Sample Lesson Plan

Grade 8 Music
60 Minutes

Universal Design for Learning

Representation
1.1 Vary ways to display
information:
instructions will
be given verbally, in a handout,
and written on the whiteboard.
1.2 Alternatives for auditory
information:
I use visual
symbols to help represent
verbal speaking
2.1 Clarify vocabulary and
language:
all instructions to be
written/spoken with simple
language and syntax
2.2 Clarify language structure
and rules:
I preteach the terms
tempo, rhythm, and musical
style
3.1 Access background
knowledge:
KWL chart to act as
APK and closure
3.3 Guide information
processing, visualization, and
manipulation:
I allow for
multiple points of entry to and
pathways through the content,
i.e. different kinds of work
done in mini-teams
Action and Expression
4.2 Optimize access to tools
and assisting technologies:
I
provide opportunities for work
with hands, writing, or
language
5.1 Use multiple media for
communication:
students
provide products using text,
speech, illustration, musical
instruments
5.2 Use multiple tools for
construction and composition:
students create/compose
different models that reach the
same outcomes and skills
5.3 Build influences with
graduated levels of support for
practice and performance:
students have the teacher, as
well as each other, to inform,
give feedback, and guide.

Outcomes
GCOs:

SCOs:

Required Materials, Tools and

Technology

a)
Students will explore, challenge,
develop, and express ideas, using the
skills, language, techniques, and
processes of the arts
b)
Students will demonstrate critical
awareness of and value for the role of
the arts in creating and reflecting
culture

Physical materials:
Whiteboard/markers
Handouts
2 CD players
Chart paper/markers
Printouts of resources
Any and all drums in
the class
Drum sticks

a)
8.3.1 Explore styles, techniques and
instruments from a variety of cultural
and historical contexts
b)
8.1.1 Sing/play with others,
demonstrating an ability to maintain
their part within a variety of musical
textures, harmonies, and styles

Resources:
Activity idea: Percussion
Performance and Culture
https://www.teachervision.com/
musical-forms/activity/7394.htm
l?detoured=1

SWBAT (in student friendly terms):

a)
Identify the difference between
African and Aboriginal drum rhythms,
techniques, style, and cultural
relevance
b)
Perform in African and Aboriginal
drumming style.
Assessment
(formative/summative, self/peer)
What prior data is informing your instruction?
KWL chart:
Randomly select students to describe what they
know and wonder about African and Aboriginal
drumming style. Write a three-column KWL
chart on the whiteboard and fill in the know
and wonder section. If need be, preteach the
terms tempo, rhythm, and musical style. At the
end of class, ask questions guided toward the
outcomes, i.e., Whats the main difference
between African and Aboriginal drumming
tempo? Style? Overall sound? What was the
biggest challenge of playing in these styles?
Keeping the time? Playing with a group?
Students will describe what they have learned
and the teacher will fill it in the chart.
What assessment strategies will measure the
learning from the outcomes?
a)
Assessment of Learning:

students
will be assessed on the short
presentation at the end of class. They
will be given applicable resources and a
handout with focus questions to guide
them towards discussion about
rhythms, techniques, style, and cultural
relevance. Teacher will focus
assessment on organization, clarity,
creativity, and intercultural
competence.

Aboriginal drumming handout

(see below):
http://www.native-drums.ca/ind
ex.php/Teachers/Trks?tp=a&bg=
1&ln=e
African drumming handout (see
below):
http://exploringafrica.matrix.ms
u.edu/teachers/curriculum/m13
/activity3.php
Special Concerns
Class of 24 students two large groups of 12.
If someone is absent,
assure the mini-team
with two people has
additional help from
the teacher, EA or other
students if need be
Classroom will need to
be set up at the end of
the previous day
Ensure students are
respectful of their
peers; instruct them to
not play the drums or
audio samples too loud
Differentiation
MIs:
Verbal-linguistic
Visual-spatial
Mathematical-logical
Kinesthetic
Musical
Interpersonal

6.2 Support planning and

strategy development:
I offer
opportunities to break
long-term goals into short-term
goals
6.3 Use tools to manage
information resources.
Facilitate managing
information and resources:
I
use graphic organizers to best
manage organization
Engagement
7.1 Optimize individual choice
and autonomy:
I provide
choices in context and content
used for practicing skills;
students choose the area they
prefer to work in
7.2 Optimize relevance, value,
and authenticity:
I provide
students the opportunity to
place value and relevance on
different cultures.
8.2 Vary materials and
resources to optimize
challenge:
I differentiate
degrees of difficulty and
challenge between the
activities in the lesson
8.3 Support collaboration and
communication:
I provide
opportunity for students to
work in small teams and large
teams; I offer peer tutoring and
support within the activity
9.1 Promote expectations and
beliefs that optimize
motivation:
I offer guides and
help that focus on increasing
the length of on-task work in
the face of distraction
9.3 Develop self-assessment
and reflection:
I provide timely
feedback so students can
reflect and self-assess with a
clear line of reasoning involved

b)
Assessment of Learning:

students
will be assessed on a short piece they
have composed in the style of either
African or Aboriginal drumming.
Assessment will emphasize timing,
maintaining their part with others, and
creativity.
c)
Assessment as Learning (peer/self

assessment):
students will be urged to
answer each others questions before
asking the teacher. This way, they are
assessing and clarifying each others
ideas during the research and creation
of their presentation and composition.
d)
Formative Assessment:
teacher
monitors the class. Teacher will answer
questions and help out during the
research and creation of students
presentations and compositions where
needed.

Timeline / Elaboration
Before (APK)

Randomly select students to describe

what they know and wonder about
African and Aboriginal drumming.
Write a three-column KWL chart on the
whiteboard and fill in the know and
wonder section.

During

50
m

Part 1:

5
m

After APK, students will be numbered

off as either one or two and put
into groups according to these
numbers. Group one will focus on
African drumming music and group two
will focus on Aboriginal drumming
music
(1 minute)
.
Group one will stand up first and
assemble at one side of the room.
There will be handouts with
instructions, audio samples, a CD
player, chart paper and markers, and
resources pertaining to African
drumming style set up and ready to go
(1 minute)
.
Group two will go to the opposite side
of the class and the same materials
listed above, but pertaining to
Aboriginal drumming style, will be set
up and ready
(1 minute)
.

Whole class will be given these instructions

verbally
(2-3 minutes)
:

Learning Styles:
Sensing-Thinking
(mastery style):
the
work involved in
mini-team 3 provides
opportunity for
students with ST
learning style to work.
It is hands on, technical,
logical, and active.
Intuitive-Thinking
(understanding style):
NT students may prefer
mini-team 1 or 2. In
mini-team 1, they can
dissect the musical
characteristics in an
organized, logical, and
systematic fashion. In
mini-team 2, they can
use those same
qualities to collect data,
make meaningful
connections between
music and culture, and
describe different
points of view.
Intuitive-Feeling
(self-expressive style):
These students may
prefer mini-team 1 or 4.
In mini-team 1, they
can compose in the
assigned drum style
with imagination,
creativity, and
unpredictability. In
mini-team 4, they may
use their passion to
deliver an engaging
presentation.
Sensing-Feeling
(interpersonal style):
These students may
benefit from mini-team
2 or 4. In mini-team 2,
they may focus on the
lives of either Africans
or Aboriginals to
produce information
that best helps connect
music to culture. They
will be effective in
mini-team 4 because of
their love of attention,
summing up their
collaborations with the
rest of the class, and

Each group will be split up into four mini-teams

(four groups of three students). Decide within
your group who will be in each mini-team. If you
have questions, ask your group members first. If
they cant give an answer, go to the teacher. I
will monitor your progress throughout the
activity. Teacher will do a C4U at this point.

Group 1: Listen to the audio examples

and identify key characteristics of the
music (tempo, rhythmic ideas, style).
These three will be in charge of
becoming acquainted with the style,
creating a basic arrangement in the
style, and teaching it to the rest of the
group later.
(Musical, Interpersonal,
Mathematical-logical, Kinesthetic)
Group 2: This group will be in charge of
looking at the resources provided to
identify the instruments, style, and
most importantly, cultural relevance.
(Verbal-linguistic, Interpersonal)
Group 3: This group will be in charge of
creating an aesthetically pleasing
presentation on the chart paper
provided. These students will be in
charge of synthesizing the information
given to them from the group
researching the resources and creating
the presentation. Illustrations are
encouraged.
(Visual-spatial,
Verbal-linguistic, Interpersonal)
Group 4: The rest of the individuals will
be in charge of presenting the material
accumulated by groups 2 and 3 to the
rest of the class. This group will also be
instructed to ask questions of and be
involved with groups 2 and 3 to assure
they have a firm grasp of the concepts
and materials.
(Interpersonal,
Verbal-linguistic)

Teacher will do a C4U at this point.

Students will have
20 minutes
to complete the
above.
Part 2:
At the 20 minute mark, teacher will
draw students attention.
Teacher will instruct students to break
up from their mini-teams and form
back into their big group.
Students will be instructed to find an
object that makes a percussive sound
(drums, desks, chairs, any hard surface)
near their side of the room.

perhaps learning things

about themselves.
Students to note:
There are two ELL
students. Student A
speaks English at a
medium level and
Student B at a low level.
Student A may prefer
mini-team 1 or 4 and
Student B may prefer
mini-team 1. Ensure
instructions are visible
on the whiteboard in
simple vocabulary and
syntax.
Student C is in a
wheelchair. Ensure he is
in the group that
assembles nearest his
desk to prevent him
from having to navigate
around the room
unnecessarily.
Student D is a proud
Aboriginal. Ensure this
student is in the group
focusing on Aboriginal
drumming style as it
will engage her the
most.
In-Class Support
Student Cs EA helps
monitor his groups
behaviour during the
activity while the
teacher focuses on the
other group
Ask a student to briefly
stay after class on the
previous day to help set
up the classroom
Cross-curricular Connections
English Language Arts:
state a point of view in
a convincing manner,
offering relevant
information to support
that viewpoint
with increasing
confidence and
flexibility, find evidence
in texts to support
personal claims and
viewpoints about

Mini-team 1 will be instructed to teach

the rest of their group some
characteristics of the drumming style.
Each student will create a drumming
part that fits with the overall short
composition created by mini-team 1.
(Musical, Kinesthetic, Interpersonal,
Mathematical-logical)

Teacher will do a C4U at this point.

Students will have
7-8 minutes
to complete the
above.

Social Studies:
6.4.1 analyze how the
arts reflect beliefs and
values in a selected
cultural region
2.1.5 identify various
forms of material
culture that societies
use to express culture
2.1.7 identify examples
of cultural diversity at
the local, regional, and
global levels

Part 3:

Mini-team 4 from Group 1 will present

the groups findings to the other side of
the class. The other side of the class
will be urged to ask questions
regarding the presentation. If no one
volunteers, teacher will randomly
select students to ask questions.
The whole group will perform their
piece composed from section 2 of the
activity.
Group 2 will do the same as above.

Each group will have

5-6 minutes
to complete
the above
(10-12 minutes total)
.
Opportunity for individual/small group
instruction
This activity provides large group and small
group work. Large groups perform together in
either African or Aboriginal styles. Small groups
work at one aspect of the whole activity.
Students are able to select their role in the small
groups according to their MIs and learning
styles, while the large group activity challenges
them to be out of their comfort zone.
After

Students will be randomly selected to

describe what they learned during the
lesson. Teacher will use open-ended
questions related to the outcomes as
prompts, for example, Whats the
main difference between African and
Aboriginal drumming tempo? Style?
Overall sound? What was the biggest
challenge of playing in these styles?
Keep the time? Playing with a group?
Teacher will complete the KWL chart.

issues, themes, and

situations
choose, with increasing
regularity, the
prewriting, drafting,
revising, editing,
proofreading, and
presentation strategies
to aid in producing
various texts

Reflection
This was the second lesson plan I
completed individually. I wanted
to complete at least one with as
much detail as I could, and to the
best of my ability, so I can know
how to make them properly.

5
m

ResourceforAboriginalDrummingStyle
InterviewwithEddieRobinson,singerinMorningStarRiverSingers

FvR:
Inoticedthatyoutakespecialcareinsettingupthedrum.Tellmewhatpeopleshouldunderstandaboutthatprocess.

EddieRobinson:
Wellitjustbasicallyneedstobecleansedtheenvironmentneedstobesafe,especiallyforsomethingas
sacredassinging.Thewaywesingisreallyanimportantpartofourculturesoyoucantjustputthedrumanywhere.A
certainamountofprideistakeninsettingitupappropriately.

FvR:
Wouldyoutalkabitabouttheprocessofsmudgingyourselvesandthedrum?

Eddie:
Wellsageisoneofthefourmedicinesthatweuse.Thespecificpurposeforsage,especiallyaroundthedrum,isjust
tocleansethespirit,tocleansetheareaofanynegativity,tohaveanallaroundgoodfeelingforthesingers,forthedancers.
Justmakingsuretheatmosphereisgood.Thatreflectsoneveryonewhosaroundwhoshearingthemusic.
FvR:
Talktomejustbrieflyaboutcaringforthedrum

Eddie:
Wellthedrumisseenasalivingspirit.Itisfedseasonally.Itiscaredforitistalkedtolikealivingbeing.Weletit
knowwhichgatheringorcelebrationwearegoingtoexactlyasifwearetalkingtoaperson.Wepraywithitbeforewe
actuallystartsinging.Wejusttreatitlikearespectedelderorgrandparent.Andsowehavetobecarefulhowitistakencare
ofandwehavetobereallyresponsiblewiththat.

FvR:
Youaretheleadsingerforyourgroup.Whatisinvolvedinbeingaleadsinger?

Eddie:
Beingleadsingerforadrumgroupisalotofresponsibility,andtakesalotofdedication,alotofloyalty,andalotof
patience.Itisbeingpassionateaboutwhatwearedoingandwhatmygoalsareasasingerandwhattheculturemeansand
makingsurethatiscarriedacrossintheproperwaybymysingersandbythedrum.Sothereisalotthatsentailedinthat.It
isorganizingandcoordinatingandmakingsurethateverybodyknowsthesongs,andeverybodysbeatisrighton.
Everybodyhastobeinsyncsoitsmyjob,myresponsibilitytomakesurethattheyaretrained.

FvR:
Inyouropinionwhatmakesagoodsinger?

Eddie:
Inbecomingagoodsinger,yourealwayspractising.Itdependsonhowpassionateyouare,butittakesalotof
practice,alotofwork,alotofdedication,alotofresponsibility.Thereisalotofeffortputintoyourvoiceandperfectingit.So
itissomethingtobetakenseriously,especiallywhensingingaroundadrumwithadrumgroupanddoingthisstyle.

FvR:
Cananybodybecomeasinger,andjoinadrumgroup?

Eddie:
ThewayyoubecomeasingerisbasedonwhichcommunityorNationyouarebroughtupinoryourfamilycomes
from.Youhavetofollowtheprotocolsforthatspecificgroupusually.Forourdrumspecifically,itslikeafamily,afamilyof
men,togetherwithourspouses.Wehavetocometogetherlikeateam,putsomucheffortintoourmusic,somuchtime,so
muchhardwork.Ifourheartisintherightplacethenwecanonlymakegoodmusic.
Thereissomuchtobecomingagoodsinger.Somearejustnaturallygiftedwithgoodvocals,somehavetoworkatit.Itis
basicallyjustpersistenceandwantingtoachievethatgoalofwantingtosoundgood,notonlyforyourselfbutforthepeople
whoarehearingyourmusic.Thatsbasicallywhatitisallabout,pleasingthecommunity.Itislikeawayofprayer.Whenwe
sing,wesinghardandwesinggood.Itslikethecommunicationwiththespirits.Andwhenweknowthatwefeelgood,were
pumpedoverasongthenitjustreflectsonthepeoplethatarearoundandtheyfeelthat.

FvR:
Tellmeabitaboutthekindsofhandsignalsyouusetocommunicatearoundthedrum


Eddie:
Thehandsignalsarejustforcommunicationaroundthedrumclarityjustsothateverybodyknowswhereweareat,
atwhatpointofthesong.Arewegoingtostoporpickitup.IfIampassingleadstodifferentsingerstheyneedtoknowIam
passingthemtheleadbecausesometimespeoplearesoconcentratedonthesong,focussed,lostinthemusic,theyneedto
beremindedthattheirleadiscomingup.Alsoifpeoplearegoingoffbeat,Ikindofgiveasignalthattheyaregoingoffbeat.
AndthatissomethingIhavetolistenfor.

FvR:
Whataboutthecommunicationbetweenthedrumandthedancers?

Eddie:
Withanydrumtherehastobetheproperbeatandtherightsong.Youcannotsinginappropriatesongsfordifferent
dancersbecausetheywillgetupset.Itisoutofprotocol.Thereareverystructuredsongs,veryspecificsongswithspecific
beatsandithastobefollowed.Ifyouaregoingtobeasingeryouhavetomakesureyouknowthosethings,especiallyfor
thedancers.Thatisabigpartofwhywesingitisforthosedancers.

Source:http://www.nativedrums.ca/index.php/Teachers/Trks?tp=a&bg=1&ln=e

ResourceforAfricanDrummingStyle

MusicinAfricansocieties,asitfunctionsinmanydifferentsocietiesintheworld,hasautilitarianvalue.Music,eithermaking
itorlisteningtoit,islinkedtolifeexperiences.Theseexperiencesrangefromspecialoccasionssuchasbirths,weddings
andfunerals,totheaccompanimentofeverydayexperiences,suchasplayinggames,learningabouttheenvironment,
drivinginacar,anddiscussingpoliticsandeconomics.Musicisanexpressionoftheliving,andusingmusictraditionslinks
thelivingtothosewhocamebeforeandtothosewhowillarriveinthefuture.Musicisfunandmakespeoplewanttomove,
therebydrawingthemintothepresenceofbeingalive.
ThemakingofmusicalinstrumentsshowssomepracticalityindifferentAfricanapproachestolife.Instrumentsaremade
accordingtotheavailabilityofrawmaterialsinageographicarea,andmoresonow,theavailabilityofelectronicmaterials.
Sometimesthelanguagesoundsofspecificgroupshaveaffectedthecreationofdifferentinstruments,suchasdrums,which
havebeenusedtomimicthetonalityandrhythmsoflanguagetosendmessages.Anexampleofthesemessageswouldbe
amusicianplayingoutaloudrhythmtowarnpeoplenearbyofanattackbyaneighboringgroup.Wecansafelysaythatthe
artsinAfrica,includingmusic,servefunctionsthatarelinkedtotheoperationsoflivingeverydaylife.
ItisimportanttonotethatmusicinAfricansocietiesmusicisusedfordifferentpurposes.Musicisusedforworship,rituals,
entertainment,comfortandmanyotherpurposes.Youngchildrenusemusicintheirgames,boysandgirlsusemusicasa
sourceofentertainment,andyoungadultsmaylistentoorparticipateinamusicmakingsessionforentertainmentreasons
ortojoininagrouptofostersolidarityandunity.
Africaisahugeanddiversecontinent,andthereforethemusicofAfricaisdiverseinnatureasitislargelyinfluencedbythe
differentculturesandgeographicallocations.Theinstrumentsaremadeaccordingtotheavailabilityofrawmaterialsina
geographicareaandsometimesthelanguagesoundsofspecificgroups.IfwelookatthemapofAfrica,wecannoticethat
peoplelocatedinregionswheretherearelargeforestsseemtohavemusicthatisdominatedbyinstrumentsmadeofwood,
forexampletheMarimbainMozambique,ZimbabweandAngola,andXylophonesandthe
Logslitdrums
fromtheCongo
region.Ontheotherhand,thosepeoplelocatedingrasslandsseemtohavedevelopedstrongvocaltraditions.
Songsalsovaryfromregiontoregion,andmorespecifically,fromculturetoculture.Therhythmoflanguageisacontributing
factortohowsongsaremadeandsung.Anotherfactorishistorythatisspecifictooneculturegroup.Groupperspectiveand
identityareinsertedintothemusicaltraditionsthatapeoplecalltheirown.Thepopularclubmusiccalled
Kwaito
inSouth
AfricaisverydifferentfromtheSenegaleseclubmusicthathasstrongSalsainfluences.
AlthoughtherearemanyfactorsthatmakeAfricanmusicsodiverse,andthankfullygiveussomanydifferentpleasurable
soundstochoosefrom,therearealsothemesinAfricanmusicthatunifyitasagenre.Theseincludepoliticalthemes,like
fightingforindependence,psychologicalthemes,likeovercomingthementaloppressionofracism,andeconomicthemes,
likedemonstratingtheplightofpovertyinmanydifferentareasofthecontinent.

Source:http://exploringafrica.matrix.msu.edu/teachers/curriculum/m13/activity3.php