Strategies for Success COURSE GUIDE Music Appreciation

Transcription

1 Strategies for Success COURSE GUIDE Music Appreciation (MUS 101) Sponsored by the U.S. Department of Education Title III Grant, Strategies for Success: Increasing Achievement, Persistence, Retention & Engagement,

2 Title III Strengthening Institutions Project Strategies for Success: Increasing Achievement, Persistence, Retention and Engagement The Strategies for Success Title III initiative is a major, five year project ( ) funded by a two million dollar grant from the U.S. Department of Education. This initiative is intended to transform Middlesex Community College by improving the academic achievement, persistence, retention, and engagement of its students. The project focuses on reformed curricula and comprehensive advising. Reformed Curriculum involves the design of developmental and college Gateway courses and learning communities embedded with Core Student Success Skills related to critical thinking, communication, collaboration, organization, and self assessment. Overall, 45 courses will be impacted over the five years of the project. Comprehensive Advising involves the design of integrated advising services to include identification of academic and career goals, creation of realistic educational plans, and continuous tracking and intervention with an emphasis on the Core Student Success Skills. Comprehensive Advising Services will be specifically tailored to each program of study. Cross division curriculum and advising design teams composed of faculty and staff are designing, piloting, and assessing the curriculum and advising initiatives. The Title III grant provides resources to support faculty professional development related to designing and piloting new curriculum and advising students. The grant also supports the purchase of advising software programs and the hiring of a Pedagogical Instructional Designer, Learning Engagement Specialist, Advising Coordinator, and two academic advisors. The resources provided by the grant offer an exciting opportunity for the college community to work together to develop the strong programs and services that will increase student success.

3 1 Contents Music Appreciation: Introduction to Resource Guide for Infusing Strategies for Success... 2 Lesson Plan 1: Introduction to Course and Exploring Sound... 4 Lesson Plan 2: Medieval/Renaissance Periods ( )... 7 Lesson Plan 3: Baroque Period ( )... 9 Lesson Plan 4: Classical Period Characteristics and Forms Lesson Plan 5: Wolfgang Amadeus Mozart and Franz Joseph Haydn Lesson Plan 6: Ludwig van Beethoven Symphony #5 in C minor op. 67; Violin Concerto in D Major op. 61 (movement I); Symphony #9 in D minor op. 125 (movement IV) Lesson Plan 7: Mid term Exam Lesson Plan 8: Romantic Period ; Franz Schubert Sample Classroom Syllabus Sample On line Syllabus... 56

4 2 Music Appreciation: Introduction to Resource Guide for Infusing Strategies for Success Music Appreciation (MUS 101) is a college level course which introduces students to aesthetics of Euro American, (including music of North and South America), classical music, and provides tools and activities to aid them in discerning structural elements and societal and historical context for the music. The catalog description reads: This course will help the student to become an active listener of music, and it will introduce a wide variety of musical styles. Through the understanding of elements, or fundamentals, that all music has in common (such as melody, rhythm, tempo, dynamics, harmony, and structure) and a familiarity with the instruments of the orchestra, the student will become an involved listener. Many different kinds of music from 1600 to the present, ranging from small delicate pieces to dramatic symphonies, will be studied. This course has been approved as a General Education course and supports the development of Student Learning Outcomes: Written and Oral Communication, Critical and Multicultural/Global Literacy. Students who major in Liberal Arts and Sciences or Liberal Studies with a Music Concentration are required to take Music Appreciation. As part of a Title III grant, Strategies for Success: Increasing Achievement, Persistence, Retention and Engagement, this course has been redesigned to incorporate the following Core Student Success Skills (CSSS): Critical Thinking, Collaboration, Communication, Organization, and Self Assessment. Critical Thinking includes the ability to use and analyze information gathered from multiple sources and form conclusions based on evidence rather than assumption. Communication skills can include the ability to write, speak, use numbers, and/or use technology effectively. Collaboration includes participating as a member of a community, either as part of a group of students in the class, and/or a group of people outside of the classroom. Organization skills related to time management, note taking, test taking, and studying are important for success in college. Self assessment skills include setting academic and career goals, developing and following a plan to achieve those goals, and utilizing college resources to help students achieve their goals. In addition to these skills, Music Appreciation encourages and develops keener and more active and accurate listening skills which are required for musical analysis in this course, and which improve communication, collaboration and organizational skills in other courses. Promoting all these skills supports students in learning course content, applying the skills to other college courses, resulting in overall college achievement and completion, and establishing techniques and competence for life long learning.

5 3 This resource guide contains a Table of Contents, Lesson Plans, examples of syllabi for fall 2013 semester, and a survey to assess the impact of CSSS activities. The guide has been designed for use both in classroom and on line versions of Music Appreciation. It is based on a 15 week semester, plus a final exam. Each lesson plan includes a: Time Frame which outlines classroom time (i.e. Lesson 1: Three 75 minute classes, plus 2 3 hours reading and homework), and for on line students, the amount of time to schedule for listening to musical selections, (i.e. Lesson 1: One ½ hours listening), and the amount of time to schedule for readings and homework. For on line students especially, this is intended to aid in organization skills. Learning Objectives which clarify specific goals for each lesson. Core Student Success Skills which identifies the skills addressed in the week s lesson and gives activities to support those skills. Materials needed which acts as a resource for teachers. Context which provides unifying background concepts. Instructions which provide specific classroom and/or on line activities. Assessment tools by which to evaluate student performance and achievement. As part of the Textbooks Unbound Project, I have designed both the on line and classroom versions of the course to require no textbook, and all resources and materials are provided free of charge, however, other professors teaching the course do use a textbook. The material covered in this guide is covered by all professors teaching the course, but in different formats. Two syllabi are included in this guide, one for classroom and one for on line. The classroom version is organized by bi weekly, 75 minute classes. The first three classes cover fundamental musical concepts such as rhythm, melody, texture and harmony. Classes through the remainder of the semester are based on topics arranged in chronological order, from the Medieval Period through the contemporary music. This syllabus includes links to on line listening and reading assignments. The on line version is arranged in weekly lessons, the first being an introduction to on line learning, college resources, technology requirements and help available, as well as the introductory musical concepts covered in the first three classroom lessons, and the following weeks being divided into five units with varying numbers of chronologically based topics. This guide also includes as an example, the first week s opening page and introductory material which specifies CSSS supported activities. Johannah Segarich, [email protected]

6 4 Lesson Plan 1: Introduction to Course and Exploring Sound Author: Johannah Segarich Time Frame: Lesson plans are arranged according to the weekly, on line schedule of topics. This sometimes covers more than one classroom topic. The number of classroom sessions is indicated in each time frame. Classroom: Three 75 minute classes, 2 3 hours homework, reading, etc. On line: Week 1 One and ½ hours listening; 2 3 hours reading, study questions, journal, Discussion Board Learning Objectives: After successfully completing this activity, students will be able to: build skills in active listening identify and define basic elements that all music has in common (such as melody, rhythm, tempo, dynamics, harmony, and structure) be familiar with the instruments of the orchestra and vocal types identify library or on line resources This course supports the development of General Education student learning outcomes of Written and Oral Communication, Critical Thinking and Multicultural/Global Literacy Core Student Success Skills Addressed: Critical Thinking o Describe how Benjamin Britten s Young Person s Guide to the Orchestra help you to recognize orchestral sections and individual instruments. Communication o Read the article from the New Yorker and using the Journal folder, write a reflection on why an orchestral conductor is important. Organization o Make a calendar for your schedule, including work or other activities and building in the number of hours indicated at the beginning of each week s lesson. o Describe the organization of instruments in the orchestra. Self assessment o Write a short summary of what you learned about the fundamentals of music and the instruments of the orchestra. Collaboration o Introduce yourself to the class and describe your interest and/or background in classical music. Materials Needed: Audio visual equipment and/or computer CD s and/or YouTube access PowerPoint or On line text

7 5 Study Guide Questions: 1. What are the five characteristics of musical sound? 2. Define tempo and also the following terms. o Largo o Adagio o Moderato o Andante o Vivace o Presto 3. Define tonic and dominant. 4. Define the following musical textures. o monophonic o polyphonic o homophonic o homorhythmic 5. Define the difference between meter and rhythm. What do the numbers in the following time signature mean? 3/4 6. What are the four main vocal categories? 7. What are the main instruments in the following instrumental categories? 1. Strings 2. Woodwinds 3. Brass 4. Percussion 8. How does Benjamin Britten s Young Person s Guide to the Orchestra help you to recognize instrumental timbres and orchestral sections? Context in the Course: In this class students will be introduced to the over all course objectives, teaching procedures and expectations, both what I expect from them and what they can expect and anticipate from the course throughout the semester. They may visit the library and explore resources which MCC library offers, or they will be given on line sites to find resources. We will cover fundamental music terminology which will be referred to throughout the semester. Instructions: Instructor will: 1. Read through syllabus with students in order to: o clarify expectations; o emphasize importance of attendance and participation; o explain over all course learning objectives and CSSS; 2. Identify five fundamental elements of music (pitch, rhythm/meter, dynamics, tempo, timbre); 3. Define terms for dynamics and tempos;

8 6 4. Define three primary textures, (monophonic, polyphonic, and homophonic) and play examples of each; 5. Teach conducting patterns for 2/4, 3/4, 4/4, and 6/8 meters and play examples of each while students conduct; 6. Define four primary categories of voice (soprano, contralto, tenor, and bass) and play examples of each; 7. Outline the instruments in the four sections of an orchestra, (strings, woodwinds, brass, and percussion); 8. Play CD or show YouTube of Benjamin Britten s Young Persons Guide to the Orchestra. Assessment: Answers to Study Guide questions Journal entry Discussion Board posting and reply On line quiz after Week two Mid term Exam: definitions of terms, answers to questions, listening identification

9 7 Lesson Plan 2: Medieval/Renaissance Periods ( ) Author: Johannah Segarich Time Frame: Classroom: 75 minute class, 2 3 hours homework: reading, study questions On line: Week 2 2 hours listening 2 3 hours reading, study questions Learning Objectives: After successfully completing this activity, students will be able to: Identify characteristics of Gregorian chant; Describe the development of polyphony and related vocabulary, including: organum, cantus firmus, and characteristics of Renaissance music; Name at least three composers of the period; Listen to, identify and describe the difference between Medieval chant and Renaissance polyphonic music; Classroom: Discuss in small groups, then share with class related social, historical or artistic events of the Medieval or Renaissance Period; On line: Use Discussion Board to describe related social, historical or artistic events of the Medieval or Renaissance Period. Core Student Success Skills Addressed: Critical Thinking o Answers to Quiz questions Communication o Discussion Board Organization o Organize study time and complete assignments in a timely manner Materials Needed: Audio visual equipment and/or computer CD s and/or YouTube access PowerPoint or On line text Study Questions and on line assignments 1. Identify characteristics of Gregorian chant 2. Describe the development of polyphony and characteristics of Renaissance music 3. Define terms: Neumistic Syllabic Melismatic Organum Cantus firmus 4. Name at least three composers of the period

10 8 5. Listen to, identify and describe the difference between Medieval chant and Renaissance polyphonic music 6. Write a short summary (on the Discussion Board) of what you learned in this lesson and your opinion of the music. Respond to at least one other student s posting Context in the Course: From this point on, students will study European Classical music from an historical perspective, beginning with the roots in the Medieval Period. A broad overview of music in the Middle Ages and Renaissance will show how composers from later periods drew on music of the Middle Ages, either as inspiration, or by incorporating melodies into their compositions, i.e. Hector Berlioz (Romantic period), Carl Orff, Ottorino Respigi, and Manuel da Falla (20 th Century). Instructions: Instructor will: 1. Describe social conditions and structure in the Middle Ages, the prominence and importance of the Catholic Church in the development of Western music, as well as secular styles; 2. Outline characteristics of Gregorian Chant; 3. Play CD or YouTube of Gregorian Chant; 4. Introduce first identified composer: Hildegard von Bingen and play Alleluis, O virga mediatrix; 5. Describe social and cultural aspects of the Renaissance period and development of polyphonic forms; 6. Play Sumer is icumen in ; 7. Introduce composers: Guillaume Du Fay; play Nuper rosarum flores ; 8. Josquin du Pres; discuss cantus firmus; play Agnus Dei from Missa l homme arme. Assessment: Study questions Journal Entry Discussion Board posting and reply Unit 1 2 Quiz questions Mid term Exam: definitions of terms, answers to questions, listening identification

11 9 Lesson Plan 3: Baroque Period ( ) Author: Johannah Segarich Time Frame: Classroom: Three 75 minute classes, 3 4 hours homework: reading, study questions On line: Week 3 One and ½ hours listening; 3 4 hours reading, study questions Learning Objectives: After successfully completing this activity, students will be able to: Identify characteristics of Baroque music; Define terms: ABA (da capo) aria, recitative, overture, ritornello, concertino; Describe or outline Baroque Forms: Opera, Oratorio, Solo Concerto, Concerto Grosso, Fugue, Baroque Suite; Distinguish through listening, characteristics of each form; Identify composers of assigned listening selections. Core Student Success Skills Addressed: Critical Thinking: Quiz Communication: Create a WIKI to share with class Organization: Organize study time and complete assignments in a timely manner Materials Needed: Audio visual equipment and/or computer CD s and/or YouTube access Power Point or On line text Study Questions 1. Describe at least five characteristics of Baroque music; 2. Define concerto and give an example of: Solo concerto Concerto grosso 3. Describe or outline the structure of a fugue; 4. Name five contrapuntal devices; 5. Define Baroque Suite and name five of the dance forms; 6. Define: oratorio aria 7. Describe the characteristics of Baroque music as found in Vivaldi s Solo Violin Concerto Spring or Bach s Toccata and Fugue in D minor; 8. Discuss in groups, or write a short summary on the Discussion Board, what you learned in this lesson and your opinion of the music. Respond to at least one other student s posting.

12 10 Context in the Course: Continuing in the historical exploring of development of European Classical music, the Baroque Period introduces new forms like solo concerto, concerto grosso, fugue, oratorio, etc., some of which extend in to later periods or act as foundations for later developments. Instructions: Students will: Present an oral biography of Vivaldi, Bach, or Handel; Find an example of Baroque music in a film or commercial; Classroom: In small groups ask students to analyze how Vivaldi depicts the words of the poem through music; On line: Use Discussion Board to describe related social, historical or artistic events of the Baroque Period and to analyze how Vivaldi depicts the words of the poem through music. Instructor will: 1. Describe related social, cultural and artistic aspects of the period; 2. Define characteristics of Baroque music, such as equal temperament, terraced dynamics, basso continuo, text painting, etc.; 3. Identify instrumental components of the Baroque orchestra and listen to the quality of early instruments; 4. Identify primary forms, such as solo concerto, concerto grosso, fugue, Baroque suite, opera and oratorio; 5. Assign a written a biography of a Baroque composer; 6. Outline the movements of a solo concerto and ritornello form; 7. Read the poem for Concerto #1 in E Major La Primavera/Spring; 8. lay the CD or YouTube of Concerto #1 in E Major; 9. Define and diagram polyphony; play 2 part invention #1 in C Major; 10. Define and diagram fugue and list contrapuntal devices; play Prelude and Fugue No. 2 in C minor and Toccata and Fugue; 11. Identify instrumental components of a concerto grosso: concertino and tutti; outline movements of Brandenburg Concert No. 2 in F Major and play CD or YouTube; 12. Define characteristics of Baroque Oratorio and outline the sections of a typical oratorio; 13. Define Overture, aria, recitative, libretto; 14. Play selections from Messiah: o Overture o Chorus: Glory to God o Aria: Rejoice with seco and accompaniato recitatives o Chorus: Hallelujah 15. Define Baroque Suite and list typical dance forms; 16. Play Suite for Trumpet in D Major from Handel s Water Music.

13 11 Assessment: Study questions Journal entry Unit 3 Quiz questions Listening identification Class group discussion or Discussion Board Written and Oral presentation of biographies Mid term Exam: definitions of terms, answers to questions, listening identification

14 12 Lesson Plan 4: Classical Period Characteristics and Forms Author: Johannah Segarich Time Frame: Classroom: 75 minute class, 2 3 hours homework: reading, study questions On line: Week 4 30 minute listening, 2 3 hours reading, study questions, journal Learning Objectives: After successfully completing this activity, students will be able to: Identify characteristics of Classical music; Compare music of the Baroque period to that of the Classical period; Compare Baroque orchestra and instruments to Classical orchestra and instruments; Define terms: Describe and/or outline Classical Forms: overture 2 types, theme and variations with methods of variation, rondo, minuet and trio, and sonata allegro; Outline a typical Classical symphony with tempo markings and forms. Core Student Success Skills Addressed: Critical Thinking o Analyze and compare characteristics and forms of Baroque period with those of the Classical period o Create an appropriate topic for individual semester project Organization o Organize study time and complete assignments in a timely manner Self assessment o Journal reflection on progress to date Materials Needed: Audio visual equipment and/or computer CD s and/or YouTube access PowerPoint or On line text Study Questions 1. What are some characteristics of music of the Classical Period? 2. Describe the following forms used in multi movement works. o Overture (two types) o Theme and Variations o Rondo o Minuet and Trio (Scherzo and Trio) 3. Describe and or diagram a typical 4 movement sonata (tempo and forms used) 4. Describe and diagram and describe Sonata Allegro form. 5. Compare and contrast the differences in the Baroque orchestra and the Classical orchestra. Give examples of composers who influenced these changes.

15 13 6. Discuss in groups, or write a short summary on the Discussion Board, what you learned in this lesson and your opinion of the music. Respond to at least one other student s posting. Context in the Course: This lesson traces the transition in society, art and music from the Baroque to the Classical Period, and introduces students to important musical forms which developed in the Classical Period, and which composers continue to use through all later periods. Instructions: Instructor will: 1. Describe the transition from Baroque to Classical Period; 2. Describe social and philosophical changes, (Age of Reason and Enlightenment); 3. Identify writers, artists and the neo classical movement in art and architecture; 4. Describe characteristics of classical style in music; 5. Describe and outline forms used in multi movement works: o Overture o Theme and Variations o Rondo o Sonata allegro 6. Describe and outline the typical tempo markings and forms of a four movement work, i.e. symphony; 7. Outline structure of Beethoven s Sonata in C Minor op. 8; 8. Play Beethoven s Sonata in C Minor. Assessment: Study questions Journal entry Listening identification Class group discussion or Discussion Board Written and Oral presentation of biographies Mid term Exam: definitions of terms, answers to questions, listening identification

16 14 Lesson Plan 5: Wolfgang Amadeus Mozart and Franz Joseph Haydn Author: Johannah Segarich Time Frame: Classroom: Three 75 minute classes, 3 4 hours homework: reading, study questions On line: Week 5 1 hour listening, 3 hours reading, study questions, journal Learning Objectives: After successfully completing this activity, students will be able to: Identify and diagram or describe the forms used in each movement of Mozart s Eine kleine Nachtmusik ; Define terms used in Mozart s opera s The Magic Flute and The Marriage of Figaro : o Singspiel o Opera buffa o Overture o Aria o Recitative o Finale ensemble Describe how Haydn varied the theme in the second movement of String Quartet op. 75 no. 3 (Emperor Quartet) and the second movement of Symphony 94 in C Major (Surprise Symphony); Identify forms of each movement of the complete performance of Symphony 95 in c minor. Core Student Success Skills Addressed Critical Thinking o Analysis of forms in music of Mozart and Haydn Organization o Organize study time and complete assignments in a timely manner Communication o Reflection on reading assignment Materials Needed: Audio visual equipment and/or computer CD s and/or YouTube access PowerPoint or On line text Study Questions 1. Define the following terms: o Singspiel o Opera Buffa o Overture o Aria o Recitative 2. After listening to Mozart s Eine kleine Nachtmusic A Little Night Music, identify and describe or diagram the tempos and forms of each movement. 3. What instruments are used in a string quartet?

17 15 4. Describe the form: Theme and Variations and identify methods of varying the theme 5. After listening to each piece, describe the primary methods of variation in the second movement of Haydn s String Quartet op. 75 no. 3, and the second movement of Symphony 94 in C Major (Surprise Symphony). 6. Identify the tempos and forms used in each movement of Symphony 95 in C minor by Haydn. 7. Discussion question (classroom or on line posting) Describe the mood or atmosphere which Mozart creates in this work. How does it make you feel? Context in the Course: In this section, students will explore the classical forms discussed in the previous lesson, including sonata allegro, rondo, minuet/trio, theme and variations, and opera, through analyzing and listening to the music of Mozart and Haydn. Instructions: Students will: present oral biography of Mozart present oral biography of Haydn; participate in classroom discussion or on line Discussion Board Instructor will: 1. Describe and outline movements of Serenade in G Major k. 525 Eine kleine Nachtmusik; 2. Play Serenade in G Major; 3. Define terms from opera and play selections from The Magic Flute and The Marriage of Figaro; 4. Ask students to define and describe Theme and Variations form and how composers might vary the theme; 5. Play second movements of Haydn s String Quartet op. 75 no. 3, Symphony 94 in C Major (Surprise Symphony) and ask students to describe the primary methods of variations employed by Haydn; 6. Review the typical tempos and forms of a four movement work; 7. Play Symphony 95 in C minor by Haydn and ask students to respond (spoken or written) to what they heard, i.e. forms, tempos, etc. and their personal reactions to and opinions of the music; 8. Assign study questions. Assessment: Study questions Journal entry Listening identification Class group discussion or Discussion Board Written and Oral presentation of biographies On line journal Mid term Exam: definitions of terms, answers to questions, listening identification

18 16 Lesson Plan 6: Ludwig van Beethoven Symphony #5 in C minor op. 67; Violin Concerto in D Major op. 61 (movement I); Symphony #9 in D minor op. 125 (movement IV) Author: Johannah Segarich Time Frame: Classroom: Two 75 minute classes, 2 hours homework: reading, study questions On line: Week 6 1 ½ hours listening, 3 hours reading, study questions, journal Learning Objectives: After successfully completing this activity, students will be able to: Identify how Beethoven transformed the Classical symphonic form Describe Beethoven s influence on the instruments of the orchestra numbers and types of instruments Compare Beethoven s Symphony #5 to the symphonies we listened to by Mozart and Haydn Outline movements of Symphony #5 with tempos, forms, meters and keys Describe how Beethoven used his famous 3 note motif in a cyclical manner Outline and/or describe the form for a Classical Period Concerto Compare the Classical Concerto form to the Baroque Concerto form Core Student Success Skills Addressed: Critical Thinking o Study Questions Organization o Organize study time and complete assignments in a timely manner Communication o Written and Listening skills Materials Needed: Audio visual equipment and/or computer CD s and/or YouTube access Power Point or On line text Study Questions 1. How was Beethoven s attitude about his role as a composer different from previous composers? 2. What are the characteristics of Beethoven s three periods of composition? 3. What are some of the compositions from each of Beethoven s periods? 4. Outline the movements of Symphony #5 in C Minor op.67 with tempos and forms. 5. How did Beethoven change the third movement in his symphonies? 6. What instruments did Beethoven add to this symphony, and why do you think he chose to do so? 7. How did Beethoven use the famous 4 note motive in this symphony?

19 17 8. Describe a classical period Concerto. Compare and contrast it with the Baroque concerto form. 9. Why do you think Beethoven chose to include a choral section in the last movement of Symphony #9? Context in the Course: Beethoven s music reflects the social changes brought about by the French Revolution and foreshadows the coming Romantic Movement. We trace the development of the symphonic form in the Classical Period and evaluate how Beethoven set the stage for further developments in the Romantic Period. Students will be asked to compare and contrast the Classical Period Symphony and Concerto form with the Baroque Period forms. Instructions: Students will: Present a short oral biography of Beethoven in class or on line; Underline or circle motif on printed score of first movement; Discuss in small groups, then share with class the social conditions of the time period and how Beethoven may have influenced or been influenced by those conditions; Use on line Discussion Board or journal entries to discuss the social conditions of the time period and how Beethoven may have influenced or been influenced by those conditions; Discuss and compare Beethoven s Concerto in D with Vivaldi s solo violin concerto Spring. Instructor will: 1. Discuss Beethoven s three compositional periods; 2. Review the typical forms and tempos of a 4 movement symphony; 3. Outline the movements of Symphony #5; 4. Describe each movement and how Beethoven uses the opening 4 note motif in each movement; 5. Listen to complete Symphony #5 and ask students to write their responses to the music; 6. Outline three movement Concert o form. Define cadenza; 7. Play first movement of Violin Concerto in D Major op. 61; 8. Read Schiller s poem which Beethoven used in his 9 th Symphony; 9. Play the Finale of Symphony #9. Assessment: Study questions Journal entry Listening identification Written and Oral presentation of biographies On line Journal Self assessment o Identify three compositions which you had not previously heard and describe their forms. What is your opinion of each piece? o How has this course changed your opinion and understanding of classical music?

20 18 o How have you changed your study skills and ability to organize your time? Discussion Board posting Mid term Exam: definitions of terms, answers to questions, listening identification

21 19 Lesson Plan 7: Mid term Exam Learning Objectives: After successfully completing this activity, students will be able to: Demonstrate knowledge of terms; Define and/or diagram musical forms from Baroque and Classical Periods; Identify and compare in writing music from Medieval through Classical Periods; Identify musical selections for period, composers, form and characteristics. Core Student Success Skills Addressed: Critical Thinking Organization Written Communication Materials Needed: Classroom: Written exam and Listening exam using CD s On line: Essay questions and Listening Identification Context in the Course: The mid term exam will cover material from Lesson 1 through Lesson 6, including written definitions, essay questions, and listening identification. Instructions: Instructor will: Provide written exam questions, including definitions of terms and essay questions drawn from the Study Questions of Lessons 1 through 6. Play selections of music which were covered during the semester and/or works which have similar characteristics. Ask students to identify period, composers, works and musical characteristics. Assessment: Answers to exam questions

22 20 Lesson Plan 8: Romantic Period ; Franz Schubert Author: Johannah Segarich Time Frame: Classroom: 75 minute class 2 hours homework On line: 4 5 minute listening; 2 hours reading and homework Learning Objectives: After successfully completing this activity, students will be able to: Identify characteristics which writers, artists and musicians sought to portray during the Romantic period. Identify important writers who were influential during the Romantic period. Compare Classical period musical elements (rhythm, harmony, size of orchestra), and forms with those of the Romantic period. Identify characteristics of Romantic music. Define terms: o Lieder o Strophic o Through composed Describe how Shubert used his Lied, Die Forelle in his Piano Quintet in A Major. Core Student Success Skills Addressed: Critical Thinking o Analysis of songs for Romantic characteristics o Analysis of Piano Quintet for form Written and Oral Communication Skills: o Study questions and song analysis; Journal Collaboration o Group project Organization o Organize study time and complete assignments in a timely manner Self assessment o Summary of what you have achieved in the course from Week 1 through Week 7 Materials Needed: Audio visual equipment and/or computer CD s and/or YouTube access Power Point or On line text

23 21 Study Questions 1. Define the following terms and give an example from the listening of each: o Lied/Lieder o Strophic o Through composed 2. What musical characteristics would help you to recognize music from the Romantic Period? 3. In the Romantic Period certain literary, artistic and philosophic influences and important historical events were felt in music. What were they and how did they influence composers? 4. What characteristics did Romantic writers, artists and musicians seek to portray in their works? 5. Describe how Schubert represented the four characters (narrator, father, son and Elf King) in Erlkonig. 6. Describe how Schubert used his song, Die Forelle, in his Piano Quintet in A Major. Context in the Course: The end of the 18 th and the beginning of the 19 th Centuries was a time of revolution in social order, philosophy and the arts. Beethoven expanded tonality, length and breadth of his last compositions. As the new century dawned, younger composers drew inspiration from Beethoven s innovative thinking and forged new compositional styles based on personal expression and emotion. Franz Schubert s Lieder embodied the ideals and characteristics of the Romantic Movement which resonated through the decades to follow. In this lesson we trace the further developments of Classical period forms and the introduction of new forms and styles. Instructions: Students will: Present oral biography of Franz Schubert. Discuss in small groups, then share with class the changes society and philosophy and how writers and musicians influenced these changes. Use on line Discussion Board or journal entries to discuss the changes society and philosophy during the early Romantic period, and how writers and musicians influenced these changes. Find an example of Romantic period music in a film or commercial. Collaborate on a group project to analyze characteristics of Romantic period music in a song by Schuber.t. Instructor will: 1. Discuss the changes in society, political structures and philosophy at the beginning of the 19 th Century. 2. Outline characteristics which writers and artists sought to portray, including individualism, return to nature and nationalism. 3. Define Lied/Lieder and describe qualities.

24 22 4. Read Goethe s poem, Erlkonig, and describe how Schubert creates a sense of foreboding and mystery in both the piano and vocal parts. 5. Play Erlkonig. 6. Read poem, The Trout, then play Die Forelle. 7. Identify instruments Schubert used in his Piano Quintet in A Major. 8. Play the fourth movement and ask students to identify the form Schubert used (Theme and Variations). Assessment: Study questions Journal entry Listening identification Class group discussion or Discussion Board Written and Oral presentation of biographies On line journal Group project Final Exam: definitions of terms, answers to questions, listening identification

25 23 Lesson Plan 9: Robert and Clara Schumann; Frederic Chopin Author: Johannah Segarich Time Frame: Classroom: 75 minute class, 2 hours homework On line: 45 minutes listening; 2 3 hours homework Learning Objectives: After successfully completing this activity, students will be able to: Define terms: o Song cycle o Character piece o Rubato Describe how Robert and Clara Schumann and Frederic Chopin personified character traits of the Romantic Period, both in their lives and their music. Core Student Success Skills Addressed: Critical Thinking o Find an example of Romantic period music in a film or commercial Organization o Organize study time and complete assignments in a timely manner Communication o Write answers to study questions and Journal entry o Collaboration o Participate in Discussion Board Materials Needed: Audio visual equipment and/or computer CD s and/or YouTube access Power Point or On line text Study Questions 1. Define the following terms and give examples from the assigned listening: o Rubato o o Song cycle Character pieces: Nocturne Polonaise 2. Describe how Robert and Clara Schumann and Frederic Chopin personified character traits of the Romantic Period in their lives and music. 3. Describe related social, historical or artistic events of the Romantic Period or 4. Find an example of Romantic period music in a film or commercial. 5. Use Discussion Board to share reaction to a Romantic period work.

26 24 Context in the Course: Along with Franz Schubert (previous lesson), Robert and Clara Schumann and Frederic Chopin were embodiments of the passionate lives idealized in art and literature of the Romantic period. They represent the height of this period. Instructions: Students will: Present biographies of Robert Schumann, Clara Wieck Schumann, and Frederic Chopin Instructor will: 1. Define Song cycle; 2. Describe the background of Frauen Lieben und Leben along with translations of songs # 1, (strophic, with piano theme) # 2,(through composed) and# 8 (through composed with restatement of theme in piano from song #1); 3. Play songs #1,# 2 and# 8; 4. Define Character pieces; 5. Describe Carnaval and commedia del arte characters and Schumann s journalist nom de plume, Eusebius and Florestan; 6. Play Eusebius and Florestan from Carnaval; 7. Play Clara Schumann s Nocturne and Variations on a Theme by Robert Schumann ; 8. Describe the life lived by Chopin and his mistress, George Sand; 9. Play Military Polonaise op 40 #1 and Nocturne #2 in F# Major op. 15. Assessment: Study questions Journal entry Listening identification Class group discussion or Discussion Board Written and Oral presentation of biographies On line journal Final Exam: definitions of terms, answers to questions, listening identification

27 25 Lesson Plan 10: Hector Berlioz Learning Objectives: After successfully completing this activity, students will be able to: Define terms: o Program music o Idee fixe o Dies Irae Describe and give examples of how Berlioz created new sounds by combining instruments. Describe how Berlioz used program music and idee fixe to unify the five movements of Symphonie Fantastique. Identify forms from earlier periods, i.e. Medieval, Baroque and Classical, which Berlioz used in this symphony. Outline the movements of Symphonie Fantastique with tempos, forms and how the idee fixe appears in each movement. Core Student Success Skills Addressed: Critical Thinking o Describe how Berlioz used program music and idée fixe to unify the five movements of Symphonie Fantastique. o Identify forms from earlier periods, i.e. Medieval, Baroque and Classical, which Berlioz used in this symphony. Organization o Organize study time and complete assignments in a timely manner. Communication o Written answers to Study Questions. Collaboration o Participate in Discussion Board. Materials Needed: Audio visual equipment and/or computer CD s and/or YouTube access Power Point or On line text Study Questions 1. Define the following terms and describe how Berlioz incorporates each in Symphonie Fantastique: o Program music o Idee fixe o Dies Irae 2. Describe and give examples of how Berlioz created new sounds by combining instruments. 3. Describe how Berlioz used program music and idee fixe to unify the five movements of Symphonie Fantastique. 4. Identify forms from earlier periods, i.e. Medieval, Baroque and Classical, which Berlioz used in this symphony.

28 26 5. Outline the movements of Symphonie Fantastique with tempos, forms and how the idee fixe appears in each movement. Context in the Course: Another romantic, Hector Berlioz brought his personal passionate love story into the symphonic form. Building on the Classical period symphonic form, he expanded it to 5 movements and incorporated the unifying elements of idee fixe and program music. In addition to Classical period forms, he used forms from the Baroque and Medieval period. Instructions: Student will: Present an oral biography of Hector Berlioz. Instructor will: 1. Describe the art of orchestration and how Berlioz used unusual combinations of instruments; 2. Describe how Berlioz incorporated autobiographical elements into his symphony and used program music to tell the story; 3. Describe how the idee fixe theme represents his beloved in each movement, though transformed in each one; 4. Outline the 5 movements with titles, tempos, forms, the instrumentation for the idee fixe and what the theme represents in each; 5. Read the text for each movement before playing it; 6. In movement V, define, translate and play the Dies Irae theme. Assessment: Study questions Journal entry Listening identification Class group discussion or Discussion Board Written and Oral presentation of biographies On line journal Final Exam: definitions of terms, answers to questions, listening identification

29 27 Lesson Plan 11: Nationalism Author: Johannah Segarich Time Frame: Classroom: 75 minute class; 2 hours reading and homework On line: 1 and ½ hours reading and homework Learning Objectives: After successfully completing this activity, students will be able to: Evaluate characteristics of Nationalism in music from several countries Identify Nationalist composers and the countries they come from Evaluate the influence of Nationalism on European and North and South American composers Core Student Success Skills Addressed: Critical Thinking o Find a film score which shows Nationalist influences. o Introduce us to the composer and give some details about the folk music he used. Organization o Organize study time and complete assignments in a timely manner Communication o Write answers to study questions and WIKI entry Materials Needed: CD s and/or YouTube access Power Point or On line text Study Questions 1. Define terms and give examples from the listening: o Symphonic poem o Modal melody o Drone bass o Asymmetrical meters o Incidental music 2. Identify five Nationalist composers and the countries they came from. 3. Describe and evaluate 1 specific example of Nationalism. How did the composer incorporate traditional music into his work and what did he portray? 4. Evaluate the importance of Nationalism (reflected in music by the influence of native folk music) in the works of nineteenth century European composers and early twentieth century composers from North and South America. Context in the Course: At the end of the 19 th Century a wave of nationalism swept Europe. It was a time of political unrest and revolt. Along with the revolts against traditional rule, composers sought to challenge the dominance of German Romanticism by incorporating melodies and rhythms derived from non Germanic folk music. This had the effect of bringing the music closer to the common people and fore shadowed the

30 28 Revolution in Russia. The asymmetrical rhythms and modal melodies expanded the scope of classical music Instructions: Students will: Present oral biographies of Bedrich Smetana, Antonin Dvorak, Modest Mussorgsky, Edvard Grieg Instructor will: 1. Describe the social and political unrest which brought about revolts against governments and created the Nationalist movements in Europe; 2. Describe characteristics of Nationalism in music; 3. Describe how Modest Mussorgsky chose to portray in music the paintings of his friend, victor Hartmann and the Russian folk elements he included; 4. Define symphonic poem and introduce Bedrich Smetana s The Moldau from Ma Vlast. Describe the scenes portrayed in the music; 5. Play Antonin Dvorak s Slavonic Dance #1; 6. Introduce Antonin Dvorak s Symphony #9 in E minor From the New World; 7. Introduce Longfellow s poem Song of Hiawatha and play Movement II from Symphony #9; 8. Describe Henrik Ibsen s Peer Gynt and how Edvard Grieg tells the story in his incidental music to the play; 9. Describe Gustav Holst s mysticism and the orchestration of The Planets ; 10. Play Mars and Venus from the suite; 11. Identify Nationalist composers from North and South America, and, if time, play selected pieces. Assessment: Study questions Journal entry Listening identification Class group discussion or Discussion Board Written and Oral presentation of biographies On line journal Final Exam: definitions of terms, answers to questions, listening identification

31 29 Lesson Plan 12: Ballet and Opera in the Romantic Period Author: Johannah Segarich Time Frame: Classroom: Two 75 minute classes; 2 3 hours homework On line: 1 and ½ hours listening; 2 3 hours reading and homework Learning Objectives: After successfully completing this activity, students will be able to: Define terms pertaining to ballet and opera and give examples of each: o Overture o Pas de deux o Choreography o Aria o Recitative o Libretto o Versimo o Music Drama o Exoticism o Leitmotif Identify characteristics of Romanticism, Nationalism, and Exoticism in ballet and opera. Evaluate the social impact and influences of Romantic period opera. Analyze musical elements used by Puccini and Bizet to portray exoticism in their operas Identify characteristics of Wagner s Music Dramas. Core Student Success Skills Addressed: Critical Thinking o Analyze and identify characteristics of Romanticism in opera and ballet Communication o Written answers to Quiz questions Organization o Organize study time and complete assignments in a timely manner Materials Needed: Audio visual equipment and/or computer CD s and/or YouTube access Power Point or On line text Study Questions 1. Define terms pertaining to ballet and opera and give examples of each: o Overture o Pas de deux o Choreography o Aria o Recitative o Libretto o Versimo

32 30 o Music Drama o Exoticism o Leitmotif 2. Did you ever attend a performance of a ballet or watch a filmed version of a complete performance? If yes, please answer these questions: o What ballet did you see? o Where was it performed? o What was your over all reaction to the performance? o What did you like best? o What did you like least? *If you had never attended or watched a ballet, please answer these questions: o Did you have an impression of what a ballet would be? o Has watching the excerpts in this lesson changed that impression, and if so, how? 3. Did you ever attend a performance of an opera or watch a filmed version of a complete performance? If yes, please answer these questions: o What opera did you see? o Where was it performed? o What was your over all reaction to the performance? o What did you like best? o What did you like least? *If you had never attended or watched an opera, please answer these questions: o Did you have an impression of what an opera would be? o Has watching the excerpts in this lesson changed that impression, and if so, how? 4. What did you learn about opera and opera singers from watching the excerpts from Operatunity? 5. Describe the how Puccini and Bizet used exoticism in their operas. What musical characteristics did each employ? 6. What are the musical characteristics of Wagner s Music Dramas? 7. Which ballet scene did you like best? Why? 8. Which opera scene did you like best? Why? Context in the Course: Opera and ballet were both part of the Romantic Movement and expressions of Nationalism. Audiences were often from the wealthy elite, but the dramas portrayed lives of common people. In this lesson students will experience both Nationalism (Tchaikovsky, Wagner), and Exoticism (Puccini, Bizet). Instructions: Students will: Present oral biographies of Tchaikovsky, Verdi, Puccini, Bizet and Wagner Discuss stereotypes of opera and opera singers and how Operatunity breaks down those stereotypes

33 31 Instructor will: 1. Identify Nationalist elements in the music of Tchaikovsky; 2. Define terms from ballet like pas de deux, choreography, ballerina; 3. Tell the story of The Nutcracker; 4. Play YouTube or video of Overture and opening scene and pas de deux; 5. Tell story of Swan Lake ; 6. Play YouTube or video of The Dying Swan ; 7. Introduce opera with YouTube excerpts from Operatunity, and ask students to describe how this project breaks down stereotypes of opera and opera singers; 8. Define terms related to Romantic period opera; 9. Tell story of La Traviata and discuss social implications; 10. Play YouTube Act I; 11. Define exoticism and describe the methods Puccini used in Madame Butterfly to depict Japanese music; 12. Tell story of Madame Butterfly ; 13. Play YouTube Un bel di ; 14. Define verismo and how Bizet represents the people of lower classes and everyday life in Carmen ; 15. Play YouTube Habanera ; 16. Describe Wagner s concept of Gesamtkunstwerk and Music Drama, including Leitmotifs; 17. Identify characteristics of Wagner s music; 18. Read a brief summary of the four operas of The Ring of the Nibelung and how Wagner based his operas on Norse mythology; 19. Identify some of the Leitmotifs; 20. Play YouTube Ride of the Walkure. Assessment: Study questions Journal entry Listening identification Class group discussion or Discussion Board Written and Oral presentation of biographies On line journal Quiz on the music of the Romantic period Final Exam: definitions of terms, answers to questions, listening identification Extra credit: If there is a movie theater near you, attend one of the Metropolitan Opera s filmed productions. Write a synopsis of the opera, identify elements you recognized from this course, i.e.overture, arias, recitative, Nationalism or Exoticism, etc. Describe your over all reaction to the experience and what you like best and least.

34 32 Lesson Plan 13: French Impressionism- Claude Debussy and Maurice Ravel Author: Johannah Segarich Time Frame: Classroom: One 75 minute class; 2 hours homework On line: 30 minutes listening: 2 hours reading and homework Learning Objectives: After successfully completing this activity, students will be able to: Define terms related to French Impressionism: o Impressionism o Symbolism o Javanese gamelan Identify characteristics of French Impressionism as found in works of Debussy and Ravel; Identify important artists and writers of the period and evaluate the influence of Impressionist artists and Symbolist writers on the music; Describe how exoticism in art and music changed European perspectives, and how, at the same time, it reinforced stereotypes. Core Student Success Skills Addressed Critical Thinking o What are characteristics of Debussy s music? How does his music reflect the characteristics of Impressionism? o Compare the music of Debussy with that of Ravel. o Define exoticism and describe how it changed European perspectives and how, at the same time, it reinforced stereotypes of non European cultures. Organization o Organize study time and complete assignments in a timely manner Communication o Write answers to study questions Materials Needed: Audio visual equipment and/or computer CD s and/or YouTube access Power Point or On line text Study Questions: 1. Where did the term Impressionism come from? Identify some Impressionist painters. 2. What is Symbolism? Who were some important writers? How did it influence Debussy and Ravel? 3. What are characteristics of Debussy s music? How does his music reflect the ideas of Impressionism? 4. Compare the music of Debussy with that of Ravel.

35 33 5. Define exoticism and describe how it changed European perspectives and how, at the same time, it reinforced stereotypes of non European cultures. 6. What is a Javanese gamelan? Context in the Course: At the end of the 19 th Century and early in the 20 th Century, composers felt the need to move beyond the bounds of German Romanticism. In France, Claude Debussy and Maurice Ravel, responding in part, to innovations in painting and literature, created a new musical atmosphere. Another great influence came from exposure to non Euro/American cultures through travel and through the Paris World Exhibition in Instructions: Students will: 1. Present biographies of Debussy and Ravel. 2. Find a Symbolist poem or Impressionist painting to share with class in group discussion or on Discussion Board and discuss how it relates to the music. 3. On line Journal: o Reflection on the influence of non European influences on Debussy and Ravel, or o Influence of art and literature on the music. Instructor will: 1. Discuss the Impressionist movement in art and the Symbolist movement in poetry and literature; 2. Show photographs of paintings by Monet, (Impression, Sun Rise) and Whistler, (Nocturne), and read poems by Baudelaire, Verlaine and/or Mallarme; 3. Identify characteristics and techniques used by Debussy to create his musical version of impressionism, i.e., Medieval modes, whole tone, pentatonic and chromatic scales, exotic scales, dissonance, parallel chords, ninth chords, syncopated rhythms, free form structures; 4. Play CD or YouTube of La cathedral engloutie (The Sunken Cathedral); 5. Describe Javanese gamelan and play a short excerpt of a gamelan piece; 6. Show Whistler s painting Nocturne and describe how Debussy creates a haunting, dreamy atmosphere in his Nuage from Three Nocturnes ; 7. Define exoticism and Orientalism ; 8. Read an excerpt from Stephane Mallarme s Prelude a l apres midi d un faune and describe the story of the poem; 9. Describe orchestration of Debussy s ballet and outline form; 10. Play CD or YouTube of Prelude to the afternoon of a faun; 11. Compare Ravel s orchestration to that of Debussy; 12. Define: o Rhapsody o Spanish jota 13. Play CD or YouTube of Leonard Bernstein s description and performance of Feria.

36 34 Assessment: Study questions Journal entry Listening identification Class group discussion or Discussion Board Written and Oral presentation of biographies Final Exam: definitions of terms, answers to questions, listening identification

37 35 Lesson Plan 14: Characteristics of 20 th Century Music; Arnold Schoenberg and Igor Stravinsky Author: Johannah Segarich Time Frame: Classroom: Two 75 minute classes; 2 hours homework On line: One hour listening; 2 3 hours reading and homework Learning Objectives: After successfully completing this activity, students will be able to: Identify societal and artistic influences which brought about changes in music in the 20 th Century. Identify specific characteristics of 20 th Century music. Define terms: o Neo classicism o Non symmetrical meters o Polyrhythm o Ostinato o Polytonality o Quartal harmony o A tonality (Pan tonality) o Sprechstimme Describe Arnold Schoenberg s 12 tone method (a tonality). Distinguish through listening, 20 th Century musical characteristics as found in portions of Stravinsky s Rite of Spring. Core Student Success Skills Addressed: Critical Thinking o Describe at least five characteristics of 20 th Century music which are found in Igor Stravinsky s Rite of Spring. o How did Stravinsky incorporate folk melodies and rhythms, and folklore into Rite of Spring? Organization o Organize study time and complete assignments in a timely manner. Communication o Write a Journal Entry responding to the article and expressing your opinion of how Stravinsky's Rite of Spring expresses both the primitive ritual and upheaval of contemporary society. Collaboration o On Discussion Board, post your reaction to either Arnold Schoenberg's Pierrot Lunaire, or Igor Stravinsky's Rite of Spring. How does this music reflect the conditions in Europe at the beginning of the Twentieth Century and why does it remain significant to us today? Respond to at least one person's comments.

38 36 Materials Needed: Audio visual equipment and/or computer CD s and/or YouTube access PowerPoint or On line text Study Questions 1. Identify three artistic or societal influences on 20 th Century composers 2. Identify and describe the following characteristics in 20 th Century music o Rhythm o Melody o Harmony o Dissonance 3. What is quartal harmony? 4. Describe Arnold Schoenberg s 12 tone method. 5. What is Sprechstimme? 6. Describe at least four characteristics of 20 th Century music which are found in Igor Stravinsky s Rite of Spring. 7. How did Stravinsky incorporate folk melodies and rhythms, and folklore into Rite of Spring? Context in the Course: The opening decades of the 20 th Century were filled with societal and intellectual upheaval which was reflected in art, literature and music. Sigmund Freud s seminal theories about the unconscious and dream analysis laid the foundations for psycho analysis, James Joyce transformed literature with stream of consciousness, Franz Kafka portrayed dehumanization and the senselessness of life. The comfortable formality of manners and structure of society seemed to be crumbling. In art, forms were deconstructed and reassembled, and in music, the foundations of tonality which had reigned for centuries were being rejected, as composers sought new means of expressing the break down of 18 th Century norms and the coming chaos of two World Wars. Instructions: Students will: Present biographies of Arnold Schoenberg and Igor Stravinsky Discuss the influence of social and political events on artists, writers and musicians Analyze an example of a 20 th Century composition used in a film On line Journal: o Description of the social influences on 20 th Century music o Reflection on your reactions to the music Discussion Board Describe either Schoenberg s Pierrot Lunaire, or Stravinsky s Rite of Spring and your personal opinion and reaction to the music. Instructor will: 1. Introduce turn of the century ideas, as found in writers, artists and discuss social and political changes and events which led up to two World Wars. 2. Describe influences on 20 th Century music, such as non Western art and music, neo classicism, and new nationalism 3. Identify specific characteristics of 20 th Century in rhythm, melody, and harmony.

39 37 4. Play portion of YouTube lecture by Leonard Bernstein, The Twentieth Century Crisis, which describes Schoenberg s early work and musical thought. 5. Describe Schoenberg s 12 tone method. 6. Define the term Sprechstimme. 7. Introduce the song cycle, Pierrot Lunaire. Identify instrumentation in songs #1 and #8 and read poems, then play songs. 8. Introduce Igor Stravinsky s early career and influences. 9. Describe characteristics of 20 th Century music in Rite of Spring and analyze Part I, Adoration of the Earth. 10. Play YouTube clip of ballet and/or play CD of Part I Assessment: Study questions Journal entry Listening identification Class group discussion or Discussion Board Written and Oral presentation of biographies Final Exam: definitions of terms, answers to questions, listening identification

40 38 Lesson Plan 15: American Composers Author: Johannah Segarich Time Frame: Classroom: Three 75 minute classes; 4 5 hours homework; Review for Final Exam On line: One hour listening; 2 3 hours reading and homework; Final Exam Learning Objectives: After successfully completing this activity, students will be able to: Identify characteristics of 20 th Century in the following works: o Ives: Three Places in New England mvt III July 4 th o Copland: Appalachian Spring and Fanfare for the Common Man o Gershwin: Prelude #1, Porgy and Bess, Rhapsody in Blue o Still: Suite for Violin and Piano (IV) o Bernstein: West Side Story o Barber: Adagio for Strings o Cage: Sonata V for prepared piano o Adams: Tromba lontana Evaluate the cross influence of European music upon American composers and American music upon European composers Core Student Success Skills Addressed: Critical Thinking o Final exam written questions, i.e.: Evaluate the cross influence of European music upon American composers and American music upon European composers o Listening identification Communication o Written answers to essay questions Self Assessment o Journal entry: Final self assessment of progress and achievement in course Organization o Complete final exam and survey on time Materials Needed: Audio visual equipment and/or computer CD s and/or YouTube access PowerPoint or On line text Study Questions 1. Identify characteristics of 20 th Century in the following works: o Ives: Three Places in New England mvt. III July 4 th o Copland: Appalachian Spring and Fanfare for the Common Man

41 39 o Gershwin: Prelude #1, Porgy and Bess, Rhapsody in Blue o Still: Suite for Violin and Piano (IV) o Bernstein: West Side Story o Barber: Adagio for Strings o Cage: Sonata V for prepared piano o Adams: Tromba lontana 2. What European classical music influences are found in Barber s Adagio for Strings and Still s Suite for Violin and Piano (IV)? 3. Describe New Nationalism as found in the following works: o Ives: Three Places in New England July 4 th o Copland: Appalachian Spring o Gershwin: Porgy and Bess 4. How did the following composers incorporate American Jazz in their compositions? o Gershwin: Prelude #1 o Bernstein: West Side Story 5. Compare Copland s Fanfare for the Common Man with Adams Tromba lontana. Context in the Course: As Europe experienced socio/political changes which led up to the First World War, American, too, felt the stirring of new ideas. With new technologies in recording and radio, more and more people were listening to different forms of music, including Jazz, regional folk music, and increasingly commercialized popular music. All these influenced classical composers, who infused their music with new innovations and American nationalism. Instructions: Students will: Present short biographies of American composers. Participate in discussions on the cross influences of European and American music, and New Nationalism as found in music of American composers. Instructor will: 1. Introduce the concept of New Nationalism and discuss its appearance in the works of Ives, Copland, Gershwin, Still, and Bernstein; 2. Play CD or YouTube clip of Ives, Three Places in New England/ July 4 th; 3. Describe Copland s use of quartal harmony and association with American ideals in Fanfare for the Common Man and Appalachian Spring; 4. Play Fanfare and section V of Appalachian Spring; 5. Describe how composers George Gershwin and Leonard Bernstein incorporated jazz into their works; 6. Play Gershwin s Prelude #1 and Rhapsody in Blue; 7. Describe the important social influence and impact of Gershwin s opera, Porgy and Bess; 8. Play CD or YouTube selections from Porgy and Bess;

42 40 9. Play CD or YouTube selections from Bernstein s West Side Story; 10. Describe the programmatic associations found in Still s Suite for Violin and Piano (IV), and play CD or YouTube clip; 11. Define Neo Romanticism and play Barber s Adagio for Strings; 12. Introduce John Cage s philosophy about music and play Sonata V for prepared piano; 13. Introduce the works of John Adams; play Tromba lontana, and ask students to discuss how this piece compares with Copland s Fanfare for the Common Man. Assessment: Study questions Journal entry Listening identification Class group discussion or Discussion Board Written and Oral presentation of biographies Final Exam: definitions of terms, answers to questions, listening identification

43 41 Lesson Plan 16: Final Exam Learning Objectives: After successfully completing this activity, students will be able to: Demonstrate knowledge of terms Define and/or diagram musical forms from the Romantic period through the 20 th Century Identify and compare in writing music from the Romantic through the 20 th Century Identify musical selections for period, composers, form and characteristics Core Student Success Skills Addressed: Critical Thinking Organization Written Communication Materials Needed: Classroom: Written exam and Listening exam using CD s On line: Essay questions and Listening Identification Context in the Course: The final exam will cover material from Lesson 8 through Lesson 15, including written definitions, essay questions, and listening identification. Instructions: Instructor will: Provide written exam questions, including definitions of terms and essay questions drawn from the Study Questions of Lessons 8 through 15. Play selections of music which were covered during the semester and/or works which have similar characteristics. Ask students to identify period, composers, works and musical characteristics. Assessment: Answers to exam questions

44 42 Student Survey for Core Student Success Skills How did the CSSS activities in this course help you in the following study skills? Critical Thinking Communication Collaboration Organization Self assessment Please mention some specific activities that you felt were especially valuable. How will you apply these skills in other courses? How will these skills help you to form clearer college and career goals? Do you have suggestions which might help other students?

45 43 Sample Classroom Syllabus Middlesex Community College Course: MUS Music Appreciation Class Time: TBA Class Room: City #303 Contact Information: Johannah Segarich E mail: [email protected] Office: City 5 th floor #34 Phone Extension: 3142 Office Hours: TBA Catalog Description: This course will help the student to become an active listener of music, and it will introduce a wide variety of musical styles. Through the understanding of elements, or fundamentals, that all music has in common (such as melody, rhythm, tempo, dynamics, harmony, and structure) and a familiarity with the instruments of the orchestra, the student will become an involved listener. Many different kinds of music from 1600 to the present, ranging from small delicate pieces to dramatic symphonies, will be studied. Course Description and Objectives: We hear music of many styles, periods and forms in our everyday lives. Objectives of this course are: 1. To enhance and expand the students understanding and enjoyment of classical music by becoming more aware and active music listeners. 2. To explore fundamental aspects of music such as properties of sound, rhythm, melody, harmony, tempo, dynamics and the instruments of the orchestra. 3. To become aware of the music around us through exploration of various mediums which are widely available, i.e. recording, radio stations, movies, live concerts, etc. 4. To enable students to improve their ability to recognize musical forms and stylistic periods and the music of specific composers through a study of music in a historical format. 5. To listen to a wide selection of recorded music in class and will analyze musical structure and cultural significance. This course supports the development of Written and Oral Communication, Critical Thinking and Multicultural/Global Literacy.

46 44 Teaching Procedures: In order to realize these objectives the course will involve a combination of activities. 1. In addition to listening to music in class students will be given outside reading assignments from materials which I will provide. Students will complete study questions for each section. 2. During class time, students may wish to keep a listening journal in which they will note the characteristics of the music played in class, including period, composer, form, instruments, etc., as well as their personal reactions and opinions of the music. The journal will be submitted periodically for review. 3. Students will be required to do a semester project. Projects might include: o a written critique and analysis of a major composition; o a portrait or biography of a composer, o an essay on the related art, literature or social or political events of a particular time in relation to a piece of music; o your own radio program ; o a performance in class; o an analysis of how a film score is used. 4. Each student will present a 5 minute oral biography of a composer. A sign up sheet will be provided. 5. Students will be required to attend one live performance and complete a performance review. 6. Students will participate in group discussions. 7. Students may submit papers on assigned outside readings for extra credit. Attendance Policy: Because much of the work in this course takes place in the classroom, attendance and participation are essential and mandatory. More than three absences will adversely affect your final grade. (If you have an A, 4 absences will drop it to A, 5 absences to B+ etc.) Grading: Grades will be based on the following criteria: Mid term Exam 25% (exams include short definitions, Final Exam 25% essay and musical identification) Project/Research Paper & Oral Report 25% Attendance and 25% Participation three absences are allowed. With each absence over three grade drops (i.e. 4 absences A drops to B+; 5 absences A drops to B etc.) It is vitally important that students attend all classes and actively participate in classroom activities i.e. listening to, analyzing and discussing various pieces of music. Extra Credit: You may earn extra credit points, (10 points applied to the Mid term and Final Exams) by submitting a two page paper on the articles in your packet.

47 45 Core Student Success Skills: As part of the Title III project to enhance student learning skills, each lesson will include strategies to help you to develop efficient study methods, set learning goals and apply these methods to learning course content. The skills will include: Critical Thinking Communication Collaboration Organization Self assessment Plagiarism Policy: Plagiarism is not acceptable or tolerated. All papers must be properly cited or will be given a failing grade. You may get help with this in the library and the Writing Center. Excerpt from MCC Student Handbook: Plagiarism: taking and using the ideas, writings, or data of another without clearly and fully crediting the source. Examples include: not citing another person s actual words or replicating all or part of another s product; using another person s ideas, opinions, work, data, or theories without reference, even if they are completely paraphrased in one s own words; borrowing facts, statistics, or other illustrative materials without giving credit to the source; unauthorized collaboration with others on papers or projects. Cell Phone and Computers: Use of cell phones is not allowed in class. If you wish to take notes on your computer, you must get my permission and be prepared to show me your notes at any time. Text: As part of the Textbooks Unbound Project, no textbook is required for this course. Materials and recommended listening will be provided. Outside Listening: WGBH 99.5 FM Radio and on line, WHRB 95.3 FM weekday 1 6 pm Naxos Music Library: Through the MCC electronic resources you may access hundreds of musical selections on line. On a school computer: Go to Library Tab; click Electronic Resources in the left column. Click Naxos. Click Classical Music. Supplemental Reading: Please see list of books held on reserve at the library

48 46 Music Appreciation Course Outline and Assigned Reading The following class schedule may vary to permit flexibility in the amount of time spent on the music of each area. Lesson 1 Lesson 2 Introduction; Syllabus Exploring Melody and Harmony Library Resources Exploring Rhythm 3 year old Jonathan conducting 4th movement of Beethoven's 5th lcgiku Readings: Learning the Score by Alex Ross The Evangelist by Alex Ross Lesson 3 Lesson 4 Sources of Sound YouTube: Michael Tilson Thomas Simon Rattle: Young Person s Orchestra Study Questions #1 Due Medieval Period/Renaissance Period ( ) Gregorian Chant Kyrie Eleison from the Benedictine Monks of Santo Domingo de Silos Linn Maxwell Best of Hildegard Alleluia, O virga mediatrix Renaissance Sumer is icumen in Lumina Vocal Ensemble Guillaume DuFay: Nuper rosarum flores Josquin du Prez The Armed Man by Karl Jenkins Missa l'homme Armé Super Voces Musicales 5. Agnus Dei (1/2) Giovanni Pierluigi da Palestrina Super flumina Babylonis

49 47 Lesson 5 Transition to the Baroque Period ( ) Songs and Dances from the Spain, Jordi Savall Jordi Savall, Hespèrion XXI Pavana&Gallarda by Inozzenzo Alberti ( ) Monteverdi: Incoronazione di Poppea Finale Monteverdi: Zefiro torna e di soavi accenti Henry Purcell: Dido s Lament from Dido and Aeneas Lesson 6 Vivaldi Four Seasons Itzak Perlman, violin Johann Sebastian Bach Two Part Inventions: #1 in C Major Glenn Gould, piano The Well Tempered Clavier Book 1 Prelude in C Major, Samuel Feinberg, piano (selection #1) Prelude and Fugue No. 2 in C minor Samuel Feinberg, piano Toccata e Fuga BWV 565 Karl Richter Cantata BWV 80 Ein Feste Burge ist unser Gott Readings: The Well Tempered Web, The Internet may by killing the pop CD, but it s helping classical music by Alex Ross Lesson 7 George Frederic Handel

50 48 Messiah Overture Performed by the London Philharmonic Orchestra Glory to God Performed by the Boston Baroque Conducted by Martin Pearlman Rejoice Hallelujah Chorus Mormon Tabernacle Choir Suite for Trumpet in D Major performed on period instruments by Camerata Ama Deus Lesson 8 Study Questions #2 Due Classical Period ( ) The Enlightenment Classical Forms Sonata Form Ránki Dezső (piano) Readings: Why So Serious by Alex Ross Lesson 9 Wolfgang Amadeus Mozart Read: A Critic at Large The Storm of Style Listening to the complete Mozart. by Alex Ross Serenade in G Major k. 525 Eine kleine Nachtmusik Slovak Chamber Orchestra Lesson 10 Mozart and Opera in the Classical Period Die Zauberflute/The Magic Flute Overture: (sonata form) Metropolitan Opera Orchestra/ James Levin, conductor Papageno aria Queen of the Night aria

51 49 Nozze de Figaro Cherubino s aria: Voi che sapete Finale Act IV Db0 Symphony # 40 in G Minor K Chamber Orchestra of Europe, Conductor Nicolaus Harnoncourt Readings: The Storm of Style by Alex Ross Lesson 11 Franz Lesson 11Josef Haydn String Quartet op. 76 no 3 Emperor Symphony 94/ 2 nd movement Symphony 95 in C minor Lesson 12 Ludwig van Beethoven Symphony No. 5 in C minor,op g Arturo Toscanini, NBC Symphony Orchestra 1952 Lesson 13 Project Topic (paragraph or outline) Due Beethoven Violin Concerto in D Major op Violin: Julia Fischer/ BBC Symphony Orchestra David Zinman. Conductor Symphony #9 in D Minor op Leonard Bernstein, conductor/ Vienna Philharmonic Review for Mid term Exam Mid term Exam

52 50 Spring Break No classes Lesson 14 Beethoven & Bridge to Romantic Period ( ) Reading: Every Good Boy Does Fine, A life in piano lessons by Jeremy Denk Lesson 15 Franz Schubert Erlkonig Dietrich Fischer Dieskau, baritone, Gerald Moore, piano Die Forelle American mezzo soprano Grace Bumbry Sebastian Peschko, piano ( ). Piano Quintet in A Major Julian Rachlin, Mischa Maisky, Mihaela Ursuleasa, Nobuko Imai and Stacey Watton Lesson 16 Robert Schumann Frauen Lieben und Leben Eusebius and Florestan from Caranaval Op. 9 Mitsuko Uchida, piano Clara Wieck Schumann Nocturne op. 6 n. 2 (1834) Huakinthoi, piano Variations on a theme of Robert Schumann Op 20 Cristina Ortiz, piano Reading: Clara Wieck Schumann, a short biography cantatas.com/lib/schumann Clara.htm Even the Score, Female composers edge forward by Alex Ross Frederic Chopin Polonaise Opus 40 No. 1 in A Major Military

53 51 Tzvi Erez, piano Nocturne No.2 in F Sharp Major, Op.15 Tiffany Poon, piano Lesson 17 Lesson 18 Johannes Brahms Sinfonieorchester des Bayerischen Rundfunks Sir Colin Davis, conductor Romantic Period Program Music, Nationalism Hector Berlioz Carnegie Mellon Philharmonic Orchestra, conducted by Ronald Zollman Lesson 19 Ballet Tchaikovsky The Nutcracker Ballet Mikhail Baryshnikov Gelsey Kirkland Pas de Deux e Coda New York City Ballet, f8w Swan Lake Dying Swan Uploaded on Sep 27, 2009 Tokyo in the 1986 Maya Plisetskaya and Soviet Stars tour doa34 Lesson 20 Nationalism: Modest Mussorgsky Philharmonia Orchestra Conductor: Carlo Maria Giulini Filmed at Watford Town Hall, London, 3 March 1964 Bedrich Smetana Má Vlast Moldau (Vltava) [City of Prague Philharmonic Orchestra] Antonin Dvorak Dvorak Slavonic Dance No.1 Wiener Philharmoniker Seigi Ozawa Symphony 9 In E Minor, Op. 95, "From The New World" / George Szell & Cleveland Orchestra ( )

54 52 Edvard Grieg Solveig s Lied from Peer Gynt Slovak Philharmonic Orchestra Hall of the Mountain King Deutsches Filmorchester Babelsberg Scott Lawton Gustav Holst The Planets I. Mars, The Bringer of War James Levine, conductor, Chicago Symphony Orchestra II. Venus The Bringer of Peace London Symphony Orchestra conducted by Richard Hickox Francisco Tarrega Venezuela Recuerdos de la Alhambra Alberto Ginastera Argentina Silvia Paola Nunez, Mezzo soprano, Manuel Corbacho, Piano Lesson 21 Opera in the Romantic and Post Romantic Period Giuseppi Verdi La Traviata (part 1) Franco Zefferelli film, Metropolitan Opera, James Levine, conductor, Teresa Stratas, Violetta, Placido Domingo, Alfredo Giacomo Puccini Freni, Domingo, Ludwig Vienna Philharmonic Orchestra, Herbert von Karajan fyq6a (55:00 Act II 1:02 Un bel di/ 1:35 Flower duet) Georges Bizet Habanera Carmen Anna Caterina Antonacci; Don José Jonas Kaufmann; Orchestra of the Royal Opera House Covent Garden; Conductor: Antonio Pappano

55 53 Richard Wagner Der Ring des Nibelungen, a famous production from Bayreuth Conducted by Pierre Boulez Lesson 22 Project/Paper due April 24 Music in the 20 th Century Claude Debussy La cathedral engloutie Maurizio Pollini, piano (Concertgebouw 2004) Nuage from Nocturnes Cleveland Orchestra. Vladimir Ashkenazy, conductor Debussy's "Prelude to the Afternoon of a Faun" London Symphony Orchestra conducted by Leopold Stokowski Maurice Ravel Rapsodie espagnole N 4: Feria Cleveland Orchestra / Vladimir Ashkenazy hu Lesson 23 Lesson 24 Study Questions #4 Due Arnold Schoenberg Pierrot Lunaire Op. 21 Giuseppe Sinopoli Conductor, "Dresda Staatskapelle Orchestra SDM #1 and 12:00 Igor Stravinsky Joffrey Ballet 1987 Rite of Spring (1 & 2) Reading: Primal Scream, The Rite of Spring a century after its birth, by Alex Ross Lesson 25 Study Questions #5 Due American Composers Charles Ives The Fourth of July from Four New England Holidays San Francisco Symphony/Michael Tilson Thomas Reading: Flight of the Concord by Jeremy Denk

56 54 Aaron Copland Fanfare for the Common Man Performed by the United States Marine Band Martha Graham's Appalachian Spring Part ¾ NEdTj g Duke Ellington Black, Brown and Beige, featuring Mahalia Jackson. George Gershwin Michael Lewin plays Gershwin Prelude No.1 2FrMV4 Lesson 26 Leonard Bernstein West Side Story 1961 Lyrics by Stephen Sondheim Mambo Cool Samuel Barber Leonard Slatkin conducts the BBC Orchestra. John Cage Sonatas and Interludes for prepared piano ( ) Boris Berman, piano o4zzy John Adams Tromba lontana San Francisco Symphony/ Edo de Waart, conductor Readings (Choose one): The Legend of Lenny by Alex Ross Searching for Silence by Alex Ross (about John Cage)

57 55 Sonic Youth, A composer finds his voice in San Francisco by John Adams Review for Final Exam FINAL EXAM 1:00 3:00 p.m.

58 56 Sample On line Syllabus MUS Music Appreciation Contact Information: Johannah Segarich E mail: [email protected] Office: City 5 th floor #34 Phone Extension: 3142 Office Hours: TBA Printable Version of Syllabus: To print a copy of this syllabus, click on the attached file above. Catalog Description: This course will help the student to become an active listener of music, and it will introduce a wide variety of musical styles. Through the understanding of elements, or fundamentals, that all music has in common (such as melody, rhythm, tempo, dynamics, harmony, and structure) and a familiarity with the instruments of the orchestra, the student will become an involved listener. Many different kinds of music from 1600 to the present, ranging from small delicate pieces to dramatic symphonies, will be studied. This course supports the development of Written and Oral Communication, Critical and Multicultural/Global Literacy. Getting Started: Click on the Orientation link in the left menu for suggestions about how to organize your study time and links to helpful resources. Technology Requirements: You will need to: 1. Have easy access to a computer with Windows 95/98 or Macintosh operating system. 2. Have a reliable internet connection 3. Have an MCC account that allows for attachments. Please put your name and the course name in in the Subject Line. 4. Have a Web browser that supports Internet Explorer or Netscape Navigator 5. Have Microsoft Word installed on your computer Learning Objectives: At the end of this course students will be able to: Evaluate important musical elements, such as properties of sound, rhythm, tempo, dynamics, instruments of the orchestra, and musical forms. Identify the time period when a piece of music was composed (Baroque, Classical, Romantic, Early 20 th century, mid 20 th century, late 20 th century early 21 st century) Identify elements in music from Europe and the Americas that reflect the culture of the work s setting

59 57 Identify elements in newer music from Europe and the Americas which reflect a culture outside of the Western tradition Create written documents that employ Standard English spelling, grammar, punctuation and capitalization. Communicate orally and/or in writing key elements of musical structure of a piece of music Assignments, Activities, Quizzes and Exams: In order to realize the course objectives students will be assigned various activities. You must submit your assignments by the due date indicated. Each week you will: Listen to music from various eras and evaluate these by listening for specific characteristics from each era (for example: the orchestration, major or minor key, phrase length, rhythm, use of rubato, form of the piece) Complete reading assignments within each lesson, as well as from supplementary material, such as articles from The New Yorker Magazine and The Boston Globe. Complete Study Questions on the material, or Take a Quiz on material from the unit. Keep a listening journal in which you will note the characteristics of the music you listen to, including period, composer, form, instruments, etc., as well as your personal reactions and opinions of the music. Participate in discussions on Discussion Board In addition to weekly assignments, you will complete the following Mid term Exam Final Exam Participate in 2 group projects Do an individual semester project. Projects might include: a written critique and analysis of a major composition an in depth portrait or biography of a composer an essay on the art, literature or social or political events of a particular time in relation to a piece of music your own radio program composed of selections of music and explanatory commentary a recording of a personal performance to share with the class an analysis of how classical music is used as a film score Core Student Success Skills: As part of the Title III project to enhance student learning skills, each lesson will include strategies to help you to develop efficient study methods, set learning goals and apply these methods to learning course content. The skills include: Critical Thinking Communication Collaboration Organization

60 58 Self assessment Grading: Grades will be based on the following criteria: Homework assignments 15% Discussion Board entries 7% Journal entries 7% Quizzes 9% each) 27% Mid term Exam (Essay questions and Listening identifications) 22% Final Exam (Essay questions and Listening identifications) 22% Extra Credit: You may earn extra credit points if you have completed all required homework assignments, (5 points applied to the Mid term and Final Exams) by submitting a two page response paper on two articles listed in the Course Work units. Plagiarism Policy: Plagiarism is not acceptable or tolerated. All papers must be properly cited or will be given a failing grade. You may get help with this in the library and the Writing Center. Excerpt from MCC Student Handbook: Plagiarism: taking and using the ideas, writings, or data of another without clearly and fully crediting the source. Examples include: not citing another person s actual words or replicating all or part of another s product; using another person s ideas, opinions, work, data, or theories without reference, even if they are completely paraphrased in one s own words; borrowing facts, statistics, or other illustrative materials without giving credit to the source; unauthorized collaboration with others on papers or projects. Netiquette: Good manners apply in on line courses, as well as in a classroom. Please be respectful and use appropriate language in all your communications, (Discussion Board postings, journal entries, s, etc.) I expect proper spelling, grammar and punctuation, no texting abbreviations, no emoticons. Expressing yourself in writing is an art, and like all art, takes practice, but it also brings the reward of having your own unique voice heard. For more information check: Text: As part of the Textbooks Unbound Project, no textbook is required for this course. Materials and recommended listening will be provided. Outside Listening: WGBH Classical New England 99.5 FM Radio and on line Naxos Music Library: Through the MCC electronic resources you may access hundreds of musical selections on line. On a school computer: Go to Library Tab; click Electronic Resources in the left column. Click Naxos. Click Classical Music.

61 59 Course Outline: The course is composed of five units of varying length. After an introductory over view of musical elements and organization, the lessons are arranged according to a historical perspective, from the Medieval Period to contemporary music. There will be a quiz after Units 1 and 2, a Mid term exam after Unit 3, a quiz after Unit 4, and the final exam after Unit 5. Unit 1 (Weeks 1 2) Unit 2 (Week 3) Topics: Topics: Unit 3 (Weeks 4 7) Topics: Unit 4 (Weeks 8 12) Topics: Unit 5 (Weeks 13 15) o Exploring Melody, Harmony, Rhythm and Sources of Sound o Medieval and Renaissance Periods ( ) o Quiz on Unit 1 o Baroque Period ( ) o Quiz on Unit 2 o Classical Period ( ) o Classical Characteristics and Forms o Mozart and Haydn o Beethoven o Mid term Exam o Characteristics of Romantic Period Music ( ) o Franz Schubert o Robert and Clara Schumann; Frederic Chopin o Hector Berlioz o Nationalism o Ballet and Opera in the Romantic Period o Quiz on Unit 4

62 60 Topics: o o o o o Music in the 20 th and 21 st Centuries French Impressionism: Claude Debussy and Maurice Ravel Characteristics of 20 th Century Music; Schoenberg and Stravinsky American Composers Final Exam EXAMPLE OF WEEKLY CLASS ORGANIZATION Week One Introduction to Course Please click on the Orientation link from the menu on the left. It will help to get you started and help you to organize your study time. Unit 1: Exploring Sound Homework: You will find homework assignments at the end of each week's unit. Discussion Board: Click on the Discussion Board module to bring you to directly the discussion form. Post your response to the questions and respond to at least one other person's posting. Read: One article from the New Yorker magazine (link provided) Journal: Write a short response to the reading assignment. Learning Objectives: At the end of this unit you will be able to: Identity the 5 elements of music Define terms for dynamics and tempo markings Describe or diagram the 3 primary textures of music Explain the difference between rhythm and meter Recognize and conduct 2/4, ¾, 4/4, and 6/8 meters in musical selections Recognize vocal categories Outline the sections of the orchestra and the instruments within each section Describe how Benjamin Britten s Young Person s Guide to the Orchestra help you to recognize orchestral sections and individual instruments. Core Student Success Skills: Critical Thinking o Describe how Benjamin Britten s Young Person s Guide to the Orchestra help you to recognize orchestral sections and individual instruments Communication o Read the article from the New Yorker and using the Journal folder, write a reflection on why an orchestral conductor is important. Organization o Make a calendar for your schedule, including work or other activities and building in the number of hours indicated at the beginning of each week s lesson

63 61 o Describe the organization of instruments in the orchestra Collaboration o Use the Discussion Board to introduce yourself to the class and describe your interest and/or background in classical music, as well as what you hope to learn in this course. o Respond to at least one other person's posting.