Lesson Plan

Choral 10, 20, 30 Lesson Plan EPS 350
By: Quinn, Jennifer, Stacy, and Adam

The Creative/Productive Component
Students will explore the language of music through rote learning, body movements, singing, and notation.

Students will need to use cognitive process to learn warm-ups, song, and notation.

Students will learn where the ideas for the warm-ups, song and notation came from.

Acquire the skills, abilities, understandings and attitudes necessary to express themselves vocally as individual singers and as members of a choral ensemble.

The Cultural/Historical Component
Students will be demonstrated the role of arts in theirs and other groupsʼ cultures and histories (especially with song).

Students will be taught the historical development of the music.

Song is a cross-cultural lesson.

Students will be shown the integral aspect of the arts in their lives.

Judge music from both producer and consumer perspectives.

The Critical/Responsive Component
Students will respond to sounds heard through rote learning.

Students will interact with the music and be shown the context of the music they are performing, rather than passively being involved.

Value and appreciate music from a variety of cultural and historical contexts.

CELs:
COM: NUM: PSVS: CCT:
 * use appropriate terminology to express musical concepts
 * use descriptive language to articulate musical ideas
 * use notation to interpret and express musical ideas
 * interpret the gestures of a conductor
 * use numerical concepts in music as they relate to:
 * duration (tempo, meter, rhythmic notation and note values)
 * intervallic relationships (scale patterns, harmonic structures, strophic patterns)
 * develop self-esteem through accomplishment
 * develop a sense of responsibility and commitment
 * value quality and excellence
 * understand and respect the artistic accomplishments of a variety of cultures
 * acknowledge and respect the abilities, uniqueness, and creativity of others
 * contribute in a positive manner as a member of a group
 * value musical activities as a source of enjoyment and fulfillment
 * recognize and use oneʼs own creative abilities and talents
 * solve problems (both technical and interpretive)

Adaptive Dimension:
Foundational and Learning Objectives:
 * Employ varied teaching strategies and techniques to reach larger group of students.
 * Use appropriate and understandable vocabulary.
 * Use interactive techniques that allow monitoring for progress.
 * Encourage students participation as much as possible.
 * Use different instructional resources.
 * Use varying methods of communication to suit individualsʼ abilities and learning styles.
 * Choice of appropriate repertoire.
 * Repertoire is challenging, but still enables student success.
 * Taken steps to identify and adapt instruction for all individuals.
 * Utilize other teachers.

Aural Skills
1. Demonstrate aural perception of the expressive and structural elements at work within a musical composition.


 * i. Refine their ability to recognize pitch accurately.


 * ii. Recognize their ability to recognize duration accurately.


 * iii. Develop and extend tonal memory.


 * iv. Explore and discuss those distinctive elements that define a particular musical style.


 * v. Interpret the expressive intent of the composer.


 * vi. Interpret/formulate the expressive intent of the performer.

2. Activate inner hearing to facilitate creating and expressing musical ideas.

3. Recall known sounds and musical ideas.


 * i. Translate thoughts, emotions, and/or experiences into musical ideas.

Musical Literacy
1. Develop and understanding of the fundamentals of music theory and their application to structural elements of music.


 * i. Extend the knowledge of scale structures and how they apply to musical repertoire encountered.


 * ii. Develop an understanding of intervals.


 * iii. Explore structural systems used in contemporary music as encountered in repertoire.

2. Use musical notation to interpret and express musical ideas.


 * i. Develop an understanding of pitch and rhythmic notation encountered.


 * ii. Extend knowledge and application of pronunciations as encountered in repertoire.


 * iii. Extend knowledge and application of dynamics as encountered in repertoire.


 * iv. Develop independence and fluency in reading skills.

3. Use appropriate musical terminology.


 * i. Understand and use musical terms and vocabulary as encountered in repertoire.

Interpretation/Appreciation/Decision Making
1. Understand and appreciate musical expression from a wide variety of cultural and historical contexts.


 * i. Demonstrate a receptiveness to new musical experiences from a variety of cultural and historical contexts.


 * ii. Develop an understanding of structural and expressive elements characteristic of music from a variety of cultural and historical contexts.


 * iii. Develop an awareness of the contributions of significant musicians, composers, and musical works from various historical periods and cultures studied (including significant works in the choral repertoire).

2. Understand and interpret musical works from a variety of cultural and historical contexts.


 * i. Understand a musical work from within the framework of its cultural and historical contexts.


 * ii Make interpretive decisions that reflect an understanding of a particular musical style.


 * iii. Make interpretive decisions that display an attempt to reflect the expressive intent of the composer.

3. Formulate a greater understanding of the role of music in contemporary societies.


 * i. Explore and discuss the roles that music plays in various contemporary societies.

Vocal Technique
1. Develop an exemplary vocal tone.


 * i. Develop resonance, technique, and control.


 * ii. Use correct singing posture.


 * iii. Work toward increasing control and efficient use of breath.


 * iv. Develop greater control of tone quality throughout all registers and dynamic levels.


 * v. Experiment with vocal colour to enhance the expressive and stylistic intent of the music.

2. Work toward technical accuracy and fluency.


 * i. Develop breath control in order to produce musical phrases and an artistic vocal line.


 * ii. Develop and extend range.


 * iii. Refine diction (vowel formation, phonation, diphthongs, word/syllable emphasis).


 * iv. Demonstrate an increasing sophistication in warm-up procedures.


 * v. Perform assigned vocalises, technical exercises, and repertoire with accuracy and facility.

3. Work toward singing in tune.


 * i. Refine abilities to sing intervals accurately throughout all registers and dynamic levels.


 * ii. Display an increased understanding of the psychological and physical factors that affect intonation.

4. Apply technical abilities as a means to musical expression.


 * i. Refine technique as a means to musical expression.


 * ii. Examine those factors (e.g., posture, breathing, relaxed and open throat, jaw position, vowel formation, voice placement) that directly impact on phonation, and make decisions accordingly to enhance musical results.

Attitudes/Values
1. Demonstrate a commitment to their own musical education and growth.


 * i. Participate in class activities in a positive manner.


 * ii. Activate concentration and maintain attention throughout all activities.


 * iii. Attend classes, rehearsals, performances, and other choral activities.


 * iv. Complete all assignments.

2. Respond to constructive criticism by taking steps to improve.

3. Recognize the value of music as a lifelong source of enjoyment.


 * i. Demonstrate an interest in improving musical abilities, knowledge, and understandings.


 * ii. Demonstrate a commitment to artistic quality in all musical pursuits.

Set:
Have students stand up and ask them to follow my lead as I stamp my feet side to side. Tell students that I will say a chant and that they have to listen very carefully because they will have to join me the second time through! Have students keep stamping and I will chant the Melanie Demore “Left-Right” piece with Jennʼs assistance.

Then I will have the students join us.


 * “LRLRLRLR
 * Left right,
 * youʼre wrong its
 * Not right its left
 * and youʼll find it,
 * Left, right where you left it,
 * thatʼs right”

Section 1:

 * We will point out the 4 signs (SATB) hanging on the wall. We will explain them the best we can, and say for this activity if they are unsure they can just pick one of the two options for their gender.
 * I will then ask the students to stand again if they are seated, and then ask them to spread out.
 * Ask students to breathe in and exhale with a hiss, I will demonstrate once and they will follow.
 * Add a pulse to hiss exercise (4 pulses and one held).
 * I will then ask them to watch me very carefully. Ask them to do what I do and say what I say.
 * Remind them to be spread out an armʼs length and then saying “ho” punch forward.
 * Add “ha” and have them punch arm to side. Alternate between “ho” and “ha.”
 * Add “hey” and have them punch arm downward. Alternated between “ho,” “ha,” and “hey.”
 * Add “hoo” and do headlight motion. Alternate between “ho,” “ha,” “hey,” and “hoo.”
 * Add “hee” and point upwards. Alternate between “ho,” “ha,” “hey,” “hoo,” and “hee.”
 * Move to the piano for “hung-ee” exercise to build resonance.
 * Then do descending 5-note scale “Ma-may-mee-moh-moo” exercise.
 * Introduce Jenn and she will take over.

Section 2:
lungs at the bar?” Hopefully everyone else will raise their hands. or-my-dog-loves-your-dog/" http://susanbanghart.com/themuttreport/2010/01/18/ mutt-tunes-dog-dog-or-my-dog-loves-your-dog/ Ask students to repeat these lyrics: Dag Dog Dig ogg, A-digga dog dog, (repeated 4X) The song writer, famed civil rights leader Dr. Bernard LaFayette (born July 29, 1940), grew up in Tampa. HYPERLINK "http://books.google.com/books? id=05uJSLy351MC&pg=PT21&dq=Bernard+LaFayette+tampa&cd=3" \l "v=onepage&q=Bernard%20LaFayette%20tampa&f=false" \t "_blank" Life in Tampa was the inspiration for the song. “I was raised in Florida during segregation. There was this white family and my family, and we both had dogs. It didnʼt make any sense to me that we kids couldnʼt play together when all the dogs would just rip and run and get along fine.” organizing a student protest in Nashville when childhood memories inspired him to compose, with a friend, the music and lyrics for “Dog Dog.”
 * Ask the class, “who can play an instrument?” Hopefully, some will raise their hands.
 * Ask the class, “who can speak, sing along to a track in their car, or at the top of their
 * Explain that everyone has a voice; therefore, everyone has an instrument. Everyone is capable of producing a sound and that is what makes high school choirs possible.
 * In high school, Choral 10, 20, 30 and for that matter, Band 10, 20, and 30 have no prerequisite and no audition process. This means that in the music program you may have students with no experience, and some who have taken piano lessons for 8 years.
 * The struggle that teachers face is bringing all students together, through differentiated instruction, much like Math or English, to create a unified sound.
 * Today, our goal is to sing a song as a group. No, it wonʼt sound amazing, but it will be music and it will be a wonderful sound.
 * HYPERLINK "http://susanbanghart.com/themuttreport/2010/01/18/mutt-tunes-dogdog-
 * Explain the following:
 * He later became involved in the Civil Rights movement and “was in the thick of
 * DOG DOG
 * Dog Dog, Dig ogg,
 * A-digga dog dog,(repeat 4x)
 * If my dog loves your dog
 * And your dog loves my dog,
 * And my dog loves your dog,
 * And your dog loves my dog
 * Then why canʼt we
 * Sit under the apple tree
 * Begin with males on A, females on D and F#. (For this purpose, only A and D may be used)

Assessment
Components of Choral Education Assessment: students from a variety of musical backgrounds and abilities. We also have the liberty of teaching from a curriculum that enables us to use a lot of our own personal choices in repertoire and exercises.
 * Attendance
 * Effort
 * Active Participation
 * Commitment
 * Personal Growth -- in a Music curriculum we can truly teach to the student, we have
 * [N.B.] Choral assessment is largely based on daily anecdotes.

Recommended Resources
Choralnet. Choralnet: The Global Choral Community. Retrieved from http://www.choralnet.org/ (accessed February 2, 2010).

Choral Public Domain Library. ChoralWiki. Retrieved from http://www2.cpdl.org/wiki/index.php/Main_Pa (accessed February 2, 2010).

Demore, Melanie. Melanie Demore. Retrieved from http://www.melaniedemore.com (accessed February 2, 2010).