to Set on Fire
For Grades 9-12
Elizabeth Vaughn
Course Description
Key Change: Songwriting to Set on Fire is a new and unique music
course that investigates social injustices and global issues through
songwriting. This class combines critical investigation and creative music
making, but students who enroll do not need any prior experience in either of
these fields to succeed in this course!
Students in this class will choose a global issue that they are passionate
about and through investigation and formal research, develop a better
understanding of the topic using credible sources. Students will engage in
group discussions about contemporary global issues and will also be guided
through the basics of songwriting (harmony, melody, song hook, lyrics, etc.)
through a series of group activities and individual projects.
In this classroom, numerous instruments will be available to play with,
learn, and use to accompany original songs. These instruments include
keyboards, guitars, ukuleles, and electric basses. Other instruments are
welcome, as well as electronic music making software (such as Ableton,
Soundtrap, GarageBand, etc.) to create original music.
At the end of this course, students will record their original songs to
post on our online class portfolio. Students will present their work to the class
and community (through live performance or playing finished recording) and
describe their process, including their initial viewpoints, research,
songwriting, and what they have learned through these experiences.
Students will be challenged in this class to approach these global issues
with an open mind and think critically as they investigate a topic they are
passionate about. Students will be led through the building blocks of
songwriting and be challenged to express their understanding of and
viewpoints on their chosen topic.
Most importantly, in this course will dip their toes into art activism and
see what impact they and their work can have on their peers and community.
Rationale
Societal, political, economical, environmental, and emotional issues that
are present at the global level are often not explored in the K-12 curriculum. In
this course, students will be given the opportunity to dive into problems such
as social injustice, war, racism, sexism, global warming, poverty, world hunger,
and other global issues through both analytical and creative lenses.
In existing music course offerings, students are invited to learn and
re-create the music of composers within genres that all too often fall into one
specific demographic. The materials used in these traditional ensemble
classrooms usually do not extend past this repertoire that fails to represent
the numerous, diverse ways of music making and those who participate in its
creation. Through this course, students will be given a space to explore music
making outside of the traditional ensemble (Kratus 2016) and confront
material that is not typically addressed in depth at school.
Students will explore global issues and engage in conversation with
their peers about current events, movements, and conflicts. Hot button topics
that are often avoided within school will be discussed, debated, and dissected
for better understanding. Students will express their feelings and thoughts
on these global issues they are passionate and well informed about and
create original work. This original work can be song, podcast, or other musical
product they can present and possibly perform for their peers.
Students will seek out credible sources on hot-button topics to gain a
more comprehensive understanding outside of their daily interactions with
news on social media. Students will investigate artist activism and how artists
can use their work to start conversations, gather allies, and evoke change.
Students will also research various revolutionary artists to inform their
creative processes when composing original work that discusses and
challenges possibly controversial, hard to talk about topics they are
passionate and well informed about.
This class is designed to be flexible and can be paired with classes
outside of the music curriculum, such as English and history courses.
Songwriting has been found to be a great way to instill cross-classroom
learning for students (Levy & Byrd, 2011).
Lastly, students will work together to revise their original compositions.
Through a series of research projects and songwriting assignments, students
will assess one another’s work at every step in the process. With these
statements of activism, students will showcase their research and creations
to the community through both presentation and performance. These
presentations and accompanying performances will be set somewhere in the
community for the public to hear. Additionally, all student creations will be
recorded and presented online on a web page dedicated to art activism in
the community.
Assessing the Impact of Artistic Activism [Scholarly project]. (n.d.). In The Center for
Artistic Activism. Retrieved from
https://artisticactivism.org/wp-content/uploads/2018/01/Assessing-the-Impact-of-Artis
tic-Activism-Summary.pdf?x35829
Androutsopoulos, J. (2010, May 17). Spaghetti Funk: Appropriations of Hip-Hop Culture
and Rap ... RetrievedFebruary21,2018, from
http://www.tandfonline.com/doi/pdf/10.1080/0300776032000144922
Kratus, J. (2016, March 11). Songwriting: A New Direction for Secondary Music
Education. Retrieved February 21, 2018, from
http://journals.sagepub.com/doi/full/10.1177/0027432115620660Kratus, J. (2007). Music
Education at the Tipping Point. Music Educators Journal, 94(2), 42-48.
Levy, D. L., & Byrd, D. C. (2011, April). Why can’t we be friends? Using music to teach
social justice. Retrieved February 21, 2018, from
https://josotl.indiana.edu/article/viewFile/1818/1815
Rosenthal, R., & Flacks, R. (2016). Playing for change: Music and musicians in the
service of social movements. New York: Routledge.
Urbach, Martin. This Is How We Fight Back. (n.d.). Retrieved April 09, 2018, from
http://www.martinurbach.com/2016/11/this-is-how-we-fight-back/
Expected Impact on Students
Students will study global issues and revolutionary artists to inform
their creative processes when composing original work that discusses and
challenges possibly controversial, hard to talk about topics they are
passionate and well informed about. Students often gain knowledge about
today’s global issues through their various social media feeds, which are
ridden with biased and non-credible news sources. Students will seek out
credible sources on hot-button topics to gain a more comprehensive
understanding outside of their daily interactions with news on social media.
Students will research revolutionary songwriters and investigate the
influences and historical contexts of their work for a more informed
music-making experience. Students will analyze basic song structure and
theory and apply this knowledge into their music-making processes.
Students will be invited and given the tools to musically express their
opinions through original work that is centered around hot-button topics
they are passionate and well informed about.
Anchor standards
MU:Cr1.1.C.Ia Describe how sounds and short musical ideas can be used to represent personal
experiences, moods, visual images, and/or storylines.
MU:Cr2.1.C.IIIa Assemble and organize multiple sounds or extended musical ideas to create
initial expressive statements of selected extended sonic experiences or abstract ideas.
MU:Cr3.2.C.Ia Share music through the use of notation, performance, or technology, and
demonstrate how the elements of music have been employed to realize expressive intent
MU:Cr3.1.C.IIIa Research, identify, explain , and apply personally-developed criteria to assess and
refine the technical and expressive aspects of evolving drafts leading to final versions.
MU:Re7.1.C.IIIa A pply researched or personally developed criteria to select music that expresses
personal experiences and interests, visual images, concepts, texts, or storylines in moderately
complex or complex forms, and describe and justify the choice as models for composition.
MU:Re7.2.C.Ia Analyze aurally the elements of music (including form) of musical works, relating
them to style, mood, and context, and describe how the analysis provides models for personal
growth as composer, performer, and/or listener.
MU:Re8.1.C.IIIa Develop, justify and defend interpretations of varied works, demonstrating an
understanding of the composer's’ intent by citing the use of elements of music (including
form), compositional techniques, and the style/genre and context of each work.
MU:Re9.1.C.Ia Describe the effectiveness of the technical and expressive aspects of selected
music and performances, demonstrating understanding of fundamentals of music theory.
Student Skills and Knowledges Explored and Studied in Course
Skills: Knowledges:
Research Song Analysis
Finding and identifying credible Form
sources Phrases
Organization
Compiling information for Repetition
numerous sources Lyrics
Mode and meter
Analyze
Break down song form and the Applied Music Theory
meanings behind song lyrics Chord progressions
Compose Melody, harmony, and rhythm
Original compositions with a
certain goal in mind Research
Understanding what makes a
Revise source credible
Use new knowledge from research
and theory to analyze and edit Extensive information about
original work selected topic
Act on peer feedback in revisions Revolutionary artists relevant to said
topic, their work, and the context
Connect and relevance of their work
Connect passion and research to
original work Understand what art advocacy is
and does in the community
Expected Community Impact
The community and uprise of social media have shaped how students
receive news and current events. In a context where global issues are too
often glossed over or briefly summarized, school administrators and parents
might be initially apprehensive to give students full rein to explore and
investigate various global challenges and injustices we face today.
Furthermore, students may want to discuss these numerous global issues
but feel unsupported, unheard, or uncomfortable to do so, especially in a
school setting. More members of the community will know how to find
reliable sources and will be well informed about global issues they are
passionate about. They will be given the opportunity to express these
concerns and feelings they have through a new medium and share their
opinions with the community through public presentation and performance.
Students original work can be recorded and put onto an accessible online
portfolio created for the class.
Project Outline
A “hook” is a short musical idea that is repeated throughout a song. This
phrase, motif, or riff often represents the main idea of the song and is what
makes a song catchy. In this project, “Creating a Hook”, students will start to
tie in their research to their songwriting through a series of steps. Each step
in this process of creating a one to two line “hook” for their song will be
accompanied by group instruction, studying examples, and going through
each process as a group before diving into individual work. By the end of this
project, students will not only have created the backbone to their original
song, but will have also learned how they best create through their initial
experience with the songwriting process. This project and first process in
writing will inform and influence how students writing the rest of their songs.
Project Outline (continued)
Creating a Hook Project
Stage 1 Desired Results
Standards: Goals:
MU: Cr3.2.C.la S hare 1. Students will analyze chord progressions and lyrics of popular
music through the song hooks.
use of notation,
performance, or
2. Students will create a sample hook as a group in class for later
technology, and
demonstrate how the
individual reference when creating their own song hooks.
elements of music
have been employed 3. Students will gain an understanding of chord function and basic
to realize expressive harmonic movement in an applicable context (songwriting).
intent
4. Students will experiment with different combinations of chords
MU:Cr2.1.C.IIa to create a chord progression for their song hook.
Assemble and
organize multiple 5. Using their previous research, students will brainstorm words
sounds or musical associated with their topic, experiment with different
ideas to create combinations, and create lyrics and a short melody for their
initial expressive song hook.
statements of
selected sonic 6. Students will create a short hook for their songs with lyrics and a
events, memories, chord progression that portrays their song topic. This initial
images, concepts, creative process will help inform and influence the rest of their
texts, or storylines. songwriting process.
MU:Cr3.1.C.IIIa 7. Students will share their work with their peers and give one
Research, identify, another feedback to inform their own revisions and future
explain , and apply writing.
personally-develop
ed criteria to assess 8. Students will present their work to the entire class (via lecture
and refine the presentation or performance) and
technical and a. Explain their rationale for their musical decisions
expressive aspects b. Explain how their hook portrays their researched song
of evolving drafts topic
leading to final c. Walk the class through their creative process
versions.
9. Students will debrief in a group discussion to examine the
challenges of this project and how this initial writing experience
will influence the rest of the songwriting process for each
student.
Generative (Essential) Questions:
1. What gives a song meaning?
2. Why does your song topic concern you?
3. How can we express our own concerns in a constructive way?
4. What makes a hook catchy?
5. How do I use music to talk about and challenge social injustice and other global issues?
Stage 2 - Evidence
Day 1- Students engage in a group-led discussion about song hooks, identify the nuts and
bolts of a hook, (lyrics, chords, rhyme, rhythm, etc.) and will write a song hook together.
Day 2- Students will engage in a group-led discussion on chord function and harmonic
movement. Students will examine examples of hook chord progressions. Students will write
a chord progression together.
Day 3- Students will examine examples of chord progressions. Students will write out their
own chord progressions, record playing them, and share their process in discussion.
Day 4- Students will engage in a group-led discussion on hook lyrics. Students will examine
examples of hook lyrics. Students will write one set of hook lyrics together.
Day 5- Students will examine examples of hook lyrics. Students will create their own hook
lyrics, record them, and share their process in discussion.
Day 6- Students will examine examples of and experiment with combining hook lyrics and
chord progressions together. Students will take the lyrics and chords written in class and
together combine them to create a finished hook. Students will then enter a group
discussion about suggestions for revisions of the class hook.
Day 7- Students will combine their chord progressions with their lyrics and finish their song
hooks. Students will then share these with a peer and provide feedback for one another.
Students will prepare for presentation of their process.
Day 8- Students will present their hooks to the whole class and engage in short, student-led
discussion about each hook’s chords, lyrics, and overall feel. Classmates will offer ideas to
consider for student revision and later reflection.
Stage 3 – Learning Plan
With every new topic (“What makes a source credible?”, “How to cite resources”, “Harmony
101”, “Hook Project” etc.) students will have a daily group workshop where we play with and
create an example of the topic for future reference when students dive into their
independent work. The “Hook Project” dissects a song hook into three basic elements: lyrics,
melody, and chords. Each element of the project will have its own group workshop in class,
and from these workshops, clear examples that students can use as a reference point for
their own songs. With this set up, students get a structured “test run” of each part of the
project with some experimentation as well as instruction before they work individually to
create their own original work. During independent work time in class, the teacher will float
around the room, observe student progress, and provide feedback and suggestions for
students.
“Hook Project” (8 day project)
Day 1: Introduction: What is a hook?
1. Define through examples of song hooks they have been studying in pop music
2. Identify the different elements of a song hook
a. Chords, short melody, lyrics, harmony, rhythm, etc.
3. Class discussion and activity: Create a song hook together
a. Begin with a simple chord progression ( I- V- vi- IV ) and play this for students on
piano/guitar
4. Pick a topic to write a song hook about (avoid topics students have chosen for project)
5. Brainstorm words associated with the topic together and write on the classroom board
6. Separate from lyrics, come up with a short melodic idea that fits within the chords
7. Begin combining list of words together, test different combinations with melody
8. Test a few different hooks students come up with as a group
9. Pick one final hook to solidify and have the class play and/or sing it
10. Group discussion on the process
a. What worked? What didn’t?
b. What was the hardest step? The easiest?
c. How will you want to approach the songwriting process after this experience?
Identical, similar, or different than the approach we’ve just used together in
class?
Day 2: Chords and Harmony
1. Define through chord progressions in pop music hooks they have been studying
2. Identify and discuss the qualities of different chords (major, minor, 7ths, half/fully
diminished)
3. Identify common chord progressions found in pop music and compile a list on the
classroom board
4. As a group, experiment with altering these common progressions with other chords
and discuss the harmonic function of these new chords
5. As a group, pick one common chord progression, make additions/alterations to it, and
create one new chord progression to write on the board for future reference. Play this
progression as a group
Day 3: Chords and Harmony (cont.)
1. Review the chords, chord progressions, and new class progression studied and
created in the previous class
2. Majority of class will be given to students to work on building their own chord
progressions
3. Halfway through class, students will pair up, share what they’ve got so far, and offer
one another suggestions for revision. Students will then return to working
independently
4. Teacher will float around the room for most of the class period, observing and offering
guidance
Day 4: Lyrics
1. Define through examples of song hooks they have been studying in pop music
2. Identify the elements of song lyrics in a hook (Rhyme, pacing, rhythm, melody, pulse,
etc)
3. Class discussion about what makes a song hook “catchy” and memorable
4. Using the same topic used on day 1, review the words the class had brainstormed
relating to the topic
5. Have the class experiment, as a group, different combinations of these words that can
form one idea/sentence
6. Have the class come up with a short, simple melody that fits within the chord
progression created on day 2
7. Write a few lyric sentences and a few melodies on the board and have students
experience mixing and matching these two song elements together
8. Select one final combination of lyrics and melody, play and sing this as a group with
the chord progression, and write on the board for future reference
Day 5: Lyrics (cont.)
1. Briefly review the process the group went through in the previous class
a. What worked? What didn’t?
b. What was the hardest step? The easiest?
c. How will you want to approach the songwriting process after this experience?
Identical, similar, or different than the approach we used together in the last
class?
2. Majority of class will be given to students to work on building their own lyrics and
melodies
3. Halfway through class, students will pair up, share what they’ve got so far, and offer
one another suggestions for revision. Students will then return to working
independently
4. Teacher will float around the room for most of the class period, observing and offering
guidance
Day 6: Combine! Lyrics, Melody, and Chords
1. Review examples studied since day one of project and have a brief class discussion on
how each element fits in with the others to portray an idea or topic.
2. Informal self assessment: Does my song hook and all of its elements fit together to
portray my song topic?
3. Majority f class will be given to students to work on combining their lyrics, melodic
idea, and chord progression.
4. Halfway through class, students will pair up, share what they’ve got so far, and offer
one another suggestions for revision. Students will then return to working
independently
5. Teacher will float around the room for most of the class period, observing and offering
guidance
Day 7: Combine! Lyrics, Melody, and Chords (cont.)
1. Class will be divided into two groups to form to Q&A panels
2. Students will each share their lyrics, melody, and chord progression through
presentation (and performance if students choose) and will explain where they
started, their creative process, and how their final song hook portrays their topic.
3. Following each presentation, the panels will engage in a Q&A with the student
presenting and offer compliments, constructive criticisms, and ideas to consider as
students approach their final revisions in preparation for their full class presentation.
Day 8: Class presentations
1. Class will be given notecards and be instructed to write their own name, the name of
the presenter, and their compliments, comments, and constructive feedback on each
students presentation (and performance if they choose)
2. Each student will share their song hook and explain how it portrays their topic and will
walk the class through their creative process.
3. The class will engage in a group discussion on the project, addressing the questions:
a. What worked? What didn’t?
b. What was the hardest step? The easiest?
c. How will you want to approach the rest of the songwriting process after this
experience? Identical, similar, or different than the approach you’ve used to
write your song hook?
Budget
Below is a detailed list of the materials we will need for this class, given
a budget of $2,500.
Total: 2,480.73
References
Assessing the Impact of Artistic Activism [Scholarly project]. (n.d.). In The Center for Artistic
Activism. Retrieved from
https://artisticactivism.org/wp-content/uploads/2018/01/Assessing-the-Impact-of-Artistic-Acti
vism-Summary.pdf?x35829
Androutsopoulos, J. (2010, May 17). Spaghetti Funk: Appropriations of Hip-Hop Culture and
Rap ... RetrievedFebruary21,2018, from
http://www.tandfonline.com/doi/pdf/10.1080/0300776032000144922
Kratus, J. (2016, March 11). Songwriting: A New Direction for Secondary Music Education.
Retrieved February 21, 2018, from
http://journals.sagepub.com/doi/full/10.1177/0027432115620660Kratus, J. (2007). Music
Education at the Tipping Point. Music Educators Journal, 94(2), 42-48.
Levy, D. L., & Byrd, D. C. (2011, April). Why can’t we be friends? Using music to teach social
justice. Retrieved February 21, 2018, from https://josotl.indiana.edu/article/viewFile/1818/1815
Rosenthal, R., & Flacks, R. (2016). Playing for change: Music and musicians in the service of
social movements. New York: Routledge.
Tobias, E. S. (2013). Toward Convergence Adapting Music Education to Contemporary Society
and Participatory Culture. Music Educators Journal,99(4), 29-36.
Urbach, Martin. This Is How We Fight Back. (n.d.). Retrieved April 09, 2018, from
http://www.martinurbach.com/2016/11/this-is-how-we-fight-back/