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Program and Course Goals
Program Goals
Students will…
Be musically literate (this includes the ability to identify, define, and perform standard
notation symbols).
Demonstrate the ability to use good vocal technique.
Be consumers of music as both performers and listeners.
Learn and use good rehearsal and concert etiquette.
Learn how music relates to history, culture, and other subjects.
Perform sight singing excerpts with pitch and rhythmic accuracy.
Perform as soloists and as ensemble members.
Course Goals
Students will…
Demonstrate, verbally or through performance, knowledge of the name, function, and
duration or basic elements of music.
Demonstrate, through performance, proper technique for breathing, focus of tone,
posture, stage presence, and aesthetic.
Execute tempo, dynamic, and expression as indicated in music and by instructor.
Develop good vocal production technique.
Learn to stage and/or choreograph musical selections.
Analyze, listen to, and describe various pieces from the choral repertoire.
Evaluate their own performance and the performance of example ensembles using
specific musical criteria.
Demonstrate knowledge of historical period and cultural diversity of the music
performed.
Demonstrate an increased level of mastery of music literacy skills.
Sing scales and modes on solfege syllables.
Sing and aurally identify all intervals and triads.
Sing one person per part for vocal assessments.
Memorize phrasing rules and principles and apply them in music.
Coordinate style and articulation from one ensemble member to another.
Balance properly within an ensemble setting.
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Scope and Sequence
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Course Description
Music is a crucial aspect of human life and culture. In this vein, it is the responsibility of the
education system and music educators to familiarize students with and increase student
appreciation in all styles of music. This course makes it possible for us to offer students a well-
rounded education and help students grow into balanced, aware individuals.
This is a year-long course designed to familiarize high school students with the techniques of
vocal production through the study of a wide variety of choral literature in an ensemble setting.
Music covered in this course comes from as early as 1500 and is as new as publications from the
last ten years. This course is particularly suited to advanced vocal music students and offers
various performing opportunities as well as the refinement of practice and rehearsal strategies.
The course may be taken in 11th and/or 12th grade and is an auditioned course.
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Course Objectives
Students will…
Use higher order thinking to engage with and work toward greater understanding of
musical elements including rhythm, melody, harmony, form, color, and timbre. (National
Standards Create, Perform, Respond)
Develop creativity through musical expression by requiring aesthetic and intellectual
responses. (National Standards Create, Perform, Respond)
o Using music as a means of communication, expression, and creativity.
o Understand and acknowledge the effect of music on emotion.
o Express thoughts, ideas, and emotions through music.
Become more appreciative of music culture and musical awareness in its relation to
music history, and in general promoting one’s responsibilities to their surroundings.
(National Standards Perform, Respond).
o Create an awareness and appreciation of cultural diversity.
o Appreciate historical context and social significance of music.
o Cultivate a lifelong support of the arts.
o Develop poise, self-confidence, leadership qualities, and positive social habits.
o Identify quality musical performances through both aesthetic and intellectual
understandings.
Develop additional physiological awareness and activity by practicing healthy techniques
for vocal production. (National Standards Perform)
o Use musical studies to enhance cognition in all aspects.
o Create, interpret, listen, improvise, and perform music.
o Understand and translate music notation into kinesthetic and aural responses (i.e.
singing).
o Develop one’s mind and body to the fullest potential.
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Performance #1 Overview
Fall Concert
Content Performed
“Daemon Irrepit Callidus” by Gyorgy Orban
“Dulaman” arranged by Rollo Fisher
“If Ye Love Me” by Thomas Tallis
“Earth Song” by Frank Ticheli
Skills/Elements Addressed
“Daemon Irrepit Callidus” by Gyorgy Orban
o Rhythm
o Harmony
S/G, H, C, NS Addressed
“Daemon Irrepit Callidus” by Gyorgy Orban
o Style: Liturgical
o Culture: Hungarian
o National Standards:
MU:Pr4.2.E.Ia – Demonstrate, using music reading skills where
appropriate, how compositional devices employed and theoretical and
structural aspects of musical works impact and inform prepared or
improvised performances.
MU:Pr5.3.E.Ia – Develop strategies to address expressive challenges in a
varied repertoire of music, and evaluate their success using feedback from
ensemble peers and other sources to refine performances.
MU:Pr6.1.E.Ia – Demonstrate attention to technical accuracy and
expressive qualities in prepared and improvised performances of a varied
repertoire of music representing diverse cultures, styles, and genres.
MU:Pr6.1.E.Ib – Demonstrate an understanding of expressive intent by
connecting with an audience through prepared and improvised
performances.
MU:Re9.1.E.Ia – Evaluate works and performances based on personally-
or collaboratively-developed criteria, including analysis of the structure
and context.
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“Dulaman” arranged by Rollo Fisher
o Styles: Irish Folk Song
o Historical Periods: Irish Famine
o National Standards:
MU:Pr4.2.E.Ia – Demonstrate, using music reading skills where
appropriate, how compositional devices employed and theoretical and
structural aspects of musical works impact and inform prepared or
improvised performances.
MU:Pr5.3.E.Ia – Develop strategies to address expressive challenges in a
varied repertoire of music, and evaluate their success using feedback from
ensemble peers and other sources to refine performances.
MU:Pr6.1.E.Ia – Demonstrate attention to technical accuracy and
expressive qualities in prepared and improvised performances of a varied
repertoire of music representing diverse cultures, styles, and genres.
MU:Re9.1.E.Ia – Evaluate works and performances based on personally-
or collaboratively-developed criteria, including analysis of the structure
and context.
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structural aspects of musical works impact and inform prepared or
improvised performances.
MU:Pr5.3.E.Ia – Develop strategies to address expressive challenges in a
varied repertoire of music, and evaluate their success using feedback from
ensemble peers and other sources to refine performances.
MU:Pr6.1.E.Ia – Demonstrate attention to technical accuracy and
expressive qualities in prepared and improvised performances of a varied
repertoire of music representing diverse cultures, styles, and genres.
MU:Pr6.1.E.Ib – Demonstrate an understanding of expressive intent by
connecting with an audience through prepared and improvised
performances.
MU:Re9.1.E.Ia – Evaluate works and performances based on personally-
or collaboratively-developed criteria, including analysis of the structure
and context.
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students to pronounce, so it will be necessary to focus a great deal on this. In
addition to correct pronunciation, timbre for this song will be more difficult to
master. Based on the general “sound model,” the class generally uses dark
vowels, rounded tones and a slightly heavier sound. This piece requires a brighter,
more forward (almost nasal) timbre which will be quite a change but one that will
help students be more versatile.
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to my teaching approach if necessary. Additionally, I want to make sure
students know what is expected of them. The assignment will be worth 6
points – 3 points for completing at least 3 things that the student learned
but the additional 3 points will be for quality/depth of answer (i.e. I’m
looking for more than “there was a famine” or “Irish people eat potatoes”).
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Performance #2 Overview
Winter/Holiday Concert
Content Performed
“Carol of the Bells” by Mikhail Leontovich and Peter Wilhousky
“The Heaven’s Flock” by Eriks Esenvalds
“Have Yourself a Merry Little Christmas” by Hugh Martin and Ralph Blane, arranged by
Darmon Meader
“Baby, It’s Cold Outside” by Frank Loesser, arranged by Kirby Shaw
Skills/Elements Addressed
“Carol of the Bells” by Mikhail Leontovich and Peter Wilhousky
o Rhythm
o Timbre
“Have Yourself a Merry Little Christmas” by Hugh Martin and Ralph Blane, arranged by
Darmon Meader
o Harmony
o Texture
S/G, H, C, NS Addressed
“Carol of the Bells” by Mikhail Leontovich and Peter Wilhousky
o Style: Holiday/a cappella
o Culture: Ukrainian
o National Standards:
MU:Pr4.2.E.Ia – Demonstrate, using music reading skills where
appropriate, how compositional devices employed and theoretical and
structural aspects of musical works impact and inform prepared or
improvised performances.
MU:Pr5.3.E.Ia – Develop strategies to address expressive challenges in a
varied repertoire of music, and evaluate their success using feedback from
ensemble peers and other sources to refine performances.
MU:Pr6.1.E.Ia – Demonstrate attention to technical accuracy and
expressive qualities in prepared and improvised performances of a varied
repertoire of music representing diverse cultures, styles, and genres.
MU:Re9.1.E.Ia – Evaluate works and performances based on personally-
or collaboratively-developed criteria, including analysis of the structure
and context.
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“The Heaven’s Flock” by Eriks Esenvalds
o Style: A Cappella Choral
o Culture: Baltic
o National Standards:
MU:Pr4.2.E.Ia – Demonstrate, using music reading skills where
appropriate, how compositional devices employed and theoretical and
structural aspects of musical works impact and inform prepared or
improvised performances.
MU:Pr5.3.E.Ia – Develop strategies to address expressive challenges in a
varied repertoire of music, and evaluate their success using feedback from
ensemble peers and other sources to refine performances.
MU:Pr6.1.E.Ia – Demonstrate attention to technical accuracy and
expressive qualities in prepared and improvised performances of a varied
repertoire of music representing diverse cultures, styles, and genres.
MU:Pr6.1.E.Ib – Demonstrate an understanding of expressive intent by
connecting with an audience through prepared and improvised
performances.
MU:Re9.1.E.Ia – Evaluate works and performances based on personally-
or collaboratively-developed criteria, including analysis of the structure
and context.
“Have Yourself a Merry Little Christmas” by Hugh Martin and Ralph Blane, arranged by
Darmon Meader
o Style: Jazz Holiday
o National Standards:
MU:Pr4.2.E.Ia – Demonstrate, using music reading skills where
appropriate, how compositional devices employed and theoretical and
structural aspects of musical works impact and inform prepared or
improvised performances.
MU:Pr5.3.E.Ia – Develop strategies to address expressive challenges in a
varied repertoire of music, and evaluate their success using feedback from
ensemble peers and other sources to refine performances.
MU:Pr6.1.E.Ia – Demonstrate attention to technical accuracy and
expressive qualities in prepared and improvised performances of a varied
repertoire of music representing diverse cultures, styles, and genres.
MU:Pr6.1.E.Ib – Demonstrate an understanding of expressive intent by
connecting with an audience through prepared and improvised
performances.
MU:Re9.1.E.Ia – Evaluate works and performances based on personally-
or collaboratively-developed criteria, including analysis of the structure
and context.
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structural aspects of musical works impact and inform prepared or
improvised performances.
MU:Pr5.3.E.Ia – Develop strategies to address expressive challenges in a
varied repertoire of music, and evaluate their success using feedback from
ensemble peers and other sources to refine performances.
MU:Pr6.1.E.Ia – Demonstrate attention to technical accuracy and
expressive qualities in prepared and improvised performances of a varied
repertoire of music representing diverse cultures, styles, and genres.
MU:Pr6.1.E.Ib – Demonstrate an understanding of expressive intent by
connecting with an audience through prepared and improvised
performances.
MU:Re9.1.E.Ia – Evaluate works and performances based on personally-
or collaboratively-developed criteria, including analysis of the structure
and context.
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“Have Yourself a Merry Little Christmas” by Hugh Martin and Ralph Blane, arranged by
Darmon Meader
o This piece, while a traditional Christmas carol, is arranged into a jazz tune. The
natural push and pull of the piece is caused by the rhythm and use of straight
eighth notes versus triplets. The duration of the piece is mainly homophonic in
texture, but the melody appears first in the alto for about two pages and then
moves to the soprano for the remainder of the piece. The soprano “melody”
differs from the rest of the lines only slightly rhythmically and, obviously,
melodically. Working on texture will be important for this piece, especially to
ensure the soprano doesn’t get swallowed in the rest of the sound, but also to
continue to solidify the students’ understanding of homophonic texture. We will
also focus on harmony in this piece. This is the first piece that we will have done
in this school year with a jazz feel, so we will take a look at the chords and look at
some of the unusual chord structures and sometimes unstable chords and how that
impacts the music. This also serves as an intro to jazz.
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Performance #3 Overview
Contest Performance
Content Performed
“Tykus Tykus” by Vaclovas Augustinas
“A Boy and a Girl” by Eric Whitacre
“Jenny Kiss’d Me” by Eric Barnum
“I Am Not Yours” by David C. Dickau
Skills/Elements Addressed
“Tykus Tykus” by Vaclovas Augustinas
o Rhythm
o Timbre
S/G, H, C, NS Addressed
“Tykus Tykus” by Vaclovas Augustinas
o Style: Folk Song
o Culture: Lithuanian
o National Standards:
MU:Pr4.2.E.Ia – Demonstrate, using music reading skills where
appropriate, how compositional devices employed and theoretical and
structural aspects of musical works impact and inform prepared or
improvised performances.
MU:Pr5.3.E.Ia – Develop strategies to address expressive challenges in a
varied repertoire of music, and evaluate their success using feedback from
ensemble peers and other sources to refine performances.
MU:Pr6.1.E.Ia – Demonstrate attention to technical accuracy and
expressive qualities in prepared and improvised performances of a varied
repertoire of music representing diverse cultures, styles, and genres.
MU:Pr6.1.E.Ib – Demonstrate an understanding of expressive intent by
connecting with an audience through prepared and improvised
performances.
MU:Re9.1.E.Ia – Evaluate works and performances based on personally-
or collaboratively-developed criteria, including analysis of the structure
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and context.
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MU:Pr6.1.E.Ia – Demonstrate attention to technical accuracy and
expressive qualities in prepared and improvised performances of a varied
repertoire of music representing diverse cultures, styles, and genres.
MU:Pr6.1.E.Ib – Demonstrate an understanding of expressive intent by
connecting with an audience through prepared and improvised
performances.
MU:Re9.1.E.Ia – Evaluate works and performances based on personally-
or collaboratively-developed criteria, including analysis of the structure
and context.
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“Jenny Kiss’d Me” by Eric Barnum
o In “Jenny Kiss’d Me” Eric Barnum sets the lyric by James Leigh Hunt
wonderfully. The contour of the melodic line follows the text incredibly well, and
the tempo adds to the text. Perhaps one of the best things about this piece is the
way the melody is passed from voice part to voice part until it finally becomes
homophonic near the end of the piece. The intervallic leaps of the melody on the
word “jumping” are perfect and the rushing feeling at the beginning of the piece
depicts exactly what it feels like to be kissed for the first time. The melody of this
piece is a little challenging but allows the piece to move so well. Every section
gets a chance to shine. The piece is written in rondeau, which we have not
introduced to the choir this school year. This allows students to become familiar
with rondeau and gives an entryway into the formes fixes (ballade and virelai).
Activity
o Students will go to Regional Solo and Ensemble Contest with these pieces. They
will perform all of them and be rated on a rubric, with the goal of earning a I
(Superior) Rating.
Assessment
o Tools
Rubric
o Rationale
I believe that if you take the right approach, solo and ensemble contest can
be a valuable tool. It allows you to see how others would assess your
ensemble against a standard rubric and against other groups. While the
performance is not always the most authentic, it gives parents an
opportunity to come if they can and your students the opportunity to listen
to other groups in a similar age group/skillset.
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Performance #4 Overview
Spring/Pops Concert
Content Performed
“Baba Yetu” by Chris Kiagiri and Christopher Tin
“Little Potato” by Malcolm Dalglish, arranged by Carol Barnett
“Spiderman” by Bob Harris, arranged by Steve Friedman
Skills/Elements Addressed
“Baba Yetu” by Chris Kiagiri and Christopher Tin
o Melody
o Timbre
S/G, H, C, NS Addressed
“Baba Yetu” by Chris Kiagiri and Christopher Tin
o Style: Video Game Soundtrack
o Culture: Swahili
o National Standards:
MU:Pr4.2.E.Ia – Demonstrate, using music reading skills where
appropriate, how compositional devices employed and theoretical and
structural aspects of musical works impact and inform prepared or
improvised performances.
MU:Pr5.3.E.Ia – Develop strategies to address expressive challenges in a
varied repertoire of music, and evaluate their success using feedback from
ensemble peers and other sources to refine performances.
MU:Pr6.1.E.Ia – Demonstrate attention to technical accuracy and
expressive qualities in prepared and improvised performances of a varied
repertoire of music representing diverse cultures, styles, and genres.
MU:Pr6.1.E.Ib – Demonstrate an understanding of expressive intent by
connecting with an audience through prepared and improvised
performances.
MU:Re9.1.E.Ia – Evaluate works and performances based on personally-
or collaboratively-developed criteria, including analysis of the structure
and context.
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o National Standards:
MU:Pr4.2.E.Ia – Demonstrate, using music reading skills where
appropriate, how compositional devices employed and theoretical and
structural aspects of musical works impact and inform prepared or
improvised performances.
MU:Pr5.3.E.Ia – Develop strategies to address expressive challenges in a
varied repertoire of music, and evaluate their success using feedback from
ensemble peers and other sources to refine performances.
MU:Pr6.1.E.Ia – Demonstrate attention to technical accuracy and
expressive qualities in prepared and improvised performances of a varied
repertoire of music representing diverse cultures, styles, and genres.
MU:Pr6.1.E.Ib – Demonstrate an understanding of expressive intent by
connecting with an audience through prepared and improvised
performances.
MU:Re9.1.E.Ia – Evaluate works and performances based on personally-
or collaboratively-developed criteria, including analysis of the structure
and context.
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to the lives of my students. This is the theme song for a video game called
Civilization IV. It uses the Swahili text of The Lord’s Prayer. The melody in this
song is particularly catchy. It is spread through the entire ensemble and even
includes opportunities for students to have solos. The melody evolves throughout
the piece as well. It shifts from being incredibly melodic to much more chant-like.
The piece is also extremely rhythmic and has strong African influences. With the
changes in the melody from melodic to chant-like to the absence of the melody
with just chord-like elements there is a degree of timbral changes required. Since
the piece has so much variety, the choir will have to have several different
timbres. This will push the students to display all of the timbres they have worked
on throughout the year and showcase what they have learned.
Lesson Plan
Activity
o Post assessment. Students will watch their final concert on the day designated for
their choir “final” and fill out a post-assessment worksheet.
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Assessment
o Tools
Worksheet
o Rationale
In my first years of teaching, it will be important for me to get feedback
from students. I would like this on an individual basis, so that I can hear
from everyone about how their year went and hopefully get some genuine
feedback and opinion on what they think I could improve upon. I also
hope it is something that I didn’t catch, because I know students see things
a little differently than we do.
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Assessment
Types to be used
Checklist/Completion Roster
Recording (audio/video)
Worksheet
Rubric
Possible Assessments
Checklist/Completion Roster
o Rationale: Checklists are useful in making sure that students have completed the
assignment. Completion grades should not be used all of the time but can be
helpful early on when you just want to ensure that all students have completed the
assignment. In order to be considered complete, the students must have completed
work to a certain level and given responses that answer questions with a degree of
reflection and effort.
Recording (audio/video)
It is difficult to provide a direct example of this type of assessment as I do not yet have my
own ensemble, so this is what a video could look like.
o EX: https://www.youtube.com/watch?v=tz35iIDksnA
o Rationale: Audio and video recordings give both the teacher and the students an
opportunity to see the performance with an outsider’s point of view. The ability to
listen and/or watch the ensemble is invaluable and is a completely different
experience when you are listening while being part of the ensemble. Allowing
students and yourself to watch/listen to the performance after the fact gives the
opportunity for multiple watches which helps you to catch things you might not
have previously and allows students to do some self/peer reflection.
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Worksheet
o Rationale: This is just one example of a worksheet for students. This would be a
reflection on a single piece. If we were to do a full concert review, this would be
repeated for each piece of music. There are, of course, other types of worksheets.
It is important to provide students opportunities to reflect on their performance. It
is also important for students to apply their knowledge. Worksheets like these will
let me know what concepts students are fully grasping and what we still need to
work on.
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Rubric
Category 4 2 2 1
Posture and Student stands Student stands Student is Student rarely
Relaxation correctly and somewhat sometimes demonstrates
sings using a correctly and standing proper posture
proper singing most of the correctly but and singing
stance with no time often shows stance. Tension
visible tension demonstrates a tension or is highly visible
in the oral proper singing improper body in the throat,
cavity or body. stance with during singing. jaw, and/or
limited tension body.
visible in the
oral cavity or
body.
Breath Student takes Student is Student Student rarely
Support full proper usually sometimes breathes
breath and breathing breathes correctly and
supports the properly, but properly and never supports
tone to the best occasionally only the tone until
of his/her does not occasionally the end of each
ability. support the supports the phrase.
tone until the tone until the
end of each end of each
phrase. phrase.
Rhythm The beat is The beat is The beat is The beat is
secure, and the secure, and the somewhat usually erratic,
rhythms are rhythms are erratic. Some and rhythms are
accurate for mostly rhythms are seldom accurate
the passage accurate. There accurate. detracting
being sung. are a few Frequent or significantly
duration errors, repeated from the overall
but these do duration errors. performance.
not detract Rhythm
from the problems
overall occasionally
performance. detract from the
overall
performance.
Pitch Virtually no An occasional Some accurate Very few
errors. Pitch is isolated error, pitches, but accurate or
very accurate but most of the there are stable pitches.
and stable. time pitch is frequent and/or
accurate and repeated errors
secure. and instability.
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Accurate Words or An occasional A few Wrong word
Syllables syllables are inaccurate inaccurate word pronunciations
consistently word is sung pronunciations consistently
accurate. but does not are sung, detract from the
detract from detracting performance.
overall somewhat from
performance. the overall
performance.
Expression Performs with Typically Sometimes Rarely
and Style a creative performs with performs with demonstrates
nuance and nuance and nuance and expression and
style in style that is style that is style. Just sings
response to the indicated in the indicated in the the notes.
score and score or which score or which
limited is suggested by is suggested by
coaching. instructor or instructor or
peer. peer.
o Rationale: It is important for us to use rubrics to measure student success. This
lets us know, very clearly, where each student falls on the spectrum when being
measured against the same criteria. This particular rubric would be for a student
solo singing test. This could be used for a solo for contest or a student singing
their part from one song, etc. This way to measure students will ensure evenness
since the criteria is the same for all students.
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