (55 minute lesson for the performances and evaluation (will vary depending onthe number of students per class)

Targeted Goals and Objectives from the 2000 North Carolina ArtsEducation Standard Course of Study and Grade Level Competencies, K-12:5.01 Read whole, half, quarter, eighth, sixteenth and dotted note and restdurations in 2/4, 3/4, 4/4, 6/8, 3/8, 9/8 12/8, cut time and mixed meters.5.02 Demonstrate the ability to read individual parts of an instrumental score bydescribing how the elements of music are used.5.03 Sight-read moderately difficult examples with accuracy and expression.5.04 Notate moderately difficult music examples using standard notation.5.05 Identify and define standard notation symbols for pitch, rhythm, dynamics,tempo, articulation and expression.5.06 Show respect for the reading and notation efforts of others.

Targeted Goals and Objectives from the North Carolina Standard Course ofStudy and Grade Level Competencies, K-12 for other content areas.English Language Arts-readingMath skills-fractions

Alignment with NC High School Exit Exam:X Communication 7X Processing Information 9X Problem Solving 15X Using Numbers and Data 22

Lesson Objective(s):By the end of this lesson, students will demonstrate a better understanding oftime signatures and rhythm counting.

Materials/Equipment Needed:Music, pencils, and instruments.

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LESSON PROCEDURE:

Lesson 1 (55 minutes)

• Students will be given music written in unison parts with various rhythms in4/4, 3/4, and 2/4 time. Time signatures, their purpose and their relationship tobeat duration will be explained (a 4 on bottom means the quarter note getsone count).

• Students will be taught a system of counting.• Students will write in the counts underneath each note.• Students will clap and count out loud the appropriate rhythms.• Students will “tizzle” (tonguing the rhythms out loud while fingering the notes

on their instrument) through the exercises).• Students will play the exercises on their instruments.

Lesson 2 (55 minutes)

• Students will be given music written in unison parts with various rhythms in3/8, 6/8, 9/8, and 12/8. Time signatures, their purpose and their relationshipto beat duration will be explained (an 8 on bottom means the eighth note getsone beat).

• Students will be taught a system of counting.• Students will write in the counts underneath each note.• Students will clap and count out loud the appropriate rhythms.• Students will “tizzle” (tonguing the rhythms out loud while fingering the notes

on their instrument) through the exercises.• Students will play the exercises on their instruments.

Lesson 3 (55 minutes)

• Students will be given music written in unison parts with various rhythms incut time. Time signatures, their purpose and their relationship to beatduration will be explained (a 2 on bottom means the half note gets one beat).

• Students will be taught a system of counting.• Students will write in the counts underneath each note.• Students will then clap and count out loud the appropriate rhythms.• Students will then “tizzle” (tonguing the rhythms out loud while fingering the

notes on their instrument) through the exercises.• Students will then play the exercises on their instruments.

Assessment of individuals:• Students will take written tests.• Students will perform various rhythms in different time signatures on their

instrument.• Students will take “dictation” of rhythms played be the instructor.

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Assessment of group:Students will be given music written in unison to perform.Students will be given music with independent parts to perform.Students will be given band music of different grade levels to sight-read.

Special Considerations: This lesson can be adapted to band students of alllevels. Materials for these lessons can be purchased or written through the use ofmusic notation programs such as Finale, Encore, Sibelius etc.

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INTRODUCTION TO ASSESSMENT ITEMS

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Introduction to Assessment in Arts Education Classrooms

Assessment is an integral part of instruction. A combination of teacher, peer, and self-assessment should be employed in the arts education classroom. The method ofassessment used will depend on the purpose of the assessment.

The following are some types of assessments which may be used in the arts educationclassroom:

Selected responseIn selected response assessments, students must choose the most appropriateresponse for the matter being assessed. Examples of selected responses includemultiple-choice, matching, and true-false items.

Written responseThe use of written responses can be informal or formal and may take many forms.Examples of written responses that may be used for assessment include studentdrawings, compositions, etc; open-ended questions; journals and learning logs; shortanswer items; discussion questions; essays; research papers; and reports or reviews.

PerformancePerformance assessment is often used in arts education. Examples of performanceassessments include performance tasks, oral presentations, and projects or products.

ConversationsConversations may provide the teacher with insight into student learning andunderstanding. Examples of conversations that may be used for assessment includeinterviews; informal discussions; oral questions posed to the whole class or toindividuals; Socratic seminars; and student conferences.

ObservationsThe arts educator is a master at using observation to diagnose, monitor and summarizestudent learning. Because the arts involve “doing,” it is typical for students studying thearts to receive constant feedback and make refinements and adjustments according toobservations and feedback provided from peers, teachers and themselves.Observations may be of formal, prompted behaviors or informal, unprompted behaviors.Methods of documenting observations for assessment include checklists, anecdotalrecords, matrices, and other written documentation.

PortfoliosPortfolios may contain many different types of documentation for what students knowand are able to do. Items in a portfolio may be teacher-selected, student-selected, or acombination of these.Teachers are encouraged to have their students create and maintain portfolios, whichmay contain a combination of written, audio, or visual examples of their work. Studentsmay monitor their personal progress through the creation and ongoing use of a portfolio.

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Additionally, portfolios may be used across several grade levels or courses to showstudent progress and growth.

Appropriate assessment must be authentic and linked to learning targets that areidentified in the North Carolina Standard Course of Study. The assessment process isongoing, as part of the teaching and learning cycle, and should be used to diagnose,monitor, and summarize student learning.

For more information on classroom assessment, please see: Classroom Assessment:Linking Instruction and Assessment, available through NCDPI Publications(www.ncpublicschools.org).

Assessment Items in the Teacher Handbook

The assessment items contained in the Teacher Handbook were developed forteachers by teachers. You may access assessment items by grade span and byindividual items within each span. This database of assessment items may be added toas further items are developed. Those interested in contributing assessment items tothe Teacher Handbook should contact Christie Lynch Howell, Arts EducationConsultant, NCDPI, at 919-807-3856 or cmhowell@dpi.state.nc.us.

The assessment items developed are organized in the following format: Title; GradeLevel or Course; Targeted Goals and Objectives from the 2000 North Carolina ArtsEducation Standard Course of Study and Grade Level Competencies, K-12; Link withOther Subject Areas; Type of Assessment; Type of Item; Alignment with the NC HighSchool Exit Exam; Assessment Item; Scoring Information; Teacher Notes, and OtherRelated Items. Some assessment items are linked to particular lesson plans. Theseitems are noted in the table of contents and within the items themselves.

The assessment items are not designed to be used as a step-by-step “cookie cutter”approach to assessing objectives from the SCS, but rather as a starting point to helpteachers see how particular goals and objectives from the SCS may be assessed in theclassroom. Perhaps a teacher reading through one of the items may use theassessment as a place to begin with when designing his/her own assessments forstudents. Assessment Items should be modified to meet the individual learning needsof students within the classroom.

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ELEMENTARY ASSESSMENT ITEMS

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Submitted by Pamela Rose Ayers,Winston-Salem/Forsyth Schools

Title:Differentiating Vocal Types

Grade Level or Course:Kindergarten

Targeted Goals and Objectives from the 2000 North Carolina Arts EducationStandard Course of Study and Grade Level Competencies, K-12:*Competency Goal 1: The learner will sing, alone and with others, a varied repertoire of music. *Objectives: 1.01 Recognize and demonstrate the difference between speaking and singing voices (and chanting);1.02 Match pitch within a developmentally appropriate range;1.03 Sing with correct posture;1.04 Respond to the cues of the conductor;1.05 Sing a variety of music.

Link with othersubjects:Music: 1.01 Identifybody parts and range ofmotion;English Language Arts:Use new vocabulary inown speech and writing;Guidance: Demonstratethe ability to workindependently, as well asthe ability to workcooperatively with otherstudents;Healthful Living:Describe health risks forage group.

Type of Assessment: Diagnostic x Monitoring x Summative

Type of Item:Selected Response x Written Response x Performance Conversation x Observation

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Assessment Item and Scoring Information:-Maintain a log or grade book in which students are evaluated in class byperformance. Use "4" for mastering the objective, "3" for meets the objectivemost of the time, "2" occasionally meet the objective, and "1" for never meetsthe objective.

-Design a written "test" or exercise using pictures for students to circle. Evaluatethe written exercise because some students can do this and others are notdevelopmentally ready. It would be advantageous to have practiced this type ofassessment in a previous class.

-Circle the picture that goes with the type of voice you hear. 1. (Picture of a cheerleader) (Picture of 2 people talking) chant speaking

-Use no more than 4 questions.

Teacher notes:No previous unit is needed. However, experience with written assessment isneeded when a teacher uses the written assessment choice. If this is the firsttime to use a written assessment, consult the classroom teacher about studentability and allow at least 20 min. to perform the written assessment for the firsttime.

Other related items:1. Use a "Big Book" with pictures if possible.2. Sharon, Lois, and Bram are a group of musicians who provide excellentexamples of singing and chanting voices that are highly motivational to childrenof this age.3. Check out the web site: http://half.com -You may find inexpensive recordingshere that will help you.

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Submitted by Christi O DavisCumberland County Schools

TitleIntroduction to Melodic Notation: Sol-Mi

Grade Level or CourseSecond Grade Music

Targeted Goals and Objectives from the 2000 North Carolina Arts EducationStandard Course of Study and Grade Level Competencies, K-12:Goal 1: The learner will sing, alone and with others, a varied repertoire of music.1.03 Sing phrases or simple songs with increased pitch accuracy.1.04 Match pitch within a developmentally appropriate vocal range, using head

tones.Goal 5: The learner will read and notate music.5.03 Read simple melodic notation with increased accuracy.5.06 Use symbols (icons) to notate simple musical patterns.5.07 Show respect for the reading and notating efforts of others.Goal 6: The learner will listen to, analyze and describe music.6.04 Discuss music using appropriate terminology.1.01 Respond through purposeful movement to prominent music characteristics

while listening to music.6.07 Show respect while listening to and analyzing music.

Link with othersubjects:Dance:1.02 Demonstrateand identify the elementof space in dance, i.e.shape, level, anddirectionLanguage Arts:2:08Interpret information fromdiagrams and charts.Mathematics: 2.05 Usespatial visualization tosolve problems;demonstrate visualmemoryMathematics: 3.05Identify and correct errorsin geometric patterns

Type of Assessment:_____Diagnostic X Monitoring_____Summative

Type of Item:____Selected Response X Written Response X Performance X Conversation X Observation

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Assessment Item:Introduction: During introduction, teacher will informally assess studentunderstanding of melody by listening to their pitch while singing and observingtheir upward, downward and repeating body motions to previously learned song.

Activity 1 and 2: Informal observation of how the sounds produced match themovement of the light beam or the arm movements of the students.

Activity 3: Written evaluation of several students on the overhead chart to showexamples to the class followed by individual written evaluations on personalslates by all class members.

Activity 4: Performance of songs containing sol-mi pitches with teacher andstudents monitoring accuracy of pitch.

(See description of activities that are being assessed in lesson plan that alignswith this assessment item)

Scoring Information:Documentation of Activity 3 could be in the form of a worksheet to be kept in aportfolio.Documentation of Activity 4 could be in the form of a checklist of pitch accuracyadministered by the teacher

Teacher notes:Students should have had previous experience in melodic movement such ashigher, lower and repeating tones. These are then refined to upward anddownward motions. This lesson focuses on iconic representations of melodiesand then moves to basic symbolic notation of two pitches.

Other related items:The transparencies of call charts from the Silver Burdett series can be adaptedfor varying grade levels and musical concepts. “Dance of the Snowflake” can beused as a review from this lesson, then lead into notating “la”.

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Submitted by Trudy Elliott,Wake County Public Schools

Title:Original Rhythm Compositions for Poetry

Grade Level or Course:Second Grade Music

Targeted Goals and Objectives from the 2000 North Carolina Arts EducationStandard Course of Study and Grade Level Competencies, K-12:2.02-Play with rhythmic accuracy.2.03-Play with appropriate posture and increased technical accuracy.2.04-Play expressively with appropriate dynamics.2.05-Play instrumental parts while others sing and/or play rhythmic, melodic, or harmonic parts.2.08-Show respect for the instrumental playing efforts of others.4.04-Use a variety of sound, notational, and technological sources to compose and

arrange music.4.05-Show respect for the composing and arranging efforts of others.7.01-Devise criteria for evaluating performances and compositions of self and others.

Link with othersubjects:ReadingPoetry

Type of Assessment:_____Diagnostic_____Monitoring__X__Summative

Type of Item:_____Selected Response_____Written Response__X__Performance_____Conversation_____Observation

Assessment Item :A. Work with your group members to create an original rhythm composition to be

written and performed on instruments.B. Review the rubric for composition and performance guidelines. All students are

expected to meet the proficient level expectations.C. Review the group work rubric to make sure that you are contributing to your group in

an appropriate way. You will self-evaluate the group work using a rubric when yourgroup has finished their composition.

D. Each group will perform their original rhythm composition for the class. Thisperformance will be graded using the rubric for composition and performance.

E. Compositions and rubrics may be placed in each student’s portfolio as an exampleof the work he/she has completed as part of this unit.

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Scoring Information:A. Group Work Rubric - Students will self-evaluate group workB. Compositions and Performance Rubrics - These rubrics can be used for individual,

group, teacher, or class evaluations.C. For all rubrics, a final score is reached by averaging the total for each component.

The teacher may have three different grades for this project or the teacher maycombine and average grades for an overall grade for this assignment.

Note: Students should have copies of all rubrics before beginning their original rhythmcomposition.

*See rubrics at the end of this item

Teacher notes:Students should be able to read and play rhythm notation on various rhythminstruments. They should have experience with improvising original ideas on rhythminstruments. They should be familiar with musical notation using traditional symbols. Ifusing technology for publishing the compositions, students should be able to use thesoftware to publish their compositions. Teachers should feel free to adapt theassessment examples. Another option is to have students create other rubrics to use inclass.

Other related items:Optional follow-up activities:A. The composition and/or performance rubrics could be used for self, group, or class

evaluation and discussion when the students perform their rhythm compositions.This would be a good time to use the PAM process (Praise, Ask questions, Makesuggestions) for constructive criticism.

B. After creating original rhythm compositions in small groups, students could thencreate individual original compositions using the same or a similar process.

C. After completing their rhythm compositions, students may expand this project byadding lyrics, or movements to their composition.

D. Individual groups could teach the class their compositions. All compositions couldbe bound in a class book and kept in the library/media center.

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Name________________________________Teacher_________________ Date_________

Original Rhythm CompositionsComposition Rubric

Advanced (4) Proficient (3) Basic (2) Below Basic (1)Rhythm Composition uses at

least 4 variedinstrument soundsand varied rhythmicvalues.

Composition uses atleast 3 variedinstrument soundsand varied rhythmicvalues.

Composition uses atleast 2 variedinstrument soundsand varied rhythmicvalues.

Composition doesnot use variedinstrument soundsnor varied rhythmicvalues.

Notation Composition uses4 varied standardnotations

Composition uses3 varied standardnotations

Composition uses2 varied standardnotations

Composition doesnot use variedstandard notations

DynamicChanges

Composition uses4 varied dynamicchanges

Composition uses3 varied dynamicchanges

Composition uses2 varied dynamicchanges

Composition doesnot use varieddynamic changes

Rhythm_______ Notation________ Dynamic Changes__________ Total Score___________

Average TotalScore________

Do you think your instrument sounds matched the words in the poem? (Yes or No)____________

Write 2 sentences about which sounds you think matched the instruments the best.

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Name________________________________Teacher_________________ Date_________

Original Rhythm CompositionsPerformance Rubric

Advanced (4) Proficient (3) Basic (2) Below Basic (1)Rhythm All rhythms are

performedaccurately whilemaintaining asteady beat

All rhythms areperformedaccurately withslight variations induration whilemaintaining asteady beat

Most rhythms areperformedaccurately whilemaintaining asteady beat

Few or no rhythmsare performedaccurately with orwithout maintaininga steady beat

Notation All instrumentsare playedaccurately asnotated

All instrumentsare playedaccurately asnotated with slightvariations

Most instrumentsare playedaccurately asnotated

Few or noinstruments areplayed accuratelyas notated

Dynamic Changes All dynamics areexecuted correctlywith a distinctdifference in thelevels

All dynamics areexecuted correctlywith noticeabledifference in thelevels

Dynamics areevident, but not aspronounced

No difference indynamic levels

Student Posture Correct posture isconsistentlydemonstratedwhile playing

Correct posture isdemonstrated forthe most partwhile playing

Correct posture isslightlydemonstratedwhile playing

Correct posture isnot demonstratedwhile playing

InstrumentPlaying /InstrumentPositioning

Correct instrumentplaying isconsistentlydemonstratedwhile playing

Correct instrumentplaying isdemonstrated forthe most partwhile playing

Correct instrumentplaying is slightlydemonstratedwhile playing

Correct instrumentplaying is notdemonstratedwhile playing

Rhythm____ Notation____ Dynamic Changes_____ Student Playing_____ InstrumentPlaying_____

Total Score ____________

Total Average Score_________

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Submitted by Lee F. Zimmerman,Wake County Public Schools

TitleQuarterly Performance Assessment

Grade Level or CourseFourth & Fifth Grade Beginning Band

Targeted Goals and Objectives from the 2000 North Carolina Arts EducationStandard Course of Study and Grade Level Competencies, K-12:Fourth Grade Music (can be adapted for 5th Grade Music):2.01-Play with pitch accuracy.2.02-Play with rhythmic accuracy.2.03-Play with appropriate technique and posture.2.04-Play expressively using appropriate dynamics, phrasing, and interpretation.2.05-Show respect for the instrumental playing efforts of others.3.01-Improvise rhythmic and melodic question and answer phrases.3.04-Improvise simple rhythmic and melodic variations of familiar melodies.3.05-Improvise short songs and instrumental pieces using a variety of soundsources.3.06-Show respect for the improvisational efforts of others.4.01-Compose short music compositions for voices or instruments usingpentatonic and major diatonic scales and varied rhythmic values.4.05-Show respect for the composing and arranging efforts of others.5.01-Read whole, half, dotted half, quarter, and eighth notes and rests in 2/4, 3/4,and 4/4 meters.5.02-Read pitch notation.5.03-Identify symbols and traditional terms referring to expressive qualities,including dynamics and tempo.5.04-Use standard notation symbols to notate meter, rhythm, pitch, and dynamicsin simple musical patterns.5.05-Show respect for the reading and notating efforts of others.6.01-Identify simple music forms when presented aurally including AV, ABA, Calland Response, Rondo, Ballad, and Introduction/Coda.6.02-Demonstrate perceptual skills by conducting, moving, answering questionsabout, and describing aural examples of music of various styles and cultures.

Link with othersubjects:N/A

Type of Assessment:__x__Diagnostic__x__Monitoring__x__Summative

Type of Item:____Selected Response____Written Response__x_Performance____Conversation__x_Observation

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Scoring Information:Teacher should have the following to score this progress report:

-Individual student worksheets and quizzes on note and rest values, notation,musical terms and symbols, rhythm reading, and compositions.-Individual student performance of assigned material, sightreading andimprovisation to evaluate tone, tonguing, hand position, posture, embouchure,sticking, note reading and rudiments.-For this quarterly progress report, students’ scores on each item will beaveraged to show parents their child’s progress in band that quarter.

Teacher notes:Students should have completed at least one quarter before they have this formcompleted. Some items will not be able to be graded the first quarter, but itemswill be added throughout the year.

Students should be made aware of this report at the beginning of the year, andmay even be given a copy for the students to grade themselves as they completeeach quarter.

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BAND QUARTERLY PROGRESS REPORT

Student’s Name_________________________ Date___________________

Dear Parent:

The following is a quarterly report of your child’s progress in Beginning Band. Eachitem is graded on the following scale:

1 = Poor 3 = Good n/a = not applicable at this time2 = Fair 4 = Excellent

All of the items are then averaged for your child’s quarterly progress grade in band.Please sign at the bottom of the form to show that you have seen this report. Also,please write any comments or questions you may have and return this to me as soon aspossible.

_____Consistently practices at home and turns in practice record each week_____Demonstrates ability to read notes on the staff_____Demonstrates knowledge of fingerings/slide positions_____Demonstrates knowledge of note and rest values_____Demonstrates abilities to sightread simple melodies_____Demonstrates abilities to sightread simple rhythmic patterns_____Demonstrates knowledge of musical symbols and terms_____Performs with proper tone quality_____Performs with proper embouchure (mouth position)_____Performs with proper articulation (tonguing)_____Performs with proper hand position_____Performs with proper posture_____Percussion only: Uses proper sticking_____Percussion only: Demonstrates knowledge of rudiments (rolls, flams, paradiddles)_____Attends class with instrument every day_____Attends class with book every day_____Attends class with pencil every day_____Improvises simple melodies and rhythmic patterns_____Performance on worksheets_____Performance on written tests and quizzes_____Shows respect to other students_____Shows respect to teacher

_____Total

_____Average for this quarter

Parent’s Signature__________________ Teacher’s Signature___________________

Comments:

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Submitted by Mary Anne Martin-Howell,Cumberland County Schools

TitleTotally Ternary

Grade Level or CourseFirst Grade Music

Targeted Goals and Objectives from the 2000 North Carolina Arts EducationStandard Course of Study and Grade Level Competencies, K-12:4.02 Compose a simple melody using at least three pitches4.03 Compose a simple rhythmic pattern using quarter and eighth note and

quarter rest durations2.04 Demonstrate and maintain a steady beat2.01 Recognize and play pitched and unpitched instruments2.02 Play with increased rhythmic accuracy6.01 Identify simple music forms when presented aurally, including AB, ABA, and

Introduction7.02 Demonstrate respect for the musical efforts and opinions of others

Link with othersubjects:English Language Arts(Literature)

Type of Assessment:_____Diagnostic___X__Monitoring___X__Summative

Type of Item:____Selected Response____Written Response___X_Performance_____Conversation____X_Observation

Assessment Item

A. Does the melody use three pitches? Yes___ No___B. Does the rhythmic pattern use quarter and eighth note and quarter rest

durations? Yes___ No___C. Was the rhythmic pattern performed accurately either with body percussion or

on unpitched percussion? Yes___ No___D. Was the piece performed in ternary form? Yes___ No___

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Scoring InformationStudents will self-evaluate using given checklist.Teacher will evaluate individuals using given checklist.

Teacher notesStudents will need to be familiar with sol, mi, and la.Students will need to be familiar with eighth note, quarter note, and quarter restdurations.

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Submitted by Lori EvansCumberland County Schools

Title:Vocal Awareness

Grade Level or Course:Kindergarten or First Grade Music

Targeted Goals and Objectives from the North Carolina Arts EducationStandard Course of Study and Grade Level Competencies, K-12:COMPETENCY GOAL 1: The learner will sing, alone and with others, a variedrepertoire of music.1.01 Recognize and demonstrate the difference between peaking and singing.1.02 Match pitch within a developmentally appropriate range.1.03 Sing with correct posture.1.06 Show respect for the singing efforts of others.

Link with othersubjects:N/A

Type of Assessment:_____Diagnostic_X___Monitoring_X__Summative

Type of Item:____Selected Response____Written Response_ ___Performance_____Conversation_X___Observation

Assessment Item: (See Lesson Plan that Aligns with this Assessment Item)• Teacher creates a rubric for evaluating the vocal abilities and growth of the

students.• Students are expected to meet level 2.• Students will be evaluated by the teacher during class.• SEE RUBRIC AT THE END OF THIS ITEM

Teacher notes:This unit should be taught after the students have had experience with vocalizingin a variety of ways. They should also not be graded on the tongue twisters untilthey can say them with ease and from memory.

Other related items:• Students can create choreography for the songs

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VOCAL AWARNESS RUBRIC

Level 3 Level 2 Level 1

DICTION Enunciates tonguetwister clearly (crispand clearconsonants)

Tongue twisterwords are fairlyeasy tounderstand(most words areclear and crisp)

Tongue twisterwords are difficult tounderstand (studentneeds continuedpractice)

VOCALCONTROL

Demonstrates thedifference betweensinging, speaking,whispering, andyelling voices withaccuracy.

Demonstratesdifferencebetween singing,speaking,whispering, andyelling voiceswith littledifficulty.

Cannot differentiatebetween thedifferent voices.

SINGING Can sing alone withaccurate pitchthroughout the song

Can sing alonewith accuratepitch throughoutmost of the song

Can sing song alonebut pitch fluctuatesor is not evident.

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Submitted by Lori EvansCumberland County Schools

TitleWrite Your Own Rap

Grade Level or CourseThird Grade Music

Targeted Goals and Objectives from the 2000 North Carolina Arts EducationStandard Course of Study and Grade Level Competencies, K-12:COMPETENCY GOAL 1: The learner will sing, alone and with others, a varied repertoireof music.1.03 Sing simple songs with increased rhythmic accuracy.1.04 Sing with proper vocal technique including head tones, clear diction, and correctposture.1.08 Sing a variety of music representing diverse genres, styles, and cultures.1.09 Show respect for the singing efforts of others.(Note: While rap is not usually considered a method of singing, it is a method ofvocalization that our students can understand. I define the term “sing” in the aboveobjectives as a method of vocalizing. This unit is also helpful in teaching the students thedifference between melody and no melody.)COMPETENCY GOAL 4: The learner will compose and arrange music within specifiedguidelines. 4.02 Compose short pieces for voices or instruments using the pentatonicscale and varied rhythmic values.4.03 Arrange simple pieces for voices or instruments.4.05 Show respect for the composing and arranging efforts of others.

Link with othersubjects:N/A

Type of Assessment:_____Diagnostic_____Monitoring__x__Summative

Type of Item:_____Selected Response_____Written Response___x_Performance_____Conversation_____Observation

Assessment Item:-Students and teacher create a rubric for evaluating a rap and its performance.-Students are expected to meet level 3 on the rubric.-Teams of 3-5 Students work together to compose and perform and original rap.-Each team will perform their composition and be evaluated by each other, theirclassmates, and the teacher.

Scoring Information:Rap rubric (see the end of this item)*Students should be given a copy of the rubric to refer to during the creative process.

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Teacher notes:This unit should be taught after the students have had experience with both singing andrap. They should have at least a basic understanding of how rap lyrics are conceived(using rhyme scheme). Students should also understand phrasing, verse, refrain, AB andABA form.

Other related items:-Student performances can be video or audio-taped-Simple percussion parts can be added to accompany the piece-Groups could teach their composition to others-Students could choreograph their composition

RAP RUBRIC

Level 4 Level 3 Level 2 Level 1

Team Work Everyonehelped write therap

Most peoplehelped write therap

A couple ofpeople did allthe work

Only oneperson did thework

Form Rap is in ABA,ABB, or ABCform

Rap is in ABform

Rap has onlyone section

Rap isunfinished

Performance Team knowsthe rap frommemory

Team knowsrap fairly well

Team has toread the wholerap from thepage

Team isunfamiliar withthe rap

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MIDDLE SCHOOL ASSESSMENT ITEMS

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Submitted by Ramona P. Jenner,Wake County Public Schools

TitleCreating Sight-Singing Originals

Grade Level or Course6th Grade ChorusVocal Music I (9-12)

Targeted Goals and Objectives from the 2000 North Carolina Arts EducationStandard Course of Study and Grade Level Competencies, K-12:6th Grade:4.04-Show respect for the composing and arranging efforts of others.5.01-Read whole, half, quarter, eighth, sixteenth, and dotted note and rest durations in2/4, 3/4, 4/4, 6/8 and 2/2 meters.5.03-Sightread simple melodic notation in the treble clef.5.04 Identify standard notation symbols for pitch, rhythm, dynamics, tempo, articulationand expression.5.05-Show respect for the reading and notating efforts of others.6.05-Show respect while listening to and analyzing music.Vocal Music I: (9-12)4.04-Show respect for the composing and arranging efforts of others.5.01-Read whole, half, quarter, eighth, sixteenth, and dotted note and rest durations in2/4, 3/4, 4/4, 6/8, 3/8, 2/2 and mixed meters.5.02-Sightread melodies.5.04-Use standard notation symbols for pitch, rhythm, dynamics, tempo, articulation,and expression to record own musical ideas and musical ideas of others.5.05-Show respect for the reading and notating efforts of others.6.06-Show respect while listening to and analyzing music.

Link with othersubjects:Mathematics –Patterns,Groupings, Addition

Type of Assessment:_____Diagnostic_____Monitoring___x__Summative

Type of Item:_____Selected Response_____Written Response___x__Performance_____Conversation_____Observation

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Assessment Item (Write the actual item below):-Work together with your group members to create a sight-singing example to beperformed in class.-Look at the rubrics for the composition and performance guidelines. All students areexpected to meet the proficient level expectations.-Also, look at the group work rubric to make sure that you are contributing to yourgroup in an appropriate way. When you have finished creating the sight-singingexample, you will self-evaluate the group work process using this rubric.-Each group will perform their original sight-singing example for the class and begraded using the rubrics for composition and performance.-Sight-singing examples will be compiled into a collection to use with the Chorusclasses. --Students will receive feedback on their work through the rubrics.

Scoring Information:A. Group Work Rubric (see rubric at the end of this item) Students will self-

evaluate group work.B. Composition and Performance Rubrics (see rubrics at the end of this item) Can

be used for individual, group, teacher, or class evaluations.C. For all rubrics, a final score is reached by averaging the total for each

component. Individual scores can be used from the rubrics, or they can beaveraged for an overall grade for the assignment.

*Students should be familiar with and have copies of all rubrics before creating theirsight-singing examples.

Teacher notes:Students should be proficient with counting note values in different meters, readingnotation in treble clef, and writing simple musical notation on music manuscript paper.They should have experience performing sight-singing examples as a class. Theyshould also be familiar with compositional devices and musical notation usingtraditional terms and symbols. The rubrics used in this assessment are examples;teachers should feel free to adapt.

Other related items:A. When students perform their sight-singing examples for the class, the sight-

singing composition and/or performance rubric could be used for discussion.Students are asked to provide positive feedback to the composers.

B. Later, students could create sight-singing examples individually, as opposed toin small groups.

C. Students who created examples to sing on syllables or numbers could actuallywrite lyrics for their sight-singing examples.

D. Copies can be made of all examples to use in Chorus class when practicingsight-singing.

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Sight-Singing Composition Rubric

Advanced(4)

Proficient(3)

Basic(2)

BelowAverage (1)

Organization Example hasa clearbeginning andend and iscomprised of8 to 16measures ofmusic

Ex. has aclearbeginning andend iscomprised of8 to 12measures ofmusic

Ex. iscomprised ofat least 8measures ofmusic

Ex. has lessthen 8measures ofmusic

Melody Melody usedmore than 5pitches

Melody used3 to 5 pitches

Melody used3 pitches

Melody usedless than 3pitches

Meter/Rhythm Timesignature wasnoted at thebeginning withat least 5different notevaluescorrectlyutilized insight-singingexample

Timesignature wasnoted at thebeginning with3 to 5 differentnote valuescorrectlyutilized insight-singingexample

Timesignature wasnoted at thebeginning butless than 3note valueswere correctlyutilized insight-singingexample

No timesignature wasnoted in theexample withnote valuesusedincorrectly insight-singingexample

Notation Example wascorrectlywritten notingtreble clef,correctnotation,double bar atthe end

Example waswritten usingcorrectnotation for 85percent of theexample

Example waswritten usingcorrectnotation for 70percent of theexample

Example wasnot accuratelynotated

Organization_____ Melody_____ Meter/Rhythm_____ Notation_______Total_________(Average of components)

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Sight-Singing Performance Rubric

Advanced(4)

Proficient(3)

Basic(2)

BelowAverage (1)

Pitch All pitches aresung correctly

Most pitchesare sungcorrectly

Only about 70percent ofpitches aresung correctly

Few or nopitches weresung correctly

Rhythm All rhythmswereaccuratelyexecuted

Most rhythmswereaccuratelyexecuted

Only about 70percent ofrhythms wereaccuratelyexecuted

Few or norhythms wereaccuratelyexecuted

Dynamics All dynamicchanges weredistinctlynoticeable inperformance

Somedynamicchanges werenoted duringperformance

Dynamicswere notatedbut notdemonstratedin example

Dynamicswere notnotated ordemonstrated

Tempo Tempo wasappropriatelyexecuted

Tempo wasappropriateand steadymost of thetime

Tempo wasappropriatebut not alwaysmaintained

Tempo wasnotappropriate ormaintained

Posture Excellentsingingposture wasmaintainedduringperformance

Excellentsingingposture wasmaintainedduring most oftheperformance

Good singingposture wasmaintained for70 percent ofperformance

Poor posturewasmaintainedduringperformance

Pitch_____ Rhythm_____ Dynamics______ Tempo_______ Posture________

Total Score________(Average of totals for each component)

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Group Work RubricSight-Singing Examples

Outstanding(4)

Proficient(3)

Needs Work(2)

BelowAverageWork (1)

Collaboration All groupmembersshared ideasand listenedrespectfully toone another

All groupmembersparticipated,but did notalwaysrespectfullyshare andlisten to ideas

One or twogroupmemberdominated theprocess anddid not allowothers toshare ideas orlistenrespectfully toothers

The group didnotcollaborate atall to shareideas or listenrespectfully toone another

Participation All groupmembersparticipated inthe sight-singing writingprocessequally

Most groupmembersparticipated inthe sight-singing writingprocessequally

One or twomembersdominated thesight-singingwritingprocess andthereforepreventedothers fromcontributing

Members didnot participatein writing asight-singingexample

IndividualContributions

I feel that Ifullycontributed tomy group. Myprimary jobwas:

I feel that Icontributed tomy group, butcould havedone more.My primaryjob was:

I feel that I didnot contributemuch to mygroup at all.My job was:

I did notcontribute tomy group atall.

Collaboration_______ Participation_________ Individual Contributions________Total Score________(Average of totals for each component of the rubric)

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Submitted by Rebecca Green and Margaret Rehder,Winston-Salem/Forsyth Schools

Title:Playing Assessment

Grade Level or Course:Grade 8 – Orchestra (Can be adapted by teacher for other instrumental classes and levels)

Targeted Goals and Objectives from the 2000 North Carolina Arts Education StandardCourse of Study and Grade Level Competencies, K-12:2.01 Play at least one instrument with appropriate posture, playing position, and technique.2.05 Show respect for the instrumental playing efforts of others.2.06 Play on at least one instrument, music at an appropriate and increasingly difficult level,with expressiveness and technical accuracy.2.07 Play music written in modest ranges which may include changes of tempo, key, andmeter.

Link with othersubjects:Mathematics(relationships)

Type of Assessment:X DiagnosticX MonitoringX Summative

Type of Item:_____Selected Response_____Written Response__X__Performance_____Conversation_____Observation

Alignment with NC High School Exit Exam:Communication4- listen carefully and thoughtfully to understand, record, and synthesize information.Processing Information9- analyze information by comparing, contrasting, and summarizing to make informeddecisions12- organize tasks to accomplish an objectiveProblem Solving15- plan logical steps and organize resources to accomplish a task within a given time frameUsing Numbers and Data22- apply real number operation and relationships (e.g., absolute value, radical expression,exponents) to solve problems related to home, work, and the environment26- use relationships among fractions, decimals, and percents to demonstrate understandingof mathematical and scientific concepts

Assessment Item:Student will be assigned a passage of music to perform. Student should be familiar with therubric used to grade the passage prior to being assessed. See the rubric at the end of thisitem.

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Scoring InformationScore each component of the rubric independently, or combine the scores for all componentsand take the average for a total score.

Teacher notesThis rubric can be used for any situations where a student is asked to play something and maybe adapted for other instrumental students or various student levels.

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Playing AssessmentPerformance Rubric

Rate the student’s performance on the following (1-4) for each category:

Superior(4)

Excellent(3)

Good(2)

Below Standard(1)

Intonation Shows confident andsecure sense oftonality. Plays allnotes in tune withcorrect fingerplacement.

Shows clear senseof tonality. Playsmost notes in tuneand quickly andconsistentlycorrects faulty fingerplacement.

Shows generalsense of tonality.Plays some notes intune and issometimes able tocorrect faulty fingerplacement.

Shows little or nosense of tonality.Most notes are notplayed in tune and isunable to correctfaulty fingerplacement.

Rhythm Maintains a steadybeat and plays allrhythms correctly.

Maintains a steadybeat and playsrhythms correctlywith no more than 3errors.

Unsteady beat.Plays most rhythmscorrectly, but hasmore than 3 errors.

No steady beat andno note valuesplayed correctly.

Accuracy Consistently usescorrect bowing,rhythm and pitchesall of the time.

Uses correct bowing,rhythm and pitchesmost of the time.

Uses correct bowing,rhythm and pitchesabout 75% of thetime.

Unable todemonstrate correctbowing, rhythm andpitches most of thetime.

Tone Tone is warm, even,clear andappropriate tomusical content andperiod.

Tone is clear. Ifusing vibrato, evenand pleasant.

Tone is uneven,weak, shallow, or toorough.

Unpleasant or non-existent.

Posture andposition

Consistentlydemonstrates goodbalance and correctposition throughoutplaying.

Demonstrates goodbalance and correctposition most of thetime. Stands or sitswith good balance.Right had has curledthumb and littlefinger, no squeezingor stiffness. Lefthand has straightwrist, elbowpositioned to keepfingers curved overstrings. Fingers donot collapse.

Demonstrates goodbalance and correctpositioning onlysome of the time.

Does notdemonstrate goodbalance nor correctpositioning.

Musicianship Consistentlydemonstrates correctdynamics, phrasingand tempi andmakes theperformancemusically exciting.

Demonstratescorrect dynamics,phrasing and tempimost of the time.

Little contrast indynamics, phrasesnot always clear,tempi notconsistentlyobserved.

No contrast indynamics, noindication ofphrases, noobservance ofcorrect tempi.

Intonation_____ Rhythm_____ Accuracy_____ Tone_____

Posture/Position_____ Musicianship_____

Total (avg. of all components) Score_____

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Submitted by Rainy Cassetta, Barbara L. Geer, and Tom Shelton,Winston-Salem/Forsyth Schools

Title:Rhythm in Motion

Grade Level or Course:6th grade General Music (may also be used in Chorus)

Targeted Goals and Objectives from the 2000 North Carolina Arts EducationStandard Course of Study and Grade Level Competencies, K-12:4.03-Use a variety of sounds, notational, and technological sources to composeand arrange music.4.04-Show respect for the composing and arranging efforts of others.5.01-Read whole, half, quarter, eighth, sixteenth, and dotted note and restdurations in 2/4, 3/4, 4/4/, 6/8, and 2/2 meters.5.04-Identify standard notation symbols for pitch, rhythm, dynamics, tempo,articulation, and expression.5.05-Show respect for the reading and notating efforts of others.6.03-Identify the basic principles of meter, rhythm, and tonality in analyses ofmusic.6.04-Demonstrate auditory perceptual skills by conducting, moving, answeringquestions about, and describing aural examples of music.7.01-Devise criteria for evaluating the quality and effectiveness of musicperformances and compositions, and apply criteria in personal listening andperforming.

Link with othersubjects:Mathematics, Grade 6-Relate fractions, decimalsand percents.

Type of Assessment:_____Diagnostic___x__Monitoring___x__Summative

Type of Item:____Selected Response__x___Written Response__x___Performance_____Conversation_____Observation

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Alignment with NC High School Exit Exam:Communication:4- listen carefully and thoughtfully to understand, record, and synthesizeinformation.Processing Information9- analyze information by comparing, contrasting, and summarizing to makeinformed decisions12- organize tasks to accomplish an objectiveProblem Solving15- plan logical steps and organize resources to accomplish a task within a giventime frameUsing Numbers and Data26- use relationships among fractions, decimals, and percents to demonstrateunderstanding of mathematical and scientific concepts.

Assessment Item:Create a 16-beat rhythm pattern and correctly notate it on paper. Includebarlines, time signature and appropriate note values. Be as creative as youwould like with your patterns and be sure your final copy is neat and legible.*(See Lesson Plan that aligns with this Assessment Item)

Scoring Information:A. Correct Written Notation: written portion of final assignment must be correctlynotated. Student work must include a 16 beat pattern, barlines, appropriate timesignature, correct note values.B. Rhythmic Accuracy-in addition to correct notation, student work must berhythmically accurate. Rhythmic pattern must utilize appropriate time signature,and varied rhythm combinations.C. Overall Presentation-written portion must be legible. When presenting,rhythms must be performed accurately. Creativity will be considered in overallpresentation.*See Rhythm in Motion Rubric at the end of this item.

Teacher notes:Students will need to have completed a unit on steady beat and note values.They will also need to have knowledge of music symbols such as quarter, half,whole, eighth, and sixteenth notes, barlines, and time signatures.

Other related items:Follow-up activity: After students have completed presentations, the class cancombine several students’ patterns to create a rhythmic “song”. The song can beperformed with body movements or by using nonpitched percussion instruments.Students can transfer rhythm to pitches, thus creating a melody. The song canbe performed on the recorder or keyboard, or with voices.

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Name ____________________________________________

Class_______________________ Date________________

Rhythm in Motion Rubric

Whole note(4)

Dotted halfnote (3)

Half note(2)

Quarter note(1)

Notation Composition hasmore than 16beats, includesbarlines, timesignature, andcorrect notevalues.

Compositionhas 16 beats,includesbarlines, timesignature andthe correct notevalues.

Composition hasless than 16beats, and/ordoes not includebarlines, timesignature, andcorrect notevalues.

Compositionis incomplete.

RhythmicAccuracy

Compositionutilizesappropriate timesignature andcreative rhythmiccombinationsillustratingcontrast andrepetition.

Compositionutilizesappropriate timesignature andvaried rhythmcombinations.

Compositiondoes not utilizeappropriate timesignature, anddoes notillustrate variedrhythmcombinations.

Compositiondoes notutilizeappropriatetimesignature.Rhythms areincorrect.

OverallPresentation

Composition iscompletelylegible, and allrhythms wereperformedaccurately.Composition waspresented in anorganized andcreative way.

Composition iscompletelylegible and allrhythms wereperformedaccurately.

Composition issomewhatlegible. Somemistakes inpresentation, butan attempt ismade.

Compositionis not legible,and apresentationwas notattempted.

Notation_______ Rhythm_______ Overall Presentation_______

Total Score_______ (average of all components)

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Submitted by Danny Waynick Green,Winston-Salem/Forsyth Schools

TitleStarting at the Beginning

Grade Level or CourseBeginning Band (6th Grade Level)

Targeted Goals and Objectives from the 2000 North Carolina Arts EducationStandard Course of Study and Grade Level Competencies, K-12:2.01 Play at least one instrument with appropriate posture, playing position, andtechnique.2.02 Respond to the cues of the conductor2.04 Show respect for the instrumental playing efforts of others

Link with othersubjects:Mathematics, Grade 6-relating fractions,decimals and percents;English Language Arts,Grade 6-interactingappropriately in groupsettings by: listeningattentively, showingempathy, contributingrelevant comments,monitoring ownunderstanding;Healthful Living, Grade6-initiating requests forhelp or assistance,communicating ownfeelingsInformation Skills,Grade 6-partcipate invarious readingexperiences;Guidance, Grade 6-understanding andappreciation of life-longprocess of learning,growing and changing.

Type of Assessment:__X___Diagnostic__X___Monitoring__X___Summative

Type of Item:__X___SelectedResponse__X___Written Response__X___Performance__X___Conversation__X___Observation

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Assessment Item:Assess the success of each student in performing each fundamental basic of thebeginning band curriculum:-Each student will perform individually for the teacher. The teacher will sign hisname beside every line that the student performs correctly.-All students will be introduced to every new line, note or rhythm, and will try toperform these new skills, but they must correctly perform each line of the book insequence as an individual before they can proceed to the next line. They will bere-tested on each line until they perform that task correctly.

Scoring Information:The student must perform each line correctly, including pitch, rhythm, instrumentposition, embouchure formation, hand position, posture and volume to beconsidered successful and to be allowed to proceed to the next task. Theseindicators could be put into a rubric or checklist to help students self-monitor andwork on areas that need improvement to be able to demonstrate proficiency.

Teacher notes:There is no coming close for success. Praise should always be given for effort,but these are attainable skills for nearly all students.

Other related items:A wall chart listing the success of students can be utilized. The visual trackrecord gives students an incentive to succeed at a much faster rate. Studentscan be allowed to earn extra tries for exemplary behavior or extra practice athome. (Or, any activity that the teacher considers commendable.)*See Lesson Plan that links with this Assessment

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Submitted by Cynthia L CampbellCumberland County Schools

Title:Using Pitch Numbers to Teach a Major Scale

Grade Level or Course:Grades 6, 7, 8 Choral Music

Targeted Goals and Objectives from the 2000 North Carolina Arts EducationStandard Course of Study and Grade Level Competencies, K-12:From 6th Grade SCS, could be adapted for 7th and 8th grades:5.03: Sightread simple melodic notation in the treble clef.

Link with othersubjects:N/A

Type of Assessment:_____Diagnosticx____Monitoringx____Summative

Type of Item:____Selected Response_x__Written Response_x__Performance x__Conversation_x__Observation

Assessment Item:The learner will be able to recognize the sound of and sing the major scale bysinging it with numbers/pitch levels. The teaching of the major scale givesstudents a process by which to learn simple sight-reading passages for thepurpose of sight-reading for adjudication at local and state choral festivals.

Oral assessment may be given by the teacher doing finger exercises of stepwiseand later movement by skips within the notes of the major scale. The class couldalso be divided into small groups.

This would later move to oral assessment of simple sight-reading exercises thatthe teacher writes on the board. Again large and small groups could beassessed orally.

For a unit test, the teacher could device simple sight-reading exercises and haveindividual students write in pitch numbers. These exercises could also be takenfrom a sight-reading method book. The teacher would need to designate whichnote is “1” in each exercise. The exercises could then be sung aloud in large andsmall groups, or individually.

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HIGH SCHOOL ASSESSMENT ITEMS

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Submitted by Denise M HallCumberland County Schools

Title:Composing Project

Grade Level or Course:Vocal Music I

Targeted Goals and Objectives from the 2000 North Carolina Arts EducationStandard Course of Study and Grade Level Competencies, K-12:3.01 Improvise simple melodic and rhythmic patterns.3.02 Show respect for the improvisational efforts of others.4.01 Compose and arrange music incorporating appropriate voicings and ranges.5.01 Read whole, half, quarter, eighth, sixteenth, and dotted note and rest durations in

2/4, _, 4/4, 6/8, 3/8, 2/2, and mixed meters.5.02 Sightread melodies.5.03 Notate melodies.5.04 Use standard notation symbols for pitch, rhythm, dynamics, tempo, articulation,

and expression to record own musical ideas and musical ideas of others.6.01 Identify the basic musical forms.6.02 Demonstrate a basic knowledge of the technical vocabulary of music.6.03 Recognize and identify a variety of compositional techniques.6.05 Demonstrate auditory perceptual skills by conducting, moving, answering

questions about, and describing aural examples of music.6.06 Show respect while listening to and analyzing music.7.02 Evaluate musical works by comparing them to similar or exemplary models.7.05 Describe the aesthetic nature of music and how perceptions of interacting musical

elements affect one’s feelingful responses to music.7.06 Show respect for the musical efforts and opinions of others.8.02 Use knowledge of mathematical relationships to create original compositions.

Link with other subjects:N/A

Type of Assessment:_____Diagnostic_____Monitoring X Summative

Type of Item: Selected Response X Written Response X Performance X Conversation X Observation

Alignment with NC High School Exit Exam: X Communication: 3.01 X Processing Information: 5.03 X Problem Solving: 4.01 X Using Numbers and Data: 8.02

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Assessment Item:A written composition will be submitted by each student. The composition shouldinclude the following:

1. The 4 measure “prompt” given by the teacher and an additional 4 original measurescomposed by the student.

2. Measures that use note values appropriately to reflect the time (meter) signature.3. Designation of letter names for each pitch given.4. An explanation of the time (meter) signature.5. Correct placement/use of bar lines and double bar lines.6. Explanation of the rhythm pattern selected.

An oral presentation of the composition of each student by the student reflecting thefollowing:

1. Correct performance of the composition of the piano or keyboard.2. Correct use of dynamics.3. Adherence to given tempo

Scoring Information:For each of the 4 original measures, score 15 points per measure. If the “prompt” is notincluded, deduct 10 points. (Students are given the “prompt” and should understand theimportance of determining the meter and key signature before beginning a piece.)

For each measure containing a mistake in note values, deduct 5 points.

For each measure containing a mistake in notating the letter name of a given pitch,deduct 5 points.

For improper use of bar lines and/or double bar lines, deduct 5 points.

For failing to explain the rhythm pattern selected, deduct 5 points.

For failing to adhere to the given tempo during oral performance, deduct 5 points.

For failing to implement dynamics during oral performance, deduct 5 points.

The overall oral performance should be given 10 points, judging each measure foraccuracy in rhythm and pitch performance. Deduct 2 points for each measure in whicha playing mistake is made.

Teacher notes:Students should be familiar with basic information regarding note values andinterpretation of time signatures, ability to read the treble and bass staves, and locationof notes on the keyboard prior to the introduction of this project.

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Other related items:Teachers should allow time for discussion following the oral presentations ofcompositions. By doing so, students are allowed to praise and critique each other’swork encouraging each student to examine the music to which they choose to listen.

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Submitted by Ramona P. Jenner,Wake County Public Schools

TitleCreating Sight-Singing Originals

Grade Level or Course6th Grade ChorusVocal Music I (9-12)

Targeted Goals and Objectives from the 2000 North Carolina Arts EducationStandard Course of Study and Grade Level Competencies, K-12:6th Grade:4.04-Show respect for the composing and arranging efforts of others.5.01-Read whole, half, quarter, eighth, sixteenth, and dotted note and rest durations in2/4, 3/4, 4/4, 6/8 and 2/2 meters.5.03-Sightread simple melodic notation in the treble clef.5.04 Identify standard notation symbols for pitch, rhythm, dynamics, tempo, articulationand expression.5.05-Show respect for the reading and notating efforts of others.6.05-Show respect while listening to and analyzing music.Vocal Music I: (9-12)4.04-Show respect for the composing and arranging efforts of others.5.01-Read whole, half, quarter, eighth, sixteenth, and dotted note and rest durations in2/4, 3/4, 4/4, 6/8, 3/8, 2/2 and mixed meters.5.02-Sightread melodies.5.04-Use standard notation symbols for pitch, rhythm, dynamics, tempo, articulation,and expression to record own musical ideas and musical ideas of others.5.05-Show respect for the reading and notating efforts of others.6.06-Show respect while listening to and analyzing music.

Link with othersubjects:Mathematics –Patterns,Groupings, Addition

Type of Assessment:_____Diagnostic_____Monitoring___x__Summative

Type of Item:_____Selected Response_____Written Response___x__Performance_____Conversation_____Observation

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Assessment Item (Write the actual item below):-Work together with your group members to create a sight-singing example to beperformed in class.-Look at the rubrics for the composition and performance guidelines. All students areexpected to meet the proficient level expectations.-Also, look at the group work rubric to make sure that you are contributing to yourgroup in an appropriate way. When you have finished creating the sight-singingexample, you will self-evaluate the group work process using this rubric.-Each group will perform their original sight-singing example for the class and begraded using the rubrics for composition and performance.-Sight-singing examples will be compiled into a collection to use with the Chorusclasses. --Students will receive feedback on their work through the rubrics.

Scoring Information:D. Group Work Rubric (see rubric at the end of this item) Students will self-

evaluate group work.E. Composition and Performance Rubrics (see rubrics at the end of this item) Can

be used for individual, group, teacher, or class evaluations.F. For all rubrics, a final score is reached by averaging the total for each

component. Individual scores can be used from the rubrics, or they can beaveraged for an overall grade for the assignment.

*Students should be familiar with and have copies of all rubrics before creating theirsight-singing examples.

Teacher notes:Students should be proficient with counting note values in different meters, readingnotation in treble clef, and writing simple musical notation on music manuscript paper.They should have experience performing sight-singing examples as a class. Theyshould also be familiar with compositional devices and musical notation usingtraditional terms and symbols. The rubrics used in this assessment are examples;teachers should feel free to adapt.

Other related items:B. When students perform their sight-singing examples for the class, the sight-

singing composition and/or performance rubric could be used for discussion.Students are asked to provide positive feedback to the composers.

E. Later, students could create sight-singing examples individually, as opposed toin small groups.

F. Students who created examples to sing on syllables or numbers could actuallywrite lyrics for their sight-singing examples.

G. Copies can be made of all examples to use in Chorus class when practicingsight-singing.

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Sight-Singing Composition Rubric

Advanced(4)

Proficient(3)

Basic(2)

BelowAverage (1)

Organization Example hasa clearbeginning andend and iscomprised of8 to 16measures ofmusic

Ex. has aclearbeginning andend iscomprised of8 to 12measures ofmusic

Ex. iscomprised ofat least 8measures ofmusic

Ex. has lessthen 8measures ofmusic

Melody Melody usedmore than 5pitches

Melody used3 to 5 pitches

Melody used3 pitches

Melody usedless than 3pitches

Meter/Rhythm Timesignature wasnoted at thebeginning withat least 5different notevaluescorrectlyutilized insight-singingexample

Timesignature wasnoted at thebeginning with3 to 5 differentnote valuescorrectlyutilized insight-singingexample

Timesignature wasnoted at thebeginning butless than 3note valueswere correctlyutilized insight-singingexample

No timesignature wasnoted in theexample withnote valuesusedincorrectly insight-singingexample

Notation Example wascorrectlywritten notingtreble clef,correctnotation,double bar atthe end

Example waswritten usingcorrectnotation for 85percent of theexample

Example waswritten usingcorrectnotation for 70percent of theexample

Example wasnot accuratelynotated

Organization_____ Melody_____ Meter/Rhythm_____ Notation_______Total_________(Average of components)

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Sight-Singing Performance Rubric

Advanced(4)

Proficient(3)

Basic(2)

BelowAverage (1)

Pitch All pitches aresung correctly

Most pitchesare sungcorrectly

Only about 70percent ofpitches aresung correctly

Few or nopitches weresung correctly

Rhythm All rhythmswereaccuratelyexecuted

Most rhythmswereaccuratelyexecuted

Only about 70percent ofrhythms wereaccuratelyexecuted

Few or norhythms wereaccuratelyexecuted

Dynamics All dynamicchanges weredistinctlynoticeable inperformance

Somedynamicchanges werenoted duringperformance

Dynamicswere notatedbut notdemonstratedin example

Dynamicswere notnotated ordemonstrated

Tempo Tempo wasappropriatelyexecuted

Tempo wasappropriateand steadymost of thetime

Tempo wasappropriatebut not alwaysmaintained

Tempo wasnotappropriate ormaintained

Posture Excellentsingingposture wasmaintainedduringperformance

Excellentsingingposture wasmaintainedduring most oftheperformance

Good singingposture wasmaintained for70 percent ofperformance

Poor posturewasmaintainedduringperformance

Pitch_____ Rhythm_____ Dynamics______ Tempo_______ Posture________

Total Score________(Average of totals for each component)

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Group Work RubricSight-Singing Examples

Outstanding(4)

Proficient(3)

Needs Work(2)

BelowAverageWork (1)

Collaboration All groupmembersshared ideasand listenedrespectfully toone another

All groupmembersparticipated,but did notalwaysrespectfullyshare andlisten to ideas

One or twogroupmemberdominated theprocess anddid not allowothers toshare ideas orlistenrespectfully toothers

The group didnotcollaborate atall to shareideas or listenrespectfully toone another

Participation All groupmembersparticipated inthe sight-singing writingprocessequally

Most groupmembersparticipated inthe sight-singing writingprocessequally

One or twomembersdominated thesight-singingwritingprocess andthereforepreventedothers fromcontributing

Members didnot participatein writing asight-singingexample

IndividualContributions

I feel that Ifullycontributed tomy group. Myprimary jobwas:

I feel that Icontributed tomy group, butcould havedone more.My primaryjob was:

I feel that I didnot contributemuch to mygroup at all.My job was:

I did notcontribute tomy group atall.

Collaboration_______ Participation_________ Individual Contributions________Total Score________(Average of totals for each component of the rubric)

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Submitted by Jim D. Kirkpatrick,Winston-Salem/Forsyth Schools

Title:Interval Check-Off

Grade Level or Course:Instrumental Music IV (Band, 9-12)

Targeted Goals and Objectives from the 2000 North Carolina Arts EducationStandard Course of Study and Grade Level Competencies, K-12:1.02 Use singing to support instrumental study.1.03 Show respect for the singing efforts of others.

Link with othersubjects:N/A

Type of Assessment:__X__Diagnostic__X__Monitoring__X__Summative

Type of Item:_____SelectedResponse_____Written Response__X__Performance_____Conversation__X__Observation

Assessment Item:Students are expected to recognize and sing the following intervals:

M2M3P4P58va

Scoring Information:Students are expected to, with only 2 listenings, identify intervals. Each intervalwould be worth two points, for a total of ten points per listening test.

Students are expected to sing the top pitch of any interval after given the bottompitch. Each interval is worth one point for a total of five points.

A student should score no less than a total of eight to receive a passing score. Ifthe student scores lower than an eight, the student will have to re-take the testthe following day.

A cumulative average will be created to give the student his or her final grade.

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Teacher notes:Students should have spent at least 2 weeks of regular ear training beforecompleting this assessment.

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Submitted by Beth McCollum,Wake County Public Schools

TitlePerformance Evaluation

Grade Level or CourseInstrumental Music I – (can be adapted for Levels II-IV)Orchestra, Grades 9-12

Targeted Goals and Objectives from the 2000 North Carolina Arts EducationStandard Course of Study and Grade Level Competencies, K-12:2.01 – Recognize and demonstrate appropriate instrumental technique.2.03 – Play a varied repertoire of instrumental music representing diverse styles,genres, and cultures.2.04 – Show respect for the instrumental playing efforts of others.7. 01 – Apply specific criteria for making informed, critical evaluations of music.7.06 – Show respect for the musical efforts and opinions of others.8.05 – Demonstrate the character traits of responsibility, self-discipline, andperseverance while informally or formally participating in music.9.01 – Identify representative examples of music using distinguishingcharacteristics to identify genre, style, culture, and/or historical periods.

Link with othersubjects:Because this item can beused with a wide varietyof repertoire, the teachermay be able to linklearning with othersubjects, especiallyEnglish Language Artsand Social Studies.

Type of Assessment:_____Diagnostic__x___Monitoring__x___Summative

Type of Item:____Selected Response____Written Response__x_Performance__x_Conversation__x_Observation

Alignment with NC High School Exit Exam:Communication:3- evaluate ideas and information to make informed decisions.Processing Information:13- evaluate information, explanations, or ideas by identifying and applyingcriteria to draw conclusions or make predictions

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Assessment Item:

Students will perform a work they have been studying for the purpose ofevaluation:

-Students will orally assess the performance of the group using the criteria listedin the lesson objectives.-Students will assess the performance of the group using the rubric.-All students are expected to meet at least the excellent level expectations of therubric.-Students will use comments to enhance their individual performance.-Students will be individually evaluated on their performance with the group (byself or teacher)

Scoring Information:-Group work evaluation rubric (see the end of this item).-Individual evaluation rubric (see the end of this item).-For all rubrics, a final score is reached by averaging each rubric. The teachermay assign one or multiple grades.

Teacher notes:The students should have been working on the music for a sufficient amount oftime. The rubrics should be explained in detail to the students so that all have anunderstanding of the vocabulary and expectations. Teachers may adapt therubric to fit their needs or create their own.

Other related items:Rubrics for group and individual assessments follow this item. Rubrics may beadapted.

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Name:____________________________________ Date______________

Name of Piece:_________________________________________

Composer:_____________________________________________

Group Performance Rubric

Superior(4 points)

Excellent(3 points)

Good(2 points)

Fair(1 point)

Intonation All pitches areaccurate.

Most pitches areaccurate.

Some pitches areaccurate.

Few or no pitchesare accurate.

Rhythm All rhythms areaccurate.

Most rhythms areaccurate.

Some rhythmsare accurate.

Few or norhythms areaccurate.

Articulation All bowings arestylisticallyaccurate andperformed asmarked.

Most bowings arestylisticallyaccurate andperformed asmarked.

Some bowingsare stylisticallyaccurate andperformed asmarked.

Few or nobowings arestylisticallyaccurate andperformed asmarked.

Style All music wasplayed in thecorrect style.

Most music wasplayed in thecorrect style.

Some music wasplayed in thecorrect style.

Little or no musicwas played in thecorrect style.

Tone The tone waspleasing andvibrato was usedat all times.

The tone waspleasing andvibrato was usedmost of the time.

The tone waspleasing andvibrato was usedsome of the time.

The tone waspleasing andvibrato was usedlittle or none ofthe time.

Balance All sections couldbe heard equallyat all times.

All sections couldbe heard equallymost of the time.

All sections couldbe heard equallysome of the time.

All sections couldbe heard equallylittle or none ofthe time.

Ensemble The group playedtogether at alltimes.

The group playedtogether most ofthe time.

The group playedtogether some ofthe time.

The group playedtogether little ornone of the time.

Musicianship Correct tempi,phrasing anddynamics wereused at all times.

Correct tempi,phrasing anddynamics wereused most of thetime.

Correct tempi,phrasing anddynamics wereused some of thetime.

Correct tempi,phrasing anddynamics wereused little or noneof the time.

Intonation____ Rhythm____ Articulation____ Style____ Tone____ Balance____Ensemble____ Musicianship____

TOTAL SCORE(average of totals for each component of the rubric) ______

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Name:____________________________________ Date______________

Name of Piece:_________________________________________

Composer:_____________________________________________

Individual Performance Rubric

Superior(4 points)

Excellent(3 points)

Good(2 points)

Fair(1 point)

Intonation All pitches areaccurate.

Most pitches areaccurate.

Some pitches areaccurate.

Few or no pitchesare accurate.

Rhythm All rhythms areaccurate.

Most rhythms areaccurate.

Some rhythmsare accurate.

Few or norhythms areaccurate.

Articulation All bowings arestylisticallyaccurate andperformed asmarked.

Most bowings arestylisticallyaccurate andperformed asmarked.

Some bowingsare stylisticallyaccurate andperformed asmarked.

Few or nobowings arestylisticallyaccurate andperformed asmarked.

Style All music wasplayed in thecorrect style.

Most music wasplayed in thecorrect style.

Some music wasplayed in thecorrect style.

Little or no musicwas played in thecorrect style.

Tone The tone waspleasing andvibrato was usedat all times.

The tone waspleasing andvibrato was usedmost of the time.

The tone waspleasing andvibrato was usedsome of the time.

The tone waspleasing andvibrato was usedlittle or none ofthe time.

Ensemble The individualplayed with thegroup at all times.

The individualplayed with thegroup most of thetime.

The individualplayed with thegroup some ofthe time.

The individualplayed with thegroup little ornone of the time.

Musicianship Correct tempi,phrasing anddynamics wereused at all times.

Correct tempi,phrasing anddynamics wereused most of thetime.

Correct tempi,phrasing anddynamics wereused some of thetime.

Correct tempi,phrasing anddynamics wereused little or noneof the time.

Intonation____ Rhythm____ Articulation____ Style____ Tone____ Balance____Ensemble____ Musicianship____

TOTAL SCORE(average of totals for each component of the rubric) ______

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Submitted by Rebecca Green and Margaret Rehder,Winston-Salem/Forsyth Schools

Title:Rhythm Test

Grade Level or Course:Instrumental and Vocal Music I (9-12) *May be adapted for other levels/grades ofinstrumental, vocal, or general music.

Targeted Goals and Objectives from the 2000 North Carolina Arts EducationStandard Course of Study and Grade Level Competencies, K-12:Read whole, half, quarter, eighth, sixteenth, and dotted notes and rests in 2/4,3/4, 4/4, 6/8, 3/8, 2/2, and mixed meters.

Link with othersubjects:Mathematics-relationships of parts towhole (fractions)

Type of Assessment:____X__Diagnostic____X_Monitoring____X_Summative

Type of Item:_____SelectedResponse__X__Written Response_____Performance_____Conversation_____Observation

Alignment with NC High School Exit Exam:Processing Information12- organize tasks to accomplish an objectiveProblem Solving15- plan logical steps and organize resources to accomplish a task within a giventime frameUsing Numbers and Data22-apply real number operation and relationships (e.g., absolute value, radicalexpression, exponents) to solve problems related to home, work, and theenvironment.26- use relationships among fractions, decimals, and percents to demonstrateunderstanding of mathematical and scientific concepts.

Item:See the rhythm test at the end of this item.

Scoring Information:Five points per test item (for a possible total of 100 points)

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RHYTHM TEST

Student Name: ________________________ Date: ____________________

Draw the following notes and rests:

Note Rest1. whole

2. half

3. quarter

4. eighth

5. sixteenth

Fill in the blanks:a) how many beats per measureb) what kind of note equals one beat

6. 2/4 a.____ b._____7. 3/4 a.____ b._____8. 5/2 a.____ b._____9. 3/8 a.____ b._____10. 12/16 a.____ b._____11. 4/4 a.____ b._____12. 2/2 a.____ b._____13. C a.____ b._____14. 6/8 a.____ b._____15. 9/8 a.____ b._____

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For numbers 16 – 20, draw the correct notes or rests (your choice of notes andrests) over the corresponding counting numbers and add the bar lines.

16.

44

1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

17.

44

1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 +

18.

24

1 e + a 2 e + a 1 e + a 2 e + a 1 e + a 2 e + a 1 e + a 2 e + a

19.

38

1 2 3 1 2 3 1 2 3 1 2 3 1 2 3 1 2 3 1 2 3 1 2 3

20.

C

1 e + a 2 e + a 3 e + a 4 e + a 1 e + a 2 e + a 3 e + a 4 e + a

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TIPS:CURRICULUM INTEGRATION

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Introduction to Curriculum Integration

What is Integration?

The term integration literally means “to combine into a whole.” Thus, when integratingcurricula, the emphasis in on a comprehensive understanding of a “whole,” rather thanmany unrelated “parts.” With Constructivism, teachers and students are workingtogether to build an education based upon what students’ experiences are and whatthey know, so that learning becomes meaningful. Gestalt theory states that “the wholeis greater than the sum of the parts.” So, when we talk about integrating the curriculum,we are really talking about helping students to gain comprehensive understandingswithin and across various disciplines.

Why Integrate?

With the current emphasis on the ABC's of Public Education, local- and state-mandatedassessments, and the need for accountability of arts education programs, it is extremelyimportant to educate and inform administrators, teachers, parents, and the generalpublic about the role of the arts in the education of every child. Additionally, the NoChild Left Behind Act (NCLB), which was signed into law by President Bush in January2002, stipulates that all children must become proficient, as defined by the state, withintwelve years. While the arts are included as a core subject area within NCLB, it isimportant to note that the key provisions of the act are directly related to testing anddemonstrating proficiency in reading and mathematics (and eventually science).

The following is taken from the North Carolina Arts Education Standard Course of Studyand Grade Level Competencies, K-12, 2000, which emphasizes the comprehensivenature of arts education programs:

"Arts Education should promote interdisciplinary study; and integration among andacross the arts and other disciplines… because forging these kinds of connections isone of the things the arts do best, they can and should be taught in ways thatconnect them to each other and to other subjects. Significantly, buildingconnections in this way gives students the chance to understand wholes, parts, andtheir relationships. "

Within the National Standards for Arts Education and the North Carolina Arts EducationStandard Course of Study (SCS), each of the arts areas: music, music, theatre arts andvisual arts have multiple goals and objectives that address the need for contentintegration. Goals that specifically lend themselves to content integration are outlinedbelow:

MusicGoal 3: The learner will understand that music can create and communicatemeaning (National Standard 3).

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Goal 5: The learner will demonstrate and understand music in various cultures andhistorical periods (National Standard 5).Goal 6: The learner will make connections between music and healthful living(National Standard 6).Goal 7: The learner will make connections between music and other content areas(National Standard 7).

MusicGoal 8: The learner will understand relationships between music, the other arts,and content areas outside the arts (National Standard 8).Goal 9: The learner will understand music in relation to history and culture(National Standard 9).

Theatre ArtsGoal 1: The learner will write based on personal experience and heritage,imagination, literature, and history (National Standard 1).Goal 5: The learner will research by finding information to support informal orformal productions (National Standard 5).Goal 6: The learner will compare and integrate art forms by analyzing theatre,music, music, visual arts, and new art forms (National Standard 6).

Visual ArtsGoal 4: The learner will choose and evaluate a range of subject matter and ideasto communicate intended meaning in artworks (National Standard 3).Goal 5: The learner will understand the visual arts in relation to history and cultures(National Standard 4).Goal 7: The learner will perceive connections between visual arts and otherdisciplines (National Standard 6).

Perhaps most importantly, conscious efforts to integrate the curriculum:• helps students gain comprehensive understandings within the arts areas being

studied;• helps students gain insights and understandings in other areas of the curriculum;• and helps students make connections within and across disciplines or content

areas.

Criteria for Integration

Each arts education area has a Standard Course of Study, which specifies whatstudents should know and be able to do as a result of instruction in that particular area.Making connections does not mean sacrificing the integrity of the program, but ratherfinding common elements that naturally lend themselves to helping students gainunderstanding within and across content areas.

Before attempting to integrate instruction with an activity, lesson or unit, a teachershould ask him/herself the following questions:

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1. Can I teach the goals and objectives of my curriculum with the topic beingconsidered? (The teacher should then define the objectives and the criteria forachievement).

2. Will my efforts to integrate most likely increase student learning andunderstanding? (Is it relevant)?

3. How will what I do affect students’ learning? (Identify the outcomes – yourpersonal outcomes and the expected outcomes for the other area(s) beingstudied with the integrated lesson or unit).

If a lesson/activity/unit can not be justified through the above factors, it is probably notworthwhile or appropriate to integrate. For true integration to occur, it is essential forcommunication to take place between arts education teachers and classroom or otherarea teachers. Some ideas for making this connection with other teachers are includedat the end of this article.

Benefits

Integrating instruction when appropriate and possible helps to provide students with anunderstanding of the relationship of parts to a whole. It provides students with a meansfor making learning their own. Your efforts to help students make connections mayprovide links to students who may not be reached in other ways. Collaborating withother teachers improves relationships, increases knowledge, and cultivates appreciationfor all areas of study. Integration can help to build parent, administrator, and publicsupport for your arts education program. Finally, integration is an important means foreducating the whole child.

Conclusion

The following is taken from Arts Education K-12: Integrating with Reading, Writing,Math, and Other Areas of the Curriculum, which may be accessed on-line in its entiretythrough NCDPI Publications: www.ncpublicschools.org:

“In the past, we have tended to look at production/performance as the chief end for artscurricula. Our new responsibilities have come about chiefly as a result of arts educationbeing included in the basic curriculum, as opposed to being formerly extracurricular. Asarts educators, we do not have to choose between quality performance and integratingarts instruction with the rest of the curriculum. Integration does not minimize orotherwise adversely affect quality performance. In fact, it enhancesproduction/performance by giving students a better understanding of what they aredoing and, more often than not, significantly improves the resulting performance orproduct because of this understanding.

Those who would call for the teaching of art for arts sake fail to understand the breadthof what is implied in the arts. The arts do not exist in a vacuum and need to beconnected to life and learning as much as possible. Integration is not a way of

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"justifying" the arts by relating them to reading, writing and mathematics. It is a way ofshowing how the arts are fundamentally connected to all other branches of knowledgeand how those branches are connected to the arts.”

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Curriculum Integration

Suggestions to facilitate integration across content areas, assist with communication,and map and align the curriculum within and across grade levels and areas:

¸ Display a dry erase board, chart, hallway display, or bulletin board calendar in acentral location for one or more months at a time. Have all teachers write whatcurriculum units and objectives they are teaching during this time period. Includestudent examples, if desired.

¸ Use written communication between teachers to facilitate the integration ofsubject matter. A letter could be sent out requesting units of study and timeperiods in which these units would be taught from all teachers. These timelinesof study could be collected and housed in a location that all teachers would haveaccess to (media center, workroom, office, etc).

¸ Use common planning times (before or after school, workdays, etc) for teachersto meet and discuss interdisciplinary units of study. Meeting in person will allowteachers to brainstorm ways in which the curricula may overlap, describe in-depth instructional strategies and objectives for teaching the unit of study, createmaps to outline the study, and plan how and when the unit will be taught.

¸ Participate with grade levels or teams in school-wide curriculum mapping andalignment. Explore the curriculum at various grade levels/courses and educateother teachers about the goals and objectives of your area.

¸ Collaborate with teachers and administrators to present “informances” at PTA orother school events, as a means to educate the school community about yourprogram, how your curriculum helps to educate students in your and other areas,and the process for how students learn the SCS.

¸ Use newsletters to educate students, staff, and parents of important aspects ofyour program and how your program fits into the total school program.

¸ Be proactive! Regularly invite teachers, parents, and administrators into yourclasses so they can see how you are delivering your content as well as makingconnections within and across other content areas.

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Submitted byNancy Clark, Ed Moon, and Patricia Pleasants

Wake County Public Schools

Integrated Performance:French, Orchestra, Dance

Objective:To integrate three disciplines in order to meet the various learning styles of our studentsand encourage cooperative effort.

Alignment with NC Standard Course of Study and Grade Level Competencies, K-12:DanceGoal 3: The learner will understand that dance can create and communicate meaning.Goal 5: The learner will demonstrate and understand dance in various cultures andhistorical periods.Goal 7: The learner will make connections between dance and other content areas.

MusicGoal 1: The learner will sing, alone and with others, a varied repertoire of music.Goal 2: The learner will play on instruments, alone and with others, a varied repertoireof music.Goal 8: The learner will understand relationships between music, the other arts, andcontent areas outside the arts.Goal 9: The learner will understand music in relation to history and culture.

Description of Activity:(Written by Nancy Clark, French Language Teacher)

When one of my French students told me that he was learning to play a French song inorchestra I asked him to play it for me. I recognized it as Au Clair de la Lune andimmediately thought, “This is an opportunity for integration.” I spoke with the orchestrateacher about the possibility of accompanying my French students on several numbersfor Une Soiree Francaise (A French Evening). The collaborative effort was expandedwhen I asked the dance teacher to have some of her students demonstrate ballet termsand then music while the orchestra played and my students sang.

After a brain-storming session we each set about teaching our students the songs,terms, and music. When the students were ready, we met briefly to work out thelogistics of when and where to gather all students for practice. We decided to meetbefore classes began, and communicated the days and times of the rehearsals with theclassroom teachers and parents. One might think it would take a lot of extra time toorganize such an activity; however, we found that it took very little extra effort, and theend result was much more effective than if each group had performed individually.

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This performance showcased the skills and talents of approximately 80 students. Theybenefited in several areas. First of all, students and teachers faced the challenges ofcoordinating tempo and sharing limited stage space. For some, it was the first time theyhad performed for the public in the evening and for fellow students and teachers thenext day at school. In fact several students who told me they were too nervous toperform found strength in numbers and overcame their fears.

Some of the French students were also in the orchestra, and although they played theirinstrument during the performance instead of singing, they at least knew the words andstory to the music they were playing. Some French students also participated in themusic. Others put their foreign language skills into practice through speaking andsinging.

All students gained self-confidence through the pride they felt for having worked hard tocooperate with teachers and each other. We teachers learned the benefits of providingsuch an opportunity for our students and look forward to our next performance.

Powell Elementary Magnet School for the Visual and Performing ArtsRaleigh, NC

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CLASSROOM STRUCTURES FOR LEARNING

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Learning Centers in Elementary Arts Education Classrooms

Why Centers?

The role of music, music, theatre arts and visual arts teachers in the elementary schoolsetting can be overwhelming. Arts educators may be asking themselves, “how am Isupposed to meet the instructional needs of 500+ students each week, maintainaccountability for my students and my program, perform a myriad of extra duties,integrate the curriculum, and ensure that I am delivering my curriculum in one 45-minute(or less) period per week?” There is no easy answer to these questions, but, perhaps,some teachers may want to explore the use of centers to help address some of theseconcerns.

What are Centers and How Do They Work?

Learning centers should provide an opportunity for students to apply previously taughtskills and concepts. You may want to start with just a few centers, and add morefrequent opportunities to participate as the year progresses. Typically, students rotatethrough centers, either by choice/interest, or predetermination by the teacher. Sincelearning centers provide students with the opportunity to apply previously taught skills orconcepts, the teacher may use them for assessment. After each center has beenintroduced to the class, students may have multiple opportunities to work on specificactivities that they are interested in.

Management

There are many ways to manage centers; the most important thing is to choose the waythat works for you. You may want to visit classroom teachers’ rooms that areimplementing centers, or consult some resources to help you get started. Some optionsinclude “have to” (teacher-directed) and “want to” (student choice) centers for studentsto visit; and the use of dots, color-coordinated clothes pins, or rules (i.e. “four no more”)to indicate how many students visit a center at a time.

Student Accountability

The type of accountability system you use will depend upon what the purpose is foreach of your centers. A student contract which is checked off by students and perhapskept in a portfolio is one way to document centers visited and objectives addressed.The teacher may want to use a checklist for some centers to document mastery ofspecific skills. Student or group self-assessment is yet another way to documentstudent learning.

Differentiation

Keep in mind the wide variety of student levels you are working with in just one class.When you are designing centers, the more open-ended the activity is, the better chance

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it has of meeting a variety of student needs and providing students with success, nomatter what their individual levels may be. Open-ended centers may also providestudents with more choices in their learning, and allow students to show you what theyare learning in a variety of ways, rather than one product that is produced by everychild. The more student choice and responsibility that is allowed, the more students willtake ownership for their learning.

Planning Centers

The following outline is suggested as a tool for planning learning centers:¸ Name of center¸ Materials required¸ Number of students¸ Instructional and behavioral objectives¸ NC Standard Course of Study competency goals and objectives that are

addressed (should be arts education area specific goals/objectives and can alsobe grade level curriculum goals/objectives to support integration of thecurriculum)

¸ Student Accountability/Assessment

Conclusion

The use of learning centers in the elementary arts education classroom can be avaluable means for meeting the instructional needs of a wide variety of students,provide accountability for these students, and allow students opportunities to practiceand apply what they are learning. Well-designed centers, where students can workindependently, may provide the teacher with opportunities to work with individuals orsmall groups of students, while the other students are engaged in center activities.

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LITERACY AND THE ARTS

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Connections: Literacy and the Arts

With the current emphasis on the ABC's of Public Education, local- and state-mandatedassessments, and the need for accountability of arts programs, it is extremely importantto educate and inform administrators, teachers, parents, and the general public aboutthe role of the arts in the education of every child. The following is taken from the NorthCarolina Arts Education Standard Course of Study and Grade Level Competencies,K-12, 2000, which emphasizes the comprehensive nature of arts programs:

"Arts Education should promote interdisciplinary study; and integration among andacross the arts and other disciplines… because forging these kinds of connections isone of the things the arts do best, they can and should be taught in ways thatconnect them to each other and to other subjects. Significantly, buildingconnections in this way gives students the chance to understand wholes, parts, andtheir relationships. "

This article is intended to provide some insight into the elements of a BalancedLiteracy Program and some connections that may be made with arts education. It maybe helpful to begin by thinking about what English Language Arts and the other artshave in common:

Common Elements of Reading, Writing, and the Arts:• Interpreting symbol systems- sound/symbol correspondence in sequence• Gaining competency through practice and repetition• Studying a variety of genres• Reflecting on societies and cultures• Composing/writing/creating for different purposes• Supporting various levels of meaning- personal interpretation, connections to own

experience, connections to past events• Expressing or evoking feelings/emotions

The 1999 English Language Arts Standard Course of Study states, "The priority of theEnglish Language Arts curriculum is oral and written language development and use.Literacy requires the ability to think and reason as a literate person with a focus onthinking critically and creatively using oral language, written language, and other mediaand technology as tools."

A Balanced Literacy Program includes modeled, shared, guided, and independentreading and writing. The following overview describes these components and somepossible connections with arts education:

I. Modeled ReadingA. Read AloudDescription: Teacher reads a selection aloud to students.

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Arts Connection: Reading informational texts, stories, or plays/dialogues modelsexpressive, fluent reading for students while educating them about a particularcomposer/artist/choreographer/author; exposes students to new vocabulary;creates interest; and enables students to hear stories/information they may notyet be able to read independently.

B. Think AloudDescription: The teacher is reading aloud and thinking aloud.

Arts Connection: When sharing informational texts, the teacher can model how afluent reader approaches the text (what goes through your mind as you arereading, what are you thinking to yourself to help make sense of what you arereading?---think these things aloud so students are able to hear you process thetext as you are sharing it).

II. Shared ReadingDescription: A more competent reader reads (sings, chants) text that allparticipating students can see (chart, big book, overhead, etc) while students areencouraged to join in. This process actively engages students in a process thatmay be beyond their independent reading level.

Arts Connection: Shared reading can easily be incorporated in arts classesthrough singing, choral reading, etc. For early emergent/emergent readers,shared reading helps to introduce print concepts such as title, recognizing thedifference between a letter and a word, recognizing where to begin reading,matching one-to-one written word to spoken word, and return sweep (comingback to the beginning of the next line when reading from left to right). For allreaders, shared reading can help students with comprehension and exposesstudents to language and language structure.

III. Guided ReadingDescription: A teacher and a group of students talk, read, and think their waypurposefully through a selection. Selections are chosen based on the learners'instructional levels and each participant has an individual copy of the materialbeing read.

Arts Connection: Arts educators do not typically conduct guided reading lessons;however, the process is much the same as the type of individualized, guidedpractice provided to students with instruction in the arts (learning to play aninstrument, performing a music sequence, painting a picture, etc).

IV. Independent ReadingDescription: Students read individually without the support of another reader.

Arts Connection: Arts teachers can provide students with a wide range of choicesfor independent reading in whole class or small group settings.

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I. Modeled WritingDescription: The teacher shares or models a piece of his/her writing. Theprocess is modeled aloud.

Arts Connection: Very much a part of the composing process. The teacher canmodel good writing/composing strategies/skills such as notating music on anoverhead or chart on the board.

II. Shared WritingDescription: The teacher and students compose a writing piece together.

Arts Connection: A group composition, music, art piece, or dramatic writing aregood examples of this process. Shared writing does not have to result in a finalproduct, and can be done in small blocks of time (5-10 minutes).

III. Guided WritingDescription: The teacher supports a single child or small group of students with astrategy or skill, which will move the student(s) to a more independent level.

Arts Connection: Individualized opportunities forwriting/composing/choreographing/creating with focus on specific skills orstrategies is an example of this process.

IV. Independent WritingDescription: Students choose their own topics and write independently withoutthe support of the teacher.

Arts Connection: Arts teachers can provide students with a wide range of choicesand opportunities for independent writing in whole class or small group settings.Keeping reflective journals is just one example of an easy way to providestudents with opportunities for independent writing.

V. Writing Across the CurriculumDescription: Writing is a thinking and doing process with many phases. Writingdepends on the purpose, message, audience, and contexts for communication.Students should have opportunities to use writing processes in all environments.While no one writing process is used by every writer in every piece of writing,students need to understand how to write purposefully and strategically. Theyshould learn to use a range of strategies to create a final product.

Arts Connection: Arts compositions incorporate many strategies for writing. Forexample, a music composition may involve:

• Pre-writing (brainstorming, improvising)

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• Writing (combining brainstormed ideas into music sequences or acomposition)

• Revising (changing the composition until it looks/communicates the way thestudent wants)

• Editing (making sure all the technical aspects of the music are correct)• Publishing (performance is a form of publication)

Arts educators in our state are to be commended for the natural connections that arealready being made for students in their classrooms on a regular basis. Makingconnections does not mean sacrificing the integrity of the program, but rather findingcommon elements that naturally lend themselves to helping students gainunderstanding within and across content areas. Hopefully, this overview will enableteachers to better understand the components of a Balanced Literacy Program andthereby help students connect their learning through literacy and the arts.

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WRITING ACROSS THE CURRICULUM

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Introduction toK-12 Writing Across the Curriculum

What is Writing Across the Curriculum?Writing across the curriculum (WAC) refers to incorporating writing in allcontent areas or courses, rather than isolating writing in the EnglishLanguage Arts (ELA) class. While the ELA teacher continues to emphasizethe development of writing skills, teachers of other disciplines include writingas a tool for both learning and assessment. Students benefit from WACbecause they are writing more frequently and often for greater variety ofpurposes, audiences, and contexts. Additionally, students learn the contentand the styles of discourse for other disciplines as they write for each courseor area. Teachers can use writing to help assess student knowledge andunderstanding of the discipline’s content, as well as to encourage thedevelopment of communication skills essential to success in school andbeyond.

Why should I implement writing in arts education classes?Arts Education teachers are already implementing components of writingwithin their classrooms. In addition to assignments that require standardEnglish writing, students studying the arts are required to go throughprocesses which are often a part of writing whenever they are asked tochoreograph a dance, compose a piece of music, write a dramatic work, orcreate a visual art work (see Connections: Literacy and the Arts section ofthis Handbook). As stated in the English Language Arts Standard Course ofStudy, "while no one writing process is used by every writer in every piece ofwriting, students need to understand how to write purposefully andstrategically. They need to learn how to generate ideas; to organize andprioritize; to rethink and revise language and ideas; and to edit their ownwork." These processes can be and are used in arts education classrooms inwriting and other forms of communication.

Where is writing supported by the NCSCS for Arts Education?At the elementary level, students are learning and applying strategies andskills to read and write. Many concepts and skills that are being explored inarts education classrooms directly contribute to concepts and skills neededto be able to read and write. Some examples include, but are not limited to:understanding of beginning, middle, and end; left to right sweep;organization of sounds and symbols; expressing ideas; brainstorming;publishing/performing, and the list could go on and on. More resources forelementary connections with writing as well as other writing resources maybe added to this handbook at a future date.

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The matrices following this article illustrate where writing is supported (6-8and 9-12) by the Arts Education Standard Course of Study and Grade LevelCompetencies, K-12. Many of the skills and concepts taught in artseducation classes are an inherent part of writing; therefore, arts educatorsshould not view the support of writing in their classes as an "add-on" towhat they are already doing. Many times, it may be possible for artseducators to help their students make connections with writing within the artform being studied.

Overview of Alignment Matrices, 6-12The 6-8 alignment matrix, found on the next several pages of this handbook,demonstrates the curricular connections between music at grades 6, 7, and8 and the writing environments of critical, expressive, argumentative, andinformational writing. Specific objectives at each grade level are identified,and one example of an activity that would lend itself to each of theseenvironments is described.

The Correlation Matrix: Grade 10 Writing Assessment relates directly to thenew 10th grade writing assessment. The Objectives in this matrix support:

* writing features (main idea, support and elaboration, organization,conventions, and synthesis)

* specific types of writing assessed (definition, cause-effect, andproblem-solution)

Additionally, examples of cause-effect, problem-solution, or definition writingactivities are described. While specific objectives that most directly relate towriting are identified in this matrix, it should be noted that many objectivesnot listed here could be aligned with writing, according to the focus andintent of the lesson.

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Alignment Matrix with Music Education and Middle Grades Writing

Grade 6 Music objectivesthat lead to opportunitiesin Critical Writing6.01, 6.03, 6.04, 7.01,7.02, 7.03, 8.01

Grade 6Sample ActivityAnalyze and write a critique of amusical performance.

Grade 7 Music objectivesthat lead to opportunitiesin Critical Writing6.01, 6.02, 6.03, 6.04,7.01, 7.02, 7.03, 8.01

Grade 7Sample ActivityEvaluate a composition, arrangementor improvisation by applying specificcriteria appropriate for the musicalstyle and offer constructivesuggestions for improvement.

CRITICAL: Criticalcommunication involvesinterpreting, proposing, andjudging. Critical works includemedia and/or book reviews andessays that provide criticalanalysis. Creating standardsand making informed choicesare very important in critiques.

Grade 8 Music objectivesthat lead to opportunitiesin Critical Writing6.01, 6.02, 6.03, 6.04, 8.01

Grade 8Sample ActivityAnalyze a work of music representinga particular genre and explain howthe elements of music are usedwithin the work.

Grade 6 Music objectivesthat lead to opportunitiesin Expressive Writing3.01, 3.02, 3.03, 4.01,4.03, 6.04, 7.03

Grade 6Sample ActivityCompose an original piece of musicthat illustrates a personalperspective, idea or experience.

EXPRESSIVE: Expressivecommunication involvesexploring and sharing personalinsights and experiences. Thewriter of expressive textaddresses the reader as aconfidante, a friendly, thoughnot necessarily personallyknown, audience who isinterested in how thoughtfulpeople respond to life.Understanding self and othersis a part of expressivecommunication as areautobiographies, journals andfriendly letters.

Grade 7 Music objectivesthat lead to opportunitiesin Expressive Writing3.01, 3.02, 3.03, 4.01,4.03, 6.04, 7.03, 8.01

Grade 7Sample ActivityIdentify and describe howinteracting musical elements impactyour feelingful responses to music.

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is a part of expressivecommunication as areautobiographies, journals andfriendly letters.

Grade 8 Music objectivesthat lead to opportunitiesin Expressive Writing3.01, 3.02, 3.03, 4.01,4.03, 6.04, 7.03, 8.01

Grade 8Sample ActivityImprovise a melody in a specificmusical style. Compose lyrics foryour melody that relate a personalexperience.

Grade 6 Music objectivesthat lead to opportunitiesin Argumentative Writing7.01, 7.02, 7.03, 8.01,8.02, 9.01

Grade 6Sample ActivityClassify a sample of music usingdistinguishing characteristics toidentify genre, style, culture and/orhistorical period and justify thereasons for your classification.

Grade 7 Music objectivesthat lead to opportunitiesin Argumentative Writing7.01, 7.02, 7.03, 8.01,8.02, 9.01, 9.03

Grade 7Sample ActivityMusic is often perceived asentertainment and is sometimeseliminated from school programs forthat reason. Write a letter to theschool board explaining this problemand provide justification for whymusic programs should not beeliminated from the schools.

ARGUMENTATIVE:Argumentative communicationinvolves defining issues andproposing reasonable solutions.Argumentative works includebut are not limited to debates,problem/solutions, speeches and lettersto the editor. In middleschool, students must learnthe difference between aconfrontation and a logical,detailed, coherently organizedargumentative work.

Grade 8 Music objectivesthat lead to opportunitiesin Argumentative Writing7.01, 7.02, 7.03, 8.01,8.02, 9.01, 9.03

Grade 8Sample ActivityListen to a performance and identifyareas for improvement. Write anevaluation of the performanceincluding possible solutions to theareas you identified for improvement.

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Grade 6 Music objectivesthat lead to opportunitiesin Informational Writing6.01, 6.02, 6.03, 6.04,7.01, 7.02, 7.03, 8.01,8.02, 9.01, 9.02, 9.03

Grade 6Sample ActivityResearch and explain the variousfunctions of music in our societytoday.

Grade 7 Music objectivesthat lead to opportunitiesin informational Writing5.05, 6.01, 6.02, 6.03,6.04, 7.01, 7.02, 7.03,8.01, 8.02, 9.01, 9.02, 9.03

Grade 7Sample ActivityExamine a mathematical concept andexplain how that concept is relatedto music.

INFORMATIONAL:Informational communicationinvolves giving information toexplain realities or ideas, toteach people what thewriter/speaker knows. Thewriter of informational textshould be knowledgeable andshould communicate so thatthe audience gains theknowledge as well as thecircumstance required.Informational texts often arebased on who, what, when,where and how. Someexamples of informationalworks include definitions,instructions, directions,business letters, reports, andresearch.

Grade 8 Music objectivesthat lead to opportunitiesin Informational Writing5.04, 6.01, 6.02, 6.03,6.04, 7.01, 7.02, 7.03,8.01, 8.02. 9.01, 9.02, 9.03

Grade 8Sample ActivityDescribe and explain specific musicalevents in a given aural example, usingappropriate terminology.

Note: The objectives listed above relate most directly to the type of writing being addressed,however; many of the objectives in the Music Standard Course of Study may be used to providestudents with opportunities for Critical, Expressive, Argumentative or Informational Writing.

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Alignment Matrix with Music Education and 10th Grade WritingAssessment

Objectives listed below support:• writing features (main idea, support and elaboration, organization, conventions,

and synthesis)• specific types of writing assessed (definition, cause-effect, and problem-

solution)

GeneralMusic

Vocal Music I Vocal MusicII

Vocal MusicIII

Vocal MusicIV

4.01, 4.02, 4.03,5.04, 7.03, 7.04,8.02, 8.03, 9.02

3.01, 4.01,4.02, 4.03,7.03, 7.04,8.01, 8.02,8.03, 9.02, 9.03

3.02, 3.02, 4.01,4.02, 4.03, 7.03,7.04, 8.01, 8.02,9.02, 9.03

3.01, 4.01,4.02, 4.03,5.05, 7.03,7.05, 8.01,8.02, 9.02, 9.03

InstrumentalMusic I

InstrumentalMusic II

InstrumentalMusic III

InstrumentalMusic IV

9-12 MusicEducation

3.01, 4.01,4.02, 4.03,5.02, 7.03,7.04, 8.01,8.02, 9.02,9.03

4.01, 4.02, 4.03,5.04, 7.03, 7.04,8.02, 8.03, 9.02

3.01, 4.01,4.02, 4.03,7.03, 7.04,8.01, 8.02,8.03, 9.02, 9.03

3.01, 3.02, 4.01,4.02, 4.03, 7.03,7.04, 8.01, 8.02,9.02, 9.03

3.01, 4.01,4.02, 4.03,5.05, 7.03,7.05, 8.01,8.02, 9.02, 9.03

RelatedAssignments

Cause-Effect:Explain someof the waysthat musicreflectshistory.

Problem-Solution:The role of musicis often perceivedas entertainmentand is sometimeseliminated fromschool programsfor that reason.Write a letter tothe school boardexplaining thisproblem andprovidejustification forwhy musicprograms shouldnot be eliminatedfrom the schools.

Cause-Effect:Describe theeffects of apolitical event inUS history onthe music ofthat time period.

Problem-Solution:You need to buya trombone forband class. Whatare some waysyou can researchvarious vendorsto determine thebest economicvalue for yourpurchase?

Definition:Defineaesthetics inmusic.

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RESOURCES

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PRINT, VIDEO, RECORDINGS, AND OTHER MEDIA RESOURCESEducators in North Carolina recommended the following resources:

Title Author Publisher Year ISBN Number Description

African TribalMusic andDances

Various Laserlight 1993 Cat#12179 Music CD

Arts EducationFacilitiesPlanner(9-12)

NorthCarolinaDepartmentof PublicInstruction

North CarolinaDepartment ofPublicInstruction

2000 Publications No SP125Phone 1-800-663-1250orwww.ncpublicschools.org(click on Publications)

Describes facilitiesnecessary fordeliveringinstruction in thefour arts programs,9-12

Arts EducationFacilitiesPlanner(K-8)

NorthCarolinaDepartmentof PublicInstruction

North CarolinaDepartment ofPublicInstruction

2001 Publications No SP124Phone 1-800-663-1250orwww.ncpublicschools.org(click on Publications)

Describes facilitiesnecessary fordeliveringinstruction in thefour arts programs,K-8

Arts EducationHonors CourseStandards

NorthCarolinaDepartmentof PublicInstruction

North CarolinaDepartment ofPublicInstruction

1998 Publications No IS136Phone 1-800-663-1250orwww.ncpublicschools.org(click on Publications)

Regulations andstandards forHonors Courseswhich may beoffered in the fourarts areas

Arts EducationK-12:Integrating withReading,Writing, Mathand OtherAreas

NorthCarolinaDepartmentof PublicInstruction

North CarolinaDepartment ofPublicInstruction

1997 Publications No IS130Phone 1-800-663-1250orwww.ncpublicschools.org(click on Publications)

Explanations andexamples ofintegration witharts ed areas, K-12

Arts EducationK-12:Promoting aSafe SchoolEnvironment

NorthCarolinaDepartmentof PublicInstruction

North CarolinaDepartment ofPublicInstruction

1998 Publications No IS133Phone 1-800-663-1250orwww.ncpublicschools.org(click on Publications)

Highlights aspectsof arts ed thatpromote safeschoolenvironments

Arts EducationK-12: TheEffective Use ofItinerantTeachers

NorthCarolinaDepartmentof PublicInstruction

North CarolinaDepartment ofPublicInstruction

1998 Publications No IS134Phone 1-800-663-1250orwww.ncpublicschools.org(click on Publications)

Describessituations andrecommendationsfor itinerantteachers in artseducation

Arts EducationStandardCourse ofStudy andGrade LevelCompetencies,K-12

NorthCarolinaDepartmentof PublicInstruction

North CarolinaDepartment ofPublicInstruction

2001 Publications No IS102Phone 1-800-663-1250orwww.ncpublicschools.org(click on Publications)

Revised StandardCourse of Studyincluding purpose,philosophy,strands, goals,objectives, etc.

Arts EducationStandardCourse ofStudy andGrade LevelCompetencies,K-12 2000Scope andSequence

NorthCarolinaDepartmentof PublicInstruction

North CarolinaDepartment ofPublicInstruction

2001 Publications No IS137Phone 1-800-663-1250orwww.ncpublicschools.org(click on Publications)

Horizontal andvertical articulationof Dance, Music,Theatre Arts andVisual Arts Goalsand objectives, K-12

154

Competencies,K-12 2000Scope andSequence

and objectives, K-12

Arts Education:A StatePerspective onClassroomInstruction

NorthCarolinaDepartmentof PublicInstruction

North CarolinaDepartment ofPublicInstruction

1997 Publications No IS131Phone 1-800-663-1250orwww.ncpublicschools.org(click on Publications)

Defines artseducation, how itshould happen,who makes ithappen, etc.

ClassroomAssessment:LinkingInstruction andAssessment

NorthCarolinaDepartmentof PublicInstruction

North CarolinaDepartment ofPublicInstruction

1999 Publications No LS111Phone 1-800-663-1250orwww.ncpublicschools.org(click on Publications)

Overview andstrategies forclassroomassessment

For OurChildren

Various Kid Rhino(Disney)

1991,1999

0-7379-00776 Music CD

Greek Party TheHelenes

PPI 1998 Cat#CD9019 Music CD

Island SteelDrum Favorites

Various Laserlight 1996 Cat#12756 Music CD

Japan:TraditionalVocal andInstrumentalMusic

Various Elektra 1976 Cat#9720722 Music CD

Memories FromGreece

Various Laserlight 1989 Cat#15180 Music CD

Music StrandsPoster

NorthCarolinaDepartmentof PublicInstruction

North CarolinaDepartment ofPublicInstruction

2000 Publications No IP106Phone 1-800-663-1250orwww.ncpublicschools.org(click on Publications)

Graphicrepresentation ofstrands for MusicSCS andalignment withnationalstandards/stategoals

NationalStandards forArts Education

Consortiumof NationalArtsEducationAssociations

MENC 1994 1-56545-036-1 National Arts EdStandards K-12

Study Guide forClassroomAssessment:LinkingInstruction andAssessment

NorthCarolinaDepartmentof PublicInstruction

North CarolinaDepartment ofPublicInstruction

1999 Publications No LS112Phone 1-800-663-1250orwww.ncpublicschools.org(click on Publications)

Study guide toaccompany book –practicalapplication

World MusicSampler Vol. 3

Various NimbusRecords

1999 Cat#NI1447 Music CD

World SoundMatters

Various Schott 1996 Cat#ED12572 MusicCD

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WEB RESOURCESNorth Carolina educators recommended the following web resources. The NCDepartment of Public Instruction does not endorse or promote any of these links.

Web Address Name of Website Descriptionhttp://apcentral.collegeboard.com/ AP Central: The

College Board’sOnline Home for APProfessionals

Home site foradvanced placementcourses andinformation inconjunction with theCollege Board.

http://www.ncartseducation.org/ Arts EducationCoalition/NCAlliance for ArtsEducation HomePage

Resources, news,awards for artseducators in NC

http://aep-arts.org/Home1.html Arts EducationPartnership

National coalition ofarts,education, business,philanthropic andgovernmentorganizations thatdemonstrates andpromotes theessential role of thearts in the learningand development ofevery child and in theimprovement ofAmerica's schools.

http://www.ascd.org/ Association forSupervision andCurriculumDevelopment

International,nonprofit,nonpartisanassociation ofprofessionaleducatorswhose jobs cross allgrade levels andsubject areas –information,resources,conferences, etc.

http://www.aaae.org/ Association for theAdvancement of ArtsEducation

Programs,resources, research,etc. for artseducators, parents,and communitymembers.

156

educators, parents,and communitymembers.

http://www.nasaa-arts.org/ National Assemblyof State ArtsAgencies

News, publications,research, resourcesfor leaders in artseducation

http://www.nbpts.org/ National Board forProfessionalTeaching Standards

Information,applications,institutes, etc. relatedto National Boardcertification.

http://arts.endow.gov/National Endowmentfor the Arts

The primary grant-making foundationfor artsorganizations andindividual artists inthe United States.

http://www.learnnc.org/dpi/instserv.nsf NCDPI InstructionalServices DivisionNews Informationand ResourcesHome Page

Links to each contentarea to get currentcurriculuminformation, newsabout upcomingactivities, and aguide to resources.

http://www.artswire.org New YorkFoundation for theArts

Variety of informationincluding newslettersand opportunities forartists andorganizations.

http://www.ncarts.org/ North Carolina ArtsCouncil Home Page

The Arts Council is adivision of theDepartment ofCultural Resources.Info, programs,grants,organizationalassistance, andguidance to thegroupsand individuals thatmake up NorthCarolina’s artscommunity

http://www.ncga.state.nc.us/ North CarolinaGeneral AssemblyHome Page

Information aboutsessions, bills,findings, andlegislation in NC.

157

General AssemblyHome Page

sessions, bills,findings, andlegislation in NC.

http://www.ncptsc.org/ncptsc.htm North CarolinaProfessionalTeaching StandardsCommission

Focused on setting,monitoring, reviewingand revisingstandards forentering andcontinuing in theteaching profession

http://www.ncpublicschools.org/ Public Schools ofNorth CarolinaHome Page

Access curriculum,information, news,job opportunities,publications,directory, StateBoard of Education,testing andaccountability,events, etc. throughthe NC Departmentof Public Instruction.

http://www.teachwithmovies.org Teaching WithMovies

Lessons for usingselect movies in theclassroom.

http://artsedge.kennedy-center.org/ The Kennedy CenterArtsEdge Worldcom

Supports the place ofarts education at thecenter of thecurriculum throughthe creative andappropriate uses oftechnology –resources, news,teaching materials.

http://www.ed.gov/ US Department ofEducation

Education resources,research, grants,policies, etc.

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Resources that Assist With or Demonstrate Curriculum Integration

Name of Resource Purpose Audience GradeSpan

Features

Reference Guides forIntegrating Curriculum, 2001-2002; NCDPI Publications

To assist teachers inplanning for instruction

ElementaryClassroom andSpecial AreaTeachers

K-5 Goals andObjectivesfrom eachContent Areain the NCStandardCourse ofStudy

Arts Education K-12:Integrating with Reading,Writing, Math and OtherAreas of the Curriculum,Monograph No. 1; 1997,NCDPI Publications

To assist arts educationteachers with integratinginstruction with otherareas of the curriculum

Arts EducationTeachers(Music, Music,Theatre Arts,and Visual ArtsEducation)

K-12 Purpose ofintegration;types ofintegration;makingconnectionsclear andcommunicatingthem to variousaudiences

The Pebble Book, Using theArts in the ElementaryClassroom: AnInterdisciplinary Approach;Louisiana Dept of Education,Bulletin 1894

To assist classroomteachers with reachingcurricular goals throughthe integration of music,music, theatre arts andvisual arts

ClassroomTeachers; Canbe used withother areateachers

K-6 Activities whichcan be used asspringboardsfor multiplelessons andadapted byteachers forvarious levels;can beadapted readilyto the needs ofall students

Whole Music; A WholeLanguage Approach toTeaching Music; LoisBlackburn, Heinemann;ISBN 0-435-07043-6; 1998

To assist classroomteachers and musicteachers with integratingmusic into theirclassroom by applyingprinciples of wholelanguage

Classroomteachers;music teachers

K-5 Examples andpracticalactivities forintegratingmusicinstructionusing a wholelanguageapproach

The Creative Classroom; aguide for using CreativeDrama in the Classroom,PreK-6; Lenoire BlankKelner; Heinemann; ISBN0-435-08628-6; 1993

To assist teachers withintroducing, reviewing orreinforcing contentmaterial across thecurriculum suing creativedrama

Classroomteachers; artseducationteachers; ESLand otherspecial areateachers

PreK-6 Overview ofcreative dramaand sampleactivities forinstructionacross thecurriculum

159

Mapping the Big Picture;Integrating Curriculum andAssessment, K-12; HeidiHayes Jacobs; ASCD; ISBN0-87120-286-7; 1997

To assist educators withthe construction and useof maps to facilitateintegration, teaching,and assessing thecurriculum

All teachers K-12 Proceduresand examplesof curriculummaps forinstruction,integration, andassessment ofthe curriculum

The Mindful School; How toIntegrate Curricula; RobinFogarty; IRI Skylight; ISBN0-932935-31-1; 1991

To provide educatorsand young people withmodels of integratingcurricula and toencourageinterdisciplinary thinking

Teachers andstudents, K-adult

K-Adult 10 models thataddressintegratingwithin adiscipline;integratingacrossdisciplines;integratingwithin thelearner himself;and integratingacrossnetworks oflearners

Layered Curriculum; thePractical Solution forTeachers with More thanOne Learner in TheirClassroom; Kathie F.Nunley; Morris Publishing;ISBN 1-929358-08-3; 2001

To provide teachers withmeans for designinginstruction for a varietyof learners for anysubject at any gradelevel

Teachers of alldisciplines

K-UniversityLevel

Practicalinstructions fordesigninginstruction toincorporateinclusion,diversity,learning styles,multipleintelligencesand mindstyles in theregularclassroomwithoutsacrificingstandards

Weaving in the Arts;Widening the LearningCircle; Sharon Blecher andKathy Jaffee; Heinemann;ISBN 0-325-00032-8; 1998

To provide classroomteachers with ways tobroaden the definition ofliteracy to include music,music, poetry, dramaand the visual arts.

Pre-serviceand In-serviceclassroomteachers

K-UniversityLevel

Ways toincorporate thearts into dailycurriculum;ways forstudents to usethe arts as abridge toreading andwriting and asa valid meansof interpretingthe worldaround them

160

Curriculum Mapping;Charting the Course forContent; ASCD; 1999; ASCDStock Number 499049(Facilitators Guide; Videotapes 1 and 2

To assist schools,districts, and individualteachers in developingand using curriculummaps.

Teachers,schools,districts,supervisors,principals,parents,students

K-UniversityLevel

Video-basedstaffdevelopmentusing twovideos and afacilitator’sguide to assisteducators withthe processand use ofcurriculummapping

Interdisciplinary Art; Lessonsand resources; SchoolEdition; Phil E. Phillips,Cynthia Bickley-Green, andAnne Wolcott, Editors;McGraw-Hill; ISBN 0-07-039603-5; 1998

To provide teachers withideas to supportdiscipline-based contentand cross-curriculaintegration

Visual ArtsTeachers,ClassroomTeachers,Other Arts AreaTeachers

K-8Teachers

Lessons andresources forcurriculuminstruction andintegration

Leap Into Learning!Teaching CurriculumThrough Creative Dramaticsand Music; Kristen Bissingerand Nancy Renfro; NancyRenfro Studios; ISBN 0-931044-18-9; 1990

To provide teachers withideas for using dramaand music to teach thecurriculum

Classroomteachers,Music andTheatre Artsteachers

K-5 Lessons andactivities forteachingelements ofmusic anddrama and forteaching allareas of thecurriculumthrough musicand drama

Authentic Connections:Interdisciplinary Work in theArts; The NationalConsortium of ArtsEducation Associations;2002; available on-line at:http://www.naea-reston.org/news.html

To assist and supporteducators ininterdisciplinary work.

Teachers in alldisciplines,teachingartists,administrators,teachereducators atthe collegelevel, parents.

All Explanations ofinterdisciplinarywork,examples andmodels.

http://www.ascd.org To provide educatorswith print and electroniceducational resources

All All Website for adiverse,internationalcommunity ofeducators,forgingcovenants inteaching andlearning for thesuccess of alllearners

http://www.Help4Teachers.com

To provide educatorswith resources formeeting diverse studentneeds

All All Combinesclassroompractices withcurrent brain-imagingresearch; website providesarticles,newsletters,and samplelesson sheets

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research; website providesarticles,newsletters,and samplelesson sheets

http://www.learnnc.org/dpi/instserv.nsf

To provide educatorswith the means toaccess currentcurriculum information,news about upcomingactivities, and a guide toresources

All All Curriculummaterials andsupport for alldisciplines intheInstructionalServicesDivision of theNCDepartment ofPublicInstruction