Make Some Noise!

Grades 11-12
Lexi Jennings
Course Description: Make Some Noise is class for songwriting. This would serve to
educate students on a wide range of skills necessary for musical competency and
literacy, all while fostering a creative space for students to express their ideas through
music. This course would be open to students of all interests and instruments, and it
would be accessible to students on voice, instrumentalists, or even students seeking to
use technology as the basis of songwriting. Different units in the course will highlight
different time periods and genres of music, and students will spend time learning and
composing a bit of music appropropriate for each. At the beginning of the course,
students will be assigned the task of writing a jingle for a commercial, because this is
something hopefully everyone has been exposed through in various forms of broadcast
media. It will cover the basics of simple chord progressions, rhyming phrases (form),
instrumentation, etc. This unit will serve as an introduction to what the bulk of the course
can and will consist of, in the hops of retaining student interest. The course will cover
composition in the form of part-writing in SATB style, composition in jazz, composition
for world music, composition in contemporary music, and students will be encouraged to
explore the various methods of composition on all instruments, not just their primary.
We will also explore forms of non-traditional music notation, and methods of songwriting
and arranging that are derived from atypical notation methods.

Rationale/Need for the Course: The main focus of this course will be student creation.
Although the requirements for projects in the course will not be very content or structure
specific, the end goal of projects in the class will be to have gained an education in
music composition and arranging that students can then carry with them throughout
their lives. As opposed to some of the traditional music courses more commonly found
in schools, like choir, band, and orchestra, this course has no requirement for musical
background. Students from all skill sets and instruments are allowed and recommended
to take the class! The course will provide students with the opportunity to make music
through electronic music devices, various instruments, and through traditional music
notation in online software. The benefits of this course would span across multiple
aspects of a holistic music education, including music history, theory, and performance.
The course will provide students with a basic understanding of each fundamental
element of composition, which can allow them to build on the skills that they take
interest in for the future. We will cover the basic elements of music history, including
genres, composers, eras, and style. We will also take a considerable part of class to
process certain theoretical elements, and how they function within musical composition.
As previously stated, there is no requirement of any sort of musical background to take
this class, and this applies to a background in music theory as well. Although there are
key elements of music theory that are necessary to incorporate into musical
composition, students will be encouraged to discover and evaluate these elements in an
independent setting. This ties into one of the main goals for this course, which is the
promotion of musical understanding for non-traditional music students. In Popular
Music and Classical Musicians, Randall Allsup shares the idea that one common
misconception that classical musicians bring to the study of popular music is that the
two art forms exist across a seemingly vast, unbridgeable gulf. (pg. 31) By requiring
students to create compositions in different styles and genres ranging from different
times periods, it will call for an in-depth understanding of the different elements
associated with each style. Soderman and Folkestad state that the changeable
element of hip-hop fits well with the educational discourse of lifelong learning. (pg. 324)
There are many aspects of music education that can be taught through popular genres
of music, and students will be encouraged to explore composition within these genres. It
will also establish a class that requires musical appreciation. We will touch on the
importance and relevance of different "trademarks" of varying styles of music. Often,
genres that students may take interest in are not promoted as educational tools in a
classroom setting. This course will adapt to styles like jazz, pop, and even country if
students wish to use these styles as a basis for their musical literacy and creativity.
Keeping relevant music in the course curriculum will help students to bridge the gap
between music outside of schools versus music taught in a classroom. In Music
Education at the Tipping Point, Kratus states that history also tells us that the publics
experience of music does not stand still: it keeps moving forward. (pg. 42) Students will
not only adapt a sense of appreciation for the different genres and style periods, but for
different instruments as well. The class participants will be encouraged to try new
instruments and forms of composition. If students have difficulty learning an instrument
that interests them, we can explore ways to compose for that instrument that doesn't
necessarily require a mastery of playing it. Computer programs designed for music
composition like musescore, noteflight, and finale all provide options for writing for
various instruments. Students may also choose to explore musical elements by using a
keyboard, and switch the instrument sound settings in order to experience an artificial
sense of what they hope to compose for varying instruments. In the article "The Three
Artistic Processes: Paths to Lifelong 21st Century Skills through Music", Shuler (2013)
urges educators: "Teach your students to carry out the three artistic processes
independently, and you will set them on paths to lifelong musical involvement." (pg. )
One of the three emphasized artistic processes in music education is creating, which
will serve as the basis of this course. The other two processes are performing and
responding, which will also be utilized in a composition class.

Expected Impact on Students:

Students will be given a creative outlet to express their
musical knowledge and ideas through various different musical styles. This will require
an extensive knowledge in music history and theory, which covers many musical
standards. Students will be required to create original music, perform the original music,
and respond to the original music of others- the three artistic processes that are of
importance in music education.
Standards that are emphasized in this course:
-All HMT standards (0.1-0.13)
-All high school performance standards (instrumental and choral)
The student will explore historical and cultural aspects of music by
1. comparing and contrasting the cultures, musical styles, composers, and historical
periods
associated with the music literature being studied;
2. assessing musical periods and styles, using music terminology;
3. analyzing the characteristics of instrumental music from a variety of cultures;
4. analyzing and evaluating opportunities for music performance and advocacy within
the community;
6. assessing the use and misuse of ethical standards as applied to social media and
copyrighted materials; and
7. modeling exemplary concert etiquette as an active listener.

Expected Impact on the School/Community:

This course will promote student creativity and self-expression, and will be open to
students of all musical disciplines. This provides an option for a musical outlet for all
students, even if they dont play an instrument. Students will form their own opinions on
music of different genres and styles, and contribute their own musical ideas based off of
their own experiences. Students will also perform a concert of their own composition of
their choice, which extends their musical knowledge into the rest of the student body
and the community.

Project Outline

Project Title: Score a Mini-Movie

Project Description (a vignette or some paragraph):

For this project, students will be presented with a short one- to two- minute video clip of
a dance in a lyrical style. These dances often have a theme or message, and the clip
will be shown with no audio. Students will watch the clip, and interpret a theme,
message, or overall emotion of the dance that they will then portray in their own original
accompanying score. Students will collaborate to share ideas, be encouraged to be
individual in their artistic interpretations, and share their final compositions with the
video at the conclusion of the project.
UbD Planning Template:
Stage 1 Desired Results
ESTABLISHED Transfer
GOALS with Students will be able to independently use their learning to
Standards -use their knowledge of music theory to create musical phrases,
HG.1 The sequences, and fragments that create a piece of music evoking a
student will read desired emotion
and notate -interpret exiting pieces of art in individualized settings and forming
music, including their own interpretations, relating them in their musical creativity
1. notating Meaning
original musical UNDERSTANDINGS ESSENTIAL QUESTIONS
ideas on the Students will understand that
treble and bass -music conveys stories and What musical elements
staves; 2. emotions through varying forms of create specific tones and
identifying and chord qualities, specific melodic emotions?
using the lines, varying intervals, etc.
standard -lyrics are not necessary to give Did my interpretation have
notation meaning to music more similarities or
symbols for -pieces of art can be interpreted differences with that of my
pitch, rhythm, differently and they do not have to peers?
dynamics, be defined as right or wrong
tempo, Did my interpretation have
articulation, and more similarities or
expression; 3. differences from the
notating music original?
from dictation;
and 4. using How can manipulation of
contemporary different musical
technology. facets/dimensions impact
HG.2 The the story or emotion evoked
student will in a piece of music?
compose and Acquisition
arrange music Students will know Students will be skilled at
within specified -key elements of music theory -interpreting art through
guidelines by 1. Key signatures critical thinking and student
incorporating Time signatures collaboration
appropriate Scales -musical creativity and
voicings and Intervals/Triads production
ranges; and 2. Rhythmic notation (16th Notation (traditional
using a variety note-whole note) and non-traditional)
of sound, -musical effect of different Comes with
notational, and instrumentation interpretation- how
technological I.e. the way instruments are can do students
sources. voiced in a song (strings, ideas follow/differ
 brass, etc.) from traditional music
trends of certain
styles?
Stage 2 - Evidence
Evaluative Assessment Evidence
Criteria
-detailed PERFORMANCE TASK(S):
justifications of -share portion of think-pair-share in day 1
opinions on -students volunteering/sharing elements of projects in working
video clip phases
-concrete -sharing videos of compositions at final
fragments of
working -Requirements for final:
elements of Playable video clip with accompanying sound of students
music making in composition
middle phases Written summary of their composition and rationale for
-clear using certain instruments/musical elements in order to
story/effect create _____ effect
created within Peer reflection sheets
final
composition
-are students OTHER EVIDENCE:
putting -observation of student progress between classes- are they
appropriate time working at home?
and effort into -are students asking questions?
projects? -student collaboration/sharing during working phases of project
-are students
asking for help
when they need
it?
Stage 3 Learning Plan
Summary of Key Learning Events and Instruction (these would be the summaries of
the actual experience designs: Outline a project for 6+ days
Day 1
-introduction of video, WITHOUT music or accompanying sound
-have students discuss possible context for the video in groups, then share with class
(think, pair, share)
-introduce project concept
-students can have time to watch video (individually) and brainstorm their own ideas
about certain fragments of the clip/story
-students may begin work on compositions if they feel equipped to do so

Day 2
-Instructor will help lead exploration of musical elements out of context in order to
understand the effect that they might give
 Introduction of new musical elements-chord structure, instrumentation,
suspensions, etc. that students will employ into their composition
-Students can test these elements in OR out of context, to see what they like and
dislike about the emotional effect they create.
-Students begin/continue work on compositions

Day 3
-Students begin putting their big ideas into action
Day is primarily dedicated to work on composition, where students can ask
their peers or the instructor for help or opinions during the working stages.

Day 4
-Students continue work for most of class
-towards last 10~ minutes, students can volunteer to share elements of their score
that they would like to hear feedback on with the class

Day 5
-Students continue work, finalize compositions to be shared for the next class period.
-Students will be required to summarize the effect they were going for with their
composition, with a written response that includes their justification for using specific
musical elements, and the effect they create.

Day 6
-Presentation of video clips
-all students get worksheets to write 2 positives and 1 constructive criticism
To be turned in to instructor, praises/critiques will be compiled and distributed
to respective students

ADAPTATIONS & MODIFICATIONS

Color and Size: Students can have the opportunity to choose the device in which they
use to compose, whether it be computer, tablet, pencil and paper, etc. There are
multiple outlets that can be used for composition, offering various options for color
and size. If technology is the basis for composition, many aspects of different
programs are digitally adjustable to meet student needs.
Pacing: If more time is needed, students can use individual time to work with the
instructor on what they need help with. Student can also choose to do a smaller
portion of the video clip. If pacing is too slow, students can begin to score other dance
clips of their choice, with a new interpretation.
Modality:
Aural- Headphones or speakers can be used
Visual- adjustments to music technology can be made through the digital
platform; color, size and shape can be adjusted if composition is done
 manually
Kinesthetic- students can compose through the medium of their choice
(makey-makey, computer, etc.)
EXAMPLE END OF PROJECT ASSESSMENT RUBRIC:
Clearly explains desired effect __/20
Clearly explains use of musical elements for desired effect __/20
Meets final deadline (video and summary paper) __/10
Completion of peer evaluation __/10
Desired effect = Overall theme, storyline, motifs, etc. of musical composition

Does not explain Vaguely explains Explains desired Clearly explains

desired musical desired effect of effect of musical and elaborates on
effect of musical composition, with desired effect of
composition composition little to no musical
elaboration composition
0pts 10pts 15pts 20pts

Does not explain Vaguely explains Explains use of Clearly explains

use of any musical use of musical musical elements and justifies the
elements for elements for with little to no use of specific
desired effect desired effect definitions for musical elements
within the desired effect with correct
composition within the definitions for
composition desired effect
within the
composition
0pts 10pts 15pts 20pts

Does not meet Meets final

final deadline deadline (video
(video and and summary
summary paper) paper)
0pts 10pts

Does not complete Completes peer Completes peer

peer evaluation evaluation with evaluation with
vague feedback specific feedback
and suggestions and suggestions
0pts 6pts 10pts
 Budget

Item Name Use Cost Quantity Overall

(linked to provider) (How will this be used by students/teacher?) (per unit) Cost

Casio Digital Students will use keyboards as a $99.99 20 $2000

Keyboard basis for learning musical per unit
http://www.west elements in their compositions
music.com/p/ca
sio-ctk-2400-61-
key-digital-keyb
oard-100922
*note: Students will be using free notation software and programs to explore possibilities
for composition. Some of these programs include Sonic Pi, musescore, noteflight,
Garageband (preloaded onto Mac systems). This will also promote the use of these free
resources (accessible resources) to students beyond the walls of the classroom.
Total Cost: $2,000

References

Shuler, Scott C. "The Three Artistic Processes: Paths to Lifelong 21st-Century Skills
through Music." Mej.sagepub.com. NAfME, 10 June 2013. Web.

Johan Sderman & Gran Folkestad (2004) How hip-hop musicians learn: Strategies in
informal creative music making, Music Education Research, 6:3, 313-326, DOI:
10.1080/1461380042000281758

Kratus, J. (2007). Centennial series: Music education at the tipping point.Music

Educators Journal, 94(2), 42-48

Allsup, R. E. (2011). Popular music and classical musicians strategies and

perspectives. Music Educators Journal, 97(3), 30-34.