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Ethan Brown
Lesson Plan
Teaching Level: Junior/Senior high school music elective.
Class: Appreciation of Western Art Music.
Stage 1
Desired results: Students will understand the new style of composition in western art music that
evolved during the early twentieth century. Students will be able to list influential composers, as well as
landmark compositions of theirs. Students will also be able to examine the music and determine the
differences in compositional approach between works, and comment on how they interpret these
differences as listeners. What are some of the major differences between modern compositions and
earlier music; can similarities be identified as well?
Stage 2
Assessment: Students will have a variety of means to prove they understand the material covered in
class. Assessment projects include a small composition project in which students choose a composition
we covered in class as a model to base their own small scale composition. Students can choose to: write
a research paper four pages in length of a composer of their choice, make an in class presentation that
examines certain composers, or peculiarities within a particular compositional approach or musical
style, create an art project that responds to a musical composition of their choice. They must present
this project to the class and explain how their project has been inspired by the music, and how particular
aspects of the composition are represented in their project. In addition to selecting one of these
projects, students must also participate in a 30 minute in class student led discussion in which
participation is graded.
Stage 3
Activity 1:
Presenting Centric Music.
Nuages 1899
10 min: At the beginning of class pass out a hand out that has a bullet note formatting. Write the main
points of the lecture on the paper so students know what the important information is. Begin class with
a short lecture exploring how music changed at the turn of the 20th century. Explain how rules and
structure that controlled the tonal music during the 19th century began to break down, composers no
longer felt compelled to follow the rules that tonality had established centuries ago. As a result
composers began writing composition with unique harmonic and structural designs. Claude Debussy
was a very influential composer during this time. His music was often not particularly dense, and is a
good starting point to listen to post tonal music.
20 min: Introduce Nuages to the class. Pass out a handout with notes and annotations on the score of
Nuages. Point out notes of importance to the students as well as chord forms and harmonies of

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importance. Play the piece on the stereo and have the students listen along. After the first listen stop
the music and ask students for their impression of the music. As if anyone has any questions or
comments about the music. Play the piece again and include some tips for the students to listen for.
Ask if they can hear the thematic form of the composition, and ask how Debussy provided contrast in his
music.
20 min: Open discussion. Turn the discussion to the students and allow them to express their opinions
about the music. Let them explain what they hear whatever points the students bring up encourage
thoughtful discussion and critical thinking about the music. If discussion becomes unproductive ask
some stimulating questions: What notes seem to be important? How Does Debussy make them
importantregistral accents, agogic accents, metric accents, harmonic support, phrase points, ect. How
is this music new compared to past music, how does it barrow or reinterpret old ideas?
Homework: Listen to Nuages and follow along with the score, make notes on details noticed. Begin
doing work on the project.
Class 2
Rite of Spring 29 May, 1913
10 min: At the beginning of class pass out a hand out that has a bullet note formatting. Write the main
points of the lecture on the paper so students know what the important information is. Briefly review
Debussy and his music. Ask if anyone has any final thoughts about the music before exploring a new
composer. Introduce Igor Stravinsky to the class. Mention his famous ballets The Rite of Spring, The
Firebird, and Petruska. Talk to students about Stravinskys scale selection, and how he used scales
compared to Debussy, what scale one composer chose over another and how that had an impact on
their music.
20 min: Pass out music to the 1st half of The Rite of Spring. The music will have notes written out
regarding phrase structures, harmonic analysis ect. Allow the students to look the notes over briefly,
and then play the music. After listening have a brief conversation about first impressions. Answer any
questions the students have, and play the music again.
20 min: Open discussion up to the class. In a similar manner to Debussy talk about what the students
hear. What makes Debussy different from Stravinsky? How are the pieces different texturally,
rhythmically, are they similar in anyways. What types of artistic ideas are made in each composition?
Does anyone have a preference from one piece over the other?
Homework: Listen to The Rite of Spring follow the music along in the score. Make notes of musical
observations, and look at the annotated notes. Work on the project.
Class 3
Pierrot Lunaire October 16, 1912

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10 min: At the beginning of class pass out a hand out that has a bullet note formatting. Write the main
points of the lecture on the paper so students know what the important information is. Introduce
Arnold Schoenberg, and his post tonal composition Pierrot Lunaire. Examine how Schoenberg organizes
the music. Explain how the notes he chooses to use correlate, and how vertical and horizontal musical
units interact in Pierrot Luaire. Pass out annotated notes of the score with information regarding
musical nuances. Read the poem out to the class so students know the story before hearing the music.
20 min: Play the first section for the class and allow students to follow along with the score. After the
first listen, have a brief conversation and answer any questions the students have. Ask if the students
heard any musical effects that correlated with the text. After the conversation play the first section
again and allow the students to listen a second time.
20 min: After listening to the music twice, begin a discussion about the Pierrot Lunaire. Show the
students how certain pitch collections correlate with verse in the text. Explore the use of register,
instrumentation and dynamics. Compare the composition with those of Debussy and Stravinsky. How
are the compositions similar, how are they different? Ask the students which piece was most
interesting, the prettiest, which piece they enjoyed the most.
Homework: Listen to Pierrot Lunaire, follow the music along in the score. Make notes of musical
observations, and look at the annotated notes. Work on the project.

Class 4
20 min: Have the students listen to all three of the compositions in consecutive order.
30 min: Begin by giving a brief 10 minutes lecture on background history of each composer. Mention
their nationality, and highlight any important live events of each of the composers. Bring in artwork that
is associated with each of the composers. Ask students if they think the artwork fits the spirit of the
compositions.
Homework: Work on projects.
Class 5
20 min: Listen to all three of the compositions.
30 min: Assessment discussion: Student discussion participation will be graded.
* During in class listening assignments have a projector running with the music printed on the
laminate, and point along with a pen during the first listening activity every day. This will help
keep students engaged and on task. The class will have a designated note taker. This is a
student who receives bonus points for agreeing to take neat and in depth notes every class. I
will make copies of their notes at the end of every class and pass them out to students who have

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note taking issues, people who were absent from class that particular day, or anyone who wants
a copy.
Accommodations:
Tommy:
Have a meeting during the week to discuss the students progress on their project and create a list of
things to do in order to complete the project. Give him a time line that maps out the lives of the
composers before the class 4. Give him a cheat sheet of important scales and chords for each of the
compositions, so he can follow the music more efficiently. Have a designated note taker give him notes
written during in class discussion. Give him a CD with each of the compositions burned on it. Call on
student Tommy in class discussions, encourage him and thank him for his contributions. The wide
selection of assessments will help Tommy find an assignment he will succeeded in.
Harry:
Give Harry a recording of the music slowed down so he can practice hearing the music and processing
what he hears. Have a student helper sit next to him during the music listening segments in class and
follow the music along with their finger to help keep Harry engaged. Have an agreement with student B
that he can leave the class whenever he wants but encourage him to try to stay in class for the majority
of the listening portions of class. The wide selection of assessments will help Harry find an assignment
they will succeeded in.
Carry: Give Carry a copy of the designated class note takers notes. Give her a time line that maps out
the lives of the composers before the class 4. During listening segments, have a student helper along
with the music to help the student follow the time. The wide selection of assessments will help Carry
find an assignment she will succeeded in. Give her positive reinforcement whenever she participates
during in-class discussion. Tell her that I dont necessarily expect them to become an expert in the
structure or harmonies of the music, but she can work on describing the musics volume, density, and
mood.
Donny: Give positive feedback whenever he positively engages in the course work. Keep student
engaged during class discussions. Take special interest in talking to Donny and asking how he enjoys the
music he is listening to. Meet with the student to discuss what option they are choosing for the project.
Donny doesnt want to listen to music at home offer to listen with him and discussing the music during
lunch, or a study period. Show him examples of projects other students completed in the past.
Taylor:
Be patient with Taylor and allow her to sit where she wants in class. (Having an assigned seat may make
her feel inferior to students. Offer to meet with her out of class and talk about the music and projects.
Have the designated note taker give her a copy of notes that were taken in class. Provide a time line of
the composers lives at the beginning of class. Make sure to call on Taylor during class discussions and

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give praise to any positive contributions she makes. The wide selection of assessments will help her find
an assignment they will succeeded in.
Extra In-class Instructor Utilization:
The Para is welcomed to engage in classroom discussion at anytime. During listening
assignments the Para can sit with any student who is having trouble following the music and help point
and follow along. During in class discussions the Para can move around the class and check with every
student to see if anyone is having problems taking notes, or understanding material being discussed.
The Para should be certain to help me keep notice of students B, C, D, and E to ensure they are engaged,
staying on task and feel emotionally stable.
Student helpers are advanced students who feel comfortable reading music regularly. They will
be paired with other students or in groups during listening activities. Their job is to point along with the
music and help keep people who are less musically literate involved during listening activities.
The class will have a designated note taker. This is a student who receives bonus points for
agreeing to take neat and in depth notes every class. I will make copies of their notes at the end of
every class and pass them out to students who have note taking issues, people who were absent from
class that particular day, or anyone who wants a copy.
Tools from Gore:
The annotated notes of the score that I pass out for each listening activated is a guided notes
strategy. It will help ensure that the students will engage music on a critical thinking level, and not
struggle looking through the technical details. The time lines passed out for the biographical information
is a visual aid for students who have trouble conceptualizing sequenced events. The designated note
taker will help students feel more comfortable while taking notes. If they feel the lecture is moving too
fast they can stop and listen, and know that a student is taking notes for them. Student helpers will
keep students engaged and organized while listening to music. The helper is open to anyone who wants
assistance. This will make students feel more comfortable because it ensures that there are multiple
support systems for learning in the class. The extra responsibility on the helpers will solidify their
musicianship and strengthen their note reading abilities. The bullet notes passed out at the beginning of
class will inform students of the important material that will be covered in class. The notes can serve as
a study guide as well as keep students engaged and informed in the classroom. The assessments are
designed to be broad enough to encompass the strengths of many different learners. The class is
designed to be open and encourage thoughtful analysis of music. The structure of the class is designed
in such a way that verbal and writing skills are not necessary to achieve a good grade, if students excel at
writing they can choose to write papers, but this is not necessary. If students can prove they are
engaging the music on a thoughtful and expressive level they will receive a good grade. Humor will be
used frequently to keep the atmosphere light and stress free.
Universal Design Implementation:
The class is set in a flexible manner which tries to allow students to process and express
information in the manner that is most comfortable to each student. Unfortunately music does require
students to have moderate to strong aural skills. The class is not advanced placement so even students

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with little exposure to music will do well, but every student needs to be able to process the aural
aspects of music to a certain extent. The assessments are designed to give every student a chance to
express their knowledge in a comfortable manner. There are many resources available to students who
may have trouble staying engaged with the material. I will announce at the beginning of the year that
the point of the class is to teach students how to appreciate music, not to intimidate students. Thus I
will be very flexible to try to accommodate students and keep the class from becoming too stressful. If
a student is not performing well I will be quick to schedule a meeting out of class and discuss a way to
ensure the student will succeed in the class.