The Role of Music in Musical Theatre

Grade 10-12 Musical Theatre

Gizette Edis
Wednesday April 22, 2015

Table of Contents
Mind Map 3
Unit Plan 4
Major Learning Activities 7
List of Materials
7
Special Considerations
7
Summary of Lessons 8
Sample Lesson 1
11
Sample Lesson 2
14
Sample Lesson 3
17
Analytical Reflective Critique
Appendix 23
References
27

20

Overture/Intro
Overture/Intro

Further
Further
Plotline

Provide
Provide clarity
clarity
for
for motives
motives

Vocals
Vocals
Portrayals
Portrayals
of
of emotion
emotion

Support

Express
Emotion
Emotion

Role of
Music in
Musical
Theatre

Instrument
Instrument
al
al

Enhance
Enhance
character
character

Facilitate
Facilitate
lighting
lighting
changes
changes

Create
Create
atmospher
atmospher
e
e

Add
Add
Interest

Facilitate
Facilitate
movement
movement
and
and dance
dance

T
one
Tone

Movement
Movement
between
between
scenes
scenes

Showca
se
se Vocal
Vocal
Ability
Agility
Agility

Range
Range

Mind
Map

Generative Topic. Topics that are interesting to both students and teacher and have the capacity to generate further learning
by stimulating questions, thinking, discussion, activity, curiosity, and creativity and that enable students to make connections
with what is important within a topic or field of study (e.g. music).
Generative Topic: The Role of Music in Musical Theatre
Unit Title (Based on a Generative Topic):
The Role of Music in Musical Theatre
Synopsis. Summarizes the unit (i.e. the unit in a nutshell)
Culminating Activity/Products.
Briefly describe the culminating activity and products (e.g. a composition,
and lists the following information:
performance, recording) explaining how these are authentic performance
a. Central focus, theme, topic, big idea, generative topic;
tasks and how they bring the unit to an appropriate closure.
b. Grade, musical program of study (i.e., band, orchestral,
guitar, etc.);
c. Time allotment (minutes/hours/periods) for the unit; and
d. Rationale explaining its relevance to achieving the aims and
goals of the provincial music curriculum.
Synopsis:
Culminating Activity/Products:
o Students will collaborate to create a mini musical. The majority of the
Students in the musical theatre class (grades 10-12) will explore the role of
unit will be spent allowing the students to create their own mini musical.
music in a musical theatre production. The students will experiment with
The student may decide to do this as a large company number or in
developing their own vocal instrument as well as demonstrate an
smaller groups but, all projects must include a well-developed plotline
understanding of the role of other non-musical aspects of musical theatre such
and have music integrated into the performance, similar to a musical
as lighting, staging, blocking, movement, acting, script etc. This unit is
theatre production. At the beginning of the unit, students will be
designed to try to accommodate students interests in all areas and aspects of
instructed in the area of vocal technique, meeting local and provincial
musical theatre and requires students to question the role of music from
objectives. Students will then be required to work together to create the
whatever point of view they may take, including performer, director,
musical and will be required to apply vocal techniques and other
technician etc. Not only is this relevant to the local musical theatre program
elements discussed throughout the unit in their production.
of studies but, it also requires that students are knowledgeable about certain
aspects of music and vocal performance, such as tone and diction, in order for
o In addition to this, students will reflect on the process and the inclusion
the students to be successful in this unit. (Approx. 14 classes)
of music in the creation of the musical. The reflection will be largely
focused on the essential questions of the unit, listed below. After creating
their own mini musical, students will have a different perspective of the
purposes and roles of music in a musical theatre production and will be
able to document in the reflection assignment. Not only does this serve
as a form of assessment as learning but, the students will also be able to
continue to develop the ability to self-evaluate, which is an invaluable
skill to possess as a performer and as a person, in general.

Aim/big idea. A concept, theme or issue that gives meaning and connection to facts and skills and leads to deeper
understandings and appreciations. Based on a generative topic.
Aim/big idea: By the end of the unit, students will understand . . .the various roles and purposes of music in a musical theatre
production.
Essential questions. (Two to five per unit) Important, overarching, thought-provoking questions that guide the inquiry
throughout the unit.
Essential questions:
1. What are the roles and purposes of music in a musical theatre production?
2. What is the role of good vocal performance in a musical theatre production?
3. What is the role of instrumental music in a musical theatre production? How does it differ from the role vocal performance in musical theatre?
4.
5.
Desired Results/Learning Outcomes (Scope & Sequence)
General & Specific Musical Learner Expectations/Outcomes
Unit Learner Expectations (Goals)
By the end of the course students will . . .
By the end of the unit, students will be
able to . . .

Assessment/Evaluation
(i.e. assessment of
learning)

GLE/GLO: 1
The student will demonstrate respect for others their rights, ideas, abilities and differences.(Alberta Program of Studies - Drama)
SLE/SLO: 1.1
ULE: 1.1.1
The student will be able to listen to self and others. (APOS)
The student will be able to find value in - Observation in group discussions
the ideas of others.
and collaborative settings
(Summatively assessed and
recorded using an outcome-based
checklist)
ULE: 1.1.2
The student will be able to confidently
- Observation in group discussions
make suggestions and decisions based
(Summatively assessed and
on own instincts and opinions
recorded using an outcome-based
checklist)

- Written response to video critique

SLE/SLO: 1.2
The student will be able to work cooperatively and productively. (APOS)

ULE: 1.2.1
The student will be able to efficiently
work with peers to achieve a common
goal.
ULE: 1.2.2
The student will be able to develop
self-discipline and use undirected time
to advantage.

GLE/GLO: 2
The student will develop/reinforce correct vocal techniques and skills (APOS - Choral)
SLE/SLO: 2.1
ULE: 2.1.1
The student will demonstrate healthy vocal production in the development of
The student will be able to accurately
range and facility. (LMTC)
describe characteristics of good vocal
tone
ULE: 2.1.2
The student will be able to consistently
produce good vocal tone throughout the
range.
SLE/SLO: 2.2
The student will demonstrate low, diaphragmatic breathing and breath support
throughout the entire vocal range. (LMTC)

ULE: 2.2.1
The student will be able to describe the
purposes of proper breathing.
ULE: 2.2.2
The student will be able to consistently
demonstrate proper breathing.

- Observation (Summatively
assessed and recorded using an
outcome-based checklist)
- Observation (Summatively
assessed and recorded using
an outcome-based checklist)

- Written and verbal responses to

video critiques

- Observation in vocal technique

classes
- Observation in vocal technique
classes
- Final product
- Observed in vocal technique
classes

SLE/SLO: 2.4
ULE: 2.3.1
The student will demonstrate appropriate posture for singing in warm-up,
The student will be able to consistently - Final product
rehearsal and performance. (LMTC)
demonstrate correct posture for singing.
GLE/GLO: 3
The student will develop the ability to make intellectual and aesthetic judgements based on critical listening and analysis.
(APOS General Music)
SLE/SLO: 3.1
ULE: 3.1.1
- Written and verbal responses to
The student will be able to critique performance of others. (LMTC)
The student will be able to provide
video crititques
well-informed and justified
- Observation (Summatively
constructive criticism of a performance, assessed and recorded using an
by themselves and peers.
outcome-based checklist)
GLE/GLO: 4

The student will develop self-expression, creativity and communication through music (APOS Choral)
SLE/SLO: 4.1
ULE: 4.1.1
The student will grow in appreciation, understanding and enjoyment of music
The student will be able to purposefully
as a source of personal fulfillment and cultural expression through the
manipulate music to fill a specific role
amalgamation of the program components.
in a musical theatre context.
ULE: 4.1.2
The student will be able to explain the
different roles of music in a selfconstructed musical theatre production.

- Observed throughout the process

of the creation of the final
production
- Assessed in reflection of final
product

Master List of Major Learning Activities and Experiences

1. View and critique different vocal performances, outside of musical theatre
5. Practice vocal abilities in a small number of vocal technique
context (Video Critiques)
classes. The purpose of this activity is to provide a window into
2. Final Performance of mini musical
the role of a performer and what the role of music in a musical
3. Self-assessment of learning, directly related to essential questions
theatre production may mean from this point of view. In the
4. Collaborative experiences with peers to create a mini musical and gain more scope of the entire unit, these lessons make up a very small
perspective on the roles of music (both vocal and instrumental) in a musical
but important part. The idea is for students to be able to
theatre production.
consider essential questions from the perspective of audience,
creator and performer.
6. Work with guest artist
Master List of Materials, Equipment, and Resources
1. Projector and screen
2. Playing of background music/piano
3. Sheet music
4. Theatre with lighting equipment
5. Performance space
Special Considerations
Modifications and accommodations for learners with
Social context issues. How you will address any relevant
special needs/Adaptive strategies. Strategies used to
social context issues in your planning. For example,
accommodate the needs of exceptional learners. For example
students unable to dance or perform or listen to patriotic
musically gifted, ADD, ADHD, Asperger, or Tourette Syndrome.
or particular religious music for religious and/or cultural
Identify and briefly describe the diagnosed condition and the
reasons
strategies you will use to meet the needs of these student and
school is a faith-based institution
why.
large number of FNMI students
a large number of ESL students
inner-city issues, etc.

Description of modifications accommodations to be

made for learners with special needs/Adaptive
strategies in the teaching of this unit:

Description of strategies to be used or steps to be taken to address social

context issues in the teaching of this unit.

The social context of this group is middle-class and largely Caucasian. The
Though I will be teaching several exceptional learners over the religious backgrounds of the school are mostly based in the Mormon religion.
Therefore, if given the opportunity to choose repertoire, I will ensure that the
course of the practicum, there is only one student in this class
pieces chosen will not over-use or disrespectfully utilize the word God.
that has distinguished needs. This student has an anxiety
Similarly, if given the opportunity to choose repertoire, I will try to give
disorder and, consequently, suffers from lack of selfstudents the repertoire ahead of time and suggest that they look over it and,
confidence. As an educator, I always want to foster an
environment where students feel safe and I want to build open should they have any issues with any content, to come and speak to me about
it.
relationships with my students so that, if there ever was a
As there is only one FNMI student, who has chosen not to declare his status, or
problem, they would feel comfortable. In performance-based
identify with any FNMI group, and was adopted into a Caucasian family, I will
environments, I believe that this is especially necessary.
Therefore, if this student or any student feels uncomfortable or mostly be sensitive to his behaviours in class, which, as with all students, will
reflect his emotional and mental well-being. I will make my background clear
anxious about the task at hand, the task may be modified for
to students and try to promote an atmosphere of openness, where all students
them. This could include allowing the student to choose the
feel they can openly make suggestions or comments about what they would
role they play in the musical, having them try vocal exercises
like to learn in my classes.
in groups etc.
Summary of Lessons
Lesson
Topic
Learning Objectives
Assessment/Evaluation
Learning Activities/ Instructional Strategies
By the end of this lesson TSWBAT . . .
1
What constitutes a The student will be able to:
Exit slips: Students describe,
1. Students will be divided into small groups and
good vocal
o Identify a variety of aspects of a
what they believe, to be the
will create a mind map or list of what they
performance?
most important aspect of a
believe to be the most important parts of a
good vocal performance
good vocal performance and
good vocal performance.
o Demonstrate a properly executed
justify their response.
2. Students will view other groups mind
breath for singing
maps/lists and be given the opportunity to
o Begin to demonstrate proper posture
make adjustments to their own
for singing
Mind maps or lists
3. Students will complete the exit slip, as
described in the assessment section.
2
Producing good
The student will be able to:
Progress in quality of vocal
1. Students will work first on proper vowel
vocal tone
o Consistently demonstrate proper and sounds within a piece of
formation
music
2. Student will then begin to work on proper
efficient breathing for singing Im
onsets and phonation
Not That Girl from Wicked.
3. Using a piece with which they are already
o Begin to develop the ability to
familiar, the students will apply the skills
produce healthy vocal sounds in the
learned earlier in the lesson to improve the
song Not That Girl from Wicked.
piece.
3
Aesthetic
The student will be able to:
Students write a brief written
1. Before viewing the videos, students will be
judgements
o Evaluate a vocal performance using response to a video
reminded of their lists made in the first class

a well-reasoned justification, in
written and verbal forms.

performance
2.

3.
4

Creation of final
project

Development of
plot of final
project

Music
Incorporation in
the final project

On stage time to
stage and block

The student will be able to:

o Work successfully with peers to
create the basic underpinnings of a
musical
o Contribute regularly to class
discussions and the creation and
development of ideas for the
musical
The student will be able to:
o Work successfully with peers to
create the basic plot of a 10-15
minute musical
o Work successfully with peers to
create the basic plot of a single 2-3
minute scene
The student will be able to:
o Work efficiently in smaller,
undirected groups to refine ideas of
single scenes
o Choose appropriate pieces of music
to support a constructed storyline
o Willingly adapt to accommodate
others ideas, where necessary
The student will be able to:
o Work collaboratively in smaller,
undirected groups to refine ideas of
staging and blocking each scene
o Willingly adapt to accommodate

Assessment for this, and

many subsequent lessons will
be done through observation,
as students work together to
develop their own project.
The instructor will facilitate
discussions and will help
direct the group but, will
allow the students create as
freely as possible.
Assessment is done through
observation and will be
evident in the progress of the
development of the plot of
the musical as a whole as
well as individual scenes

1.

Assessment is done through

observation as the instructor
facilitates discussion and
circulates among the
students.

1.

Assessment done through

observation as students work
together on stage

1.

2.

3.
1.
2.

2.

2.

about the most important elements of a vocal

performance.
Student will watch 3 videos and discuss, after
each video, their thoughts on whether or not it
was a good performance. Students will be
asked to rationalize their decisions.
Students will watch one final video and will
write a written response explaining their
thoughts, with a justification to support.
The instructor will facilitate a discussion that
requires the students to identify important
parts of musical theatre production.
Each suggestion will be written on a piece of
paper and the students, in small groups, will
move from paper to paper, where they will
brainstorm ideas about each component.
The students will vote on ideas that most
interest them and, from this, will create a mini
musical theatre production.
Beginning with the end of the musical,
students will be asked to create a plot for the
musical as a class.
Students will then split off into smaller groups
and will do the same thing but for one smaller
scene, within the musical.
In smaller groups, students will suggest song
selections for each scene in the musical
Students will regroup into small groups based
on the characters in each scene and will be
given the opportunity to use the time to write
a script, choose songs etc.

Each scene will be given approximately 15

minutes on stage with full cast to begin
working on staging and blocking.
Students and the instructor will watch and
provide suggestions where warranted.

10

11

12

Guest artist to
work with
students (*The
guest artist returns
more than once
so, this lesson
occurs more than
once.)
Further
development of
script for
individual scenes

others ideas, where necessary

The student will be able to:
o Willingly experiment with
suggestions of others
o Make reasoned judgments
concerning the usefulness of others
suggestions

Assessment done through

observation as the class
interacts with the guest artist

1.

The student will be able to:

o Present concrete, scripted single
scenes, about 2 minutes in length, to
the rest of the class

Assessment done through

observation, as students
present scenes to the rest of
the class at the end of the
lesson. Some assessment in
scripts handed in to the
instructor.

1.

Development of
larger scenes &
more music
integration (*This
lesson occurs
more than once,
as the unit begins
to wrap up. It
should begin to
bring things full
circle and begin to
again address the
essential
questions of the
unit.)
Integration of
lighting and other
stage technical
aspects

The student will be able to:

o Successfully and efficiently work
with peers to create a script and
blocking for collective scenes

Assessment done through

observation as students work
together

1.

The student will be able to:

o Willingly contribute suggestions
for lighting and other technical
aspects for the production.

Assessment done through

observation as students
discuss and experiment
together

1.

Performance &
Reflection

The student will be able to:

o Consistently produce good vocal

Students will be assessed

summatively, through

1.
2.

2.

2.

2.
3.
4.

2.

Students will explain the storyline as it is,

thus far.
The guest artist will provide suggestions for
the scenes suggested.

Scenes that are already fairly concrete will be

able to rehearse with full cast at the beginning
of the lesson, while others use watch and give
suggestions or work on other scenes.
Scenes not as yet developed will be given the
opportunity to present what they have to the
class and will work out a script by the end of
the lesson.
Student brainstorm the beginning, middle and
end of larger scenes.
Students work together, with instructor as
scribe to create a tentative script.
Students work together, with some guidance
from the instructor, to create appropriate
blocking and staging.
Students are asked to revisit their use of music
throughout the musical and possibly integrate
more music.

Students will discuss what technical aspects

they would like to include and decide what it
will look/sound like
Students will rehearse scenes using these
aspects and work together to create some
consensus about them
Students will do a dress rehearsal.
Students will perform for a small audience

10

o
o
o

tone throughout the range.

Demonstrate proper breathing.
Demonstrate correct posture for
singing.
Write a reflection explaining the
different roles of music in a musical
theatre production, from different
perspectives

observation as they perform.

Students will also be
assessed summatively on
their reflection, which will be
done in class, following the
performance.

3.

made of peers, school faculty and staff.

After a debriefing, facilitated by the
instructor, the students will write a reflection
of their own learning throughout the unit. The
reflection will be directly related to the
essential questions of the unit.

SampleLesson1
Topic
Grade

Musical Theatre (Lesson 1)

9 12 (80 mins)

Name
Date

Mrs. Gizette Edis

Wed March 11, 2015

LEARNING OBJECTIVES
Students will be able to:
1. Identify (B) a variety (P) of components of a vocal
performance [Domain: Cognitive] (ULE 2.1.1)
2. Demonstrate(B) a properly(P) executed breath for
singing(C) [Domain: Cognitive] (ULE 2.2.2)
3. Begin to demonstrate (B) proper (P) posture for
singing (C) [Domain: Cognitive] (ULE 2.3.1)

Program of Studies
GLE
SLE
Students will develop skills in The student will
listening, performing and
develop/reinforce correct
using notational systems
vocal techniques and skills.
o The student will develop
proper breath control
o The student will be able
to demonstrate
appropriate posture for
singing (LMTC)

ASSESSMENTS
Observations:
Key Questions:
Products/Performances:

Students demonstrations of proper breathing and posture throughout the lesson.

What constitutes a good vocal performance, as it relates to musical theatre?
What is the role of proper breathing in a good vocal performance?
Students can demonstrate a proper breath, with proper posture.

LEARNING RESOURCES CONSULTED

Music Along Shall Live Traditional German (Public Domain)

MATERIALS AND EQUIPMENT

Plain paper (Full sheets and sheets)

Writing utensils
Piano
Music Along Shall Live (German Round) For instructor
only

11

PROCEDURE
Prior to lesson
Attention Grabber
Expectations for
Learning and Behaviour
Advance
Organizer/Agenda &
Transition to Body
Learning Activity #1

Assessments/ Differentiation:

Learning Activity #2

Assessments/ Differentiation

Learning Activity #3

Materials should be on hand at the beginning of class

Set up chairs in a semi-circle, with piano in the middle, to promote openness
Introduction
Introductions
Introduce myself by name and have each student ask me a question (I reserve
the right to veto any questions that I do not feel comfortable answering.)
Discuss with students your expectations of them for this unit.
They continue to respect each other (includes abilities & opinions)
Not broadway ready, necessarily.

Time
15 mins

5 mins

Describe the unit to students.

1 min

Body
Divide students into groups of 3 or 4 and have them create a list or mind map
or list, in response the following questions: What is the most important part
of a vocal performance in a musical theatre context as an audience
member? As a performer? Have each group choose and rank the 3 most
important parts, according to them, for each question. Have each group
present their list or map to the class. After each group has presented, allow the
groups to reconvene and add or change things to their lists and rankings.
During this activity, circulate among the students and suggest some
components they may have overlooked and ask questions about their list or
map.
Lead students in a body and vocal warm up, or ask a student to lead a warm up
Stretches
Energizers
Yoga poses
Siren
Lip trills (or raspberries)

Time

Have students demonstrate and describe their best singing posture. Based on
results, teach students appropriate posture for singing. (Feet apart, one in front
of the other, shoulders back, collarbone high, head straight etc.) Have them
demonstrate correct posture.
Make sure that all students are demonstrating correct posture before moving
on. Circulate or make sure you can see all students.
Facilitate a discussion about breath by asking these questions:

20 mins

10 mins

5 mins

12

Assessments/ Differentiation

Learning Activity #4
Assessments/ Differentiation

Assessment of Learning:

Why is breath so important in singing?

What does it look, feel and sound like?
Consider discussing the problems created by poor breathing (poor phrasing,
stress etc.) or extrinsic things that may contribute to poor breathing (stress,
fatigue etc.).
Based on responses to these questions, teach students to breathe. Discuss the
diaphragm, ribs and abs. Discuss how to use the breath efficiently (in, then out,
no pause). Use different visuals or tricks to help students explore breathing.
(Thumb on the roof of the mouth, thinking position breath, panting, expelling all
air then relaxing etc.)
Using correct posture and breathing techniques have students hiss, then lip trill
(or raspberry) for a specified number of counts. Ex: in for 2, hiss for 4.
Be aware of pacing this part of the lesson so that students do not get dizzy.
Give a demonstration, have students copy and then hold a brief discussion.
Teach students the melody and words to Music Alone Shall Live by rote.
Observe students posture and breathing throughout and correct where
necessary.
Consider breaking it into parts if students catch on quickly.
Closure
Mostly done through observation, as students begin to demonstrate
consistency in proper posture and breathing.

15 mins

Time

Assessment of prior knowledge is done through the mind map activity.

Feedback From
Students:
Feedback To Students
Transition To Next
Lesson

In the exit slip what students would like to learn about singing (see below)
Given throughout the lesson as I ask probing questions and observe and
correct breathing and posture throughout the lesson.
Give students the opportunity to fill out an exit slip that contains:
Name
Favourite song
Something they would like to learn in the unit about singing
Anything else they would like you to know

10 mins

Begin having students sing on a vowel, while demonstrating proper posture and breathing.
Sponge Activity/Activities

Continue to work on something that students already know.

Reflections
13

o Introductionstooklesstimethananticipatedso,moretimewasspentonsinging,whichwasgood.
o Havingthewarmupinthemiddleworkedsurprisinglywell!Studentsseemedlowenergy,sincetheclassisearlyinthe
morningbut,Iwantedtobuildsomekindofrapportwiththembeforeaskingthemtodosilly(butuseful)warmupexercises.
o Almostforgotabouttheexitslipsso,itbecamesortofaminiassignment.Studentsmayforgetbut,Iwillplanforthatand
allowthemtofillthemoutatthebeginningofnextclass.Thegoalistogetstudentsthinkingaboutthisfirst,shortpartofthe
unit.

14

SampleLesson2
Topic
Grade

Musical Theatre (Lesson 2)

9-12 (80 mins)

Name
Date

Mrs. Gizette Edis

Thurs March 12, 2015

LEARNING OBJECTIVES
Students will be able to:
1. Consistently (P) demonstrate (B) proper and efficient
breathing for singing Im Not That Girl from Wicked.
(C) [Domain: Cognitive] (ULE 2.2.2)
2. Begin to develop (B) the ability to produce healthy
vocal sounds in the song Not That Girl from Wicked.
(C) [Domain: Cognitive] (ULE 2.1.2)

Program of Studies
GLE
The student will develop/reinforce
correct vocal techniques and skills.

SLE
o The student will develop
proper breath control
o The student will demonstrate
healthy vocal production in the
development of range and
facility. (LMTC)

ASSESSMENTS
Observations:

Key Questions:
Products/Performances:

Students are more consistently demonstrating proper breathing and use of breath
Students understand that sometimes vowels must be modified in singing to achieve a healthy
core sound and are making the effort to do so
What is the role of quality vocal sounds in a musical theatre context?
Consistently demonstrate proper breathing
Beginning to develop a consistent, healthy core sound

LEARNING RESOURCES CONSULTED

Im Not That Girl from Wicked

MATERIALS AND EQUIPMENT

Music for Im Not That Girl from Wicked

Piano
Accompanist
Recording of Not That Girl

PROCEDURE
Prior to lesson
Attention Grabber
Advance
Organizer/Agenda
Transition to Body

Set up chairs in a semi circle and pull piano to the middle of the stage
Introduction
Begin playing recording of Not That Girl
Posture & Breathing
Producing healthy sounds, focusing in the lower range and working with Not
That Girl
Review what was discussed last class and collect exit slips. (Have extra for
students who lost the slip or forgot.) Answer any questions that might have
come up.

Time
3 mins

10 mins

15

Learning Activity #1

Assessments/ Differentiation

Learning Activity #2

Assessments/ Differentiation

Learning Activity #3

Body
Lead students in a body and vocal warm up
Stretches
Energizers
Yoga poses
Siren
Breathing exercises
Lip trills (or raspberries)
Remind students of posture and breathing
Begin by asking:
In singing, which is more important, text or tone?
In musical theatre, which is more important, text or tone?
Vowel Formation
Ask the students: Can you think of a time when you might have heard a
vowel sung differently than it would have been regularly spoken?
Provide and demonstrate some examples from pop culture and musicals, if
possible. Explain that this is done because, sometimes, the vowels we use
when we speak do not work when singing so, we modify the vowels to make
them easier to sing on, while still being understood.
Explain that vowel formation starts in the throat, below the mouth and tongue.
Demonstrate different vowel sounds without moving your lips or tongue. Have
students attempt this as one large group or divide the class in half. Explain that
this is important to understand because, when modifying the vowels,
sometimes, our mouths open a lot (in higher registers) but, our throats have to
keep the integrity of the vowel so we can be understood.
Students are not likely to master this right away. Be patient and encourage the
students to be patient with themselves. The goal of this exercise to make
students aware and to have them try it out.
Onsets
Give a basic anatomy lesson of the vocal folds and what they do when
speaking/singing and breathing. Explain that the next exercise is going to focus
on making healthy, crisp onsets. Explain what an onset is, using pointer and
middle fingers to represent vocal folds.

Time

12 mins

10 mins

15 mins

Before phonating, have students practice opening and closing vocal folds by
gently aspirating an h sound. Demonstrate first, then have everyone practice
at the same time, while you go around and listen to each student.

16

Next demonstrate how to onset on an ay vowel. Have students describe your

sound/onset. Make sure that they understand that the sounds needs to be wellsupported. (Consider discussing what this means.) Have students practice
onsetting on ay as a group.

Assessments/ Differentiation

Learning Activity #4

Morph this exercise into a vocalize exercise, going through each of the vowels.
Move across the range, instructing students to modify the vowels as needed.
Focus more on the lower range, to prepare for singing Not That Girl.
This activity can tire voices very quickly and produce a lot of phlegm. Take it
slow and allow students to hydrate often. Encourage students to be gentle!!!
Not That Girl
Give students the music, for the first few sing throughs. Then, take it away so
they can focus on their sound.

Assessments/ Differentiation

Assessment of Learning:
Feedback To Students
Feedback From Students
Transition To Next
Lesson
Sponge Activity/Activities

Have students sing it once through. Discuss as a class some of the challenges
of this song. Work on areas of trouble for students. Probably having to do with
the fact that it is so low in the range.
Remind students of proper posture and breathing. If there is a student who was
not there when the class already learned this, have this student sit near you
and listen and offer suggestions. Encourage them to listen for specific things. It
may be appropriate to allow them to trouble shoot.
Closure
Mostly done through observation, as students begin to attempt to make
precise onsets and healthy vocal sounds. Consistency in breathing will also be
observed.
Given throughout the lesson as I ask probing questions and observe and
correct breathing, posture and tone throughout the lesson. Feedback to
students may also be given by one or more students who may be listening.
As student answer questions and listen to the group, the students will be able
to share their thoughts and insights.
Have the students perform the piece with the movement they had already
developed.

25 mins

Time

5 mins

Have the students practice singing it with the choreographed movement that they have
already created in an earlier part of the semester.

Reflections

17

o PlannedactivitiesseemedtoworkexactlyasIplannedthem.Theysupportedtheoutcomeswellandcontinuedtobuildonand
reinforcewhatwastaughtinthepreviouslesson.
o Thelessonwasalotofworkforthestudents.Thisisgoodbecauseitkeptthemengagedbut,theyseemedalittlespentbythe
endoftheclass.
o Keyquestionsseemedtorequireseriousthoughtbystudentsandsomegreatdiscussioncamefromthequestions.
o Lwasnottherewhentheotherstudentslearnedthepieceandchoreographyso,Iaskedhimtolistenwithmeandhehasgood
insights!But,Icantellthathefeelssomewhatoutofplacebecausetherestoftheclassisfemale.Hehasalsoexpressedthat
hisinterestismoreinbeingusedasatechnicianthanaperformer.However,hewasgenerallywillingtodothesinging
exercises.
SampleLesson3
Topic
Grade

Musical Theatre (Lesson 3)

10-12 (57 mins)

Name
Date

Mrs. Gizette Edis

Friday March 13, 2015

LEARNING OBJECTIVES
Students will be able to:
1. Evaluate (B) a vocal performance using a well-reasoned justification, in written and verbal forms (C) [Domain:
Cognitive] (ULE 2.1.1, 3.1.1)

ASSESSMENTS
Observations:
Key Questions:
Products/Performances:

Students can use their own knowledge to support judgements of a vocal performance
What is the most important part of a vocal performance, as an audience member?
Written point form evaluation of a vocal performance

LEARNING RESOURCES CONSULTED

BRITAwards2015 [User name]. (2015 Feb 22). Lady Gaga
Sound of Music Tribute The Oscar Awards 2015 HD [Video
file]. Retrieved from https://www.youtube.com/watch?
v=dSgQqSmZz6k
PTXofficial [User name]. (2012 May 7). We Are Young
Pentatonix (Fun Cover) [Video file]. Retrieved from
https://www.youtube.com/watch?v=Mn3Zkq9PP_Y
Karmin [Username]. (2011 Feb 19). Jessie J Price Tag ft. B.o.B
(Cover by Karmin) [Video file]. Retrieved from
https://www.youtube.com/watch?v=uZ6L6sC6QTU
Boyceavenue [User name]. (2015 Jan 11). Latch Disclosure
feat. Sam Smith (Boyce Avenue feat. Lia Marie Johnson) on

MATERIALS AND EQUIPMENT

Projector
Screen
Adequate sound equipment
Youtube video clips
Loose leaf paper
Writing utensils

18

iTunes & Spotify [Video file]. Retrieved from

https://www.youtube.com/watch?v=Jo2QHf4Itoo
(*Videos to be played in this order)

PROCEDURE
Prior to lesson
Attention Grabber
Assessment of Prior
Knowledge
Advance
Organizer/Agenda
Transition to Body

Learning Activity #1

Have youtube clips open in different tabs and set up chairs in a way that all students will be
able to see the videos
Introduction
Time
Have the lights off in the classroom, with the first video prepared to be played
on the screen.
Revisit lists of important components of a vocal performance from lesson 1.
Students will watch 3 videos. After each video there will be a group discussion,
during which students are not required to write anything down. The final video
will be shown and the students will have the opportunity to discuss with peers
and then must write down in point form their opinions of the video.
At the top of their papers, have each student write down the most important
think to them as an audience member. (If this one think was missing or was
poorly done, you would not enjoy the performance.)
Body
Watch each youtube video and discuss with students afterward. Topics may
include:
Diction
Lighting and venue
Tone
Dress and appearance
Connection with others/audience
Control
Phrasing
Breathing
Posture
Balance and blend
Tempo
After watching the last video, have students think-pair-share and write a review,
in point form. The review should include an opinion with reasons to back it up,
as well as if their one must-have changed at all. After the students have written
their reviews, discuss whether or not their most important component (written
at the top of their page) changed during the lesson.

2 mins
2 mins

1 min
Time

52 mins

19

Assessments/ Differentiation:

Assessment of Learning:
Feedback From
Students:
Feedback To Students

Sponge Activity/Activities

Consider allowing each student to share one thing, or think-pair-share.

May need to re-watch parts of the videos
Closure
Evident in the written reviews as well as in observing the group conversations.
Students provide feedback during the group conversations of the videos. The
teacher is able to use this information to assess student thinking and
knowledge.
Feedback to students is given as the instructor facilitates discussion about the
videos and offers new ideas for the students to consider.

Time

Watch and discuss more videos

Reflections
o Studentswereveryengagedinthislessonandhadamanyopinionstoshare
o Writtenandverbalfeedbackfromstudentswashonest
o IfItaughtthislessonagain,Imightmakeaconsolidatedlistofthethingsthattheysaidwereimportantinthefirstlessonand
hangitorwriteitsomewhereforthelessonorhanditoutatthebeginningoftheclasstohelpthemrememberandstayon
track

20

AnalyticalReflectiveCritique
TheunitplanaboveisnotafarcryfromwhatIwasoriginallyplanningtoteachthestudentsbut,isdefinitelydifferentfrom
theoriginalplan.Thedecisiontochangetheplanwasalmostanobrainer.OnceIhadmetthestudentsandseenwhattheywere
currentlyworkingon,IknewthatIneededtocreateaunitthatwasatleastequallyasengaging.Mostimportantly,Iwantedthemto
createsomethingthatwasentirelytheirown,intheprocessofwhateverIdecidedtoteach.AsIponderedthisdecision,Ifeltthatit
wasacompletelyrationalandvaliddecisionbecause,notonlydiditseemrighttomebut,italsoremindedmeofvariousdiscussions
hadamongotherpreservicemusicteachers,wherewelookedcriticallyatwhatfineartsprogramsclaimtodoandwhattheyactually
do.Inotherwords,mostfineartsprogramsclaimtoprovideatimeandspacewherestudentswillbeabletoexpressthemselvesfreely
andbecreative.Whattheyactuallydoishandoutmusic,demandthatstudentsplayitexactlyaswrittenorasdirectedbyateacher.I
wantedtoexperimentinthemusicaltheatreclasswithtruecreation.Notonlydoesitincreasestudentengagementandinvolvement
but,italsomeansthatthestudentsareinvestedinwhatitbeingtaughtbecause,theychoosethemediumthroughwhichitisbeing
taught.
Inhindsight,Ibelievethatthiswasagooddecisionbecausethestudentstrulywereengagedandinvestedintheproject.
However,becauseofthecreativeandstudentcenterednatureoftheproject,theunitwasalittlebitmessy.Sometimes,itfeltlikethe
projectwasgettingnowhereandotherdays,theamountofprogressmadewasunbelievable.Thereweremanyreasonsforthis.First,I
thinkthat,withanycreativework,therewillalwaysbeanebbandflowinrelationtoproductivityandinterest;thatisanaturalpartof
thecreativeprocess.Second,Ithinkalotofithadtodowithmylackofexperienceguidingthiskindofcreativework,aswellasa
lackofexperienceandknowledgeinthesubjectarea,ingeneral.Mylackofexperiencefacilitatingcreativeworkwasunavoidable.I
knew,thatatsomepoint,IwantedtohavethisexperienceandImadethedecisiontotaketherisknowbecauseIfeltthatthestudents
wouldbewillingandIhadamentorwhowasveryexperiencedinleadingcreativework.Additionally,mymentoralsohadalotof
experiencewiththesubjectmatter,ofwhichIwasindesperateneed.Anotherunexpectedbonuswasthearrivalofaperformerfrom
NewWestwhocametotheschooltoworkwithallofthedramaandmusicaltheatreclasses.Withthiskindofsupport,Ifeltless
anxiousabouttheworkthatIwasfacilitatingandaskingofthestudents.Iknewthat,iftheyneededhelp,IwoulddowhatIcouldand,
ifthatwasnotsufficient,IhadotherresourcesthatIcoulduse.HadInothadtheseresources,awillinggroupofstudents,atheatre
withappropriatelightingequipmentetc.Iwouldnothavebeenaskeentodothisproject.
ThepacingofthisunitwasdifficultbecauseIfeltthatitwasverydifficulttogainmomentum.Therewereanumberofclass
periodsthatwerenotusedbecauseofadramaproductionthatwasrunninginthetheatre.Italsomeantthatmorethanhalfoftheclass
wasunabletoattendclassforaweekbecausetheywereperformingupto3showsaday.Thismadeitdifficulttocreatecontinuityin
thelessonsthroughouttheunitandmadetheprogressionfromlessontolessonslowerbecauseweoftenhadtoreviewwhatwasdone
lastday,forpeoplewhowerenotthereorsimplytorefreshourmemoriesandtrytoregainsomemomentum.Therewasnothingwe

21

coulddoaboutitso,welearnedtobeflexibleand,ondayswherehalftheclasswasgone,Itriedtousethattimetostrengthenmy
relationshipswiththestudentsandwemadeitwork.
Thetransitionsbetweensegmentsofthelessonswerelogical,Ibelieve,but,theywerealsoflexible,becauseitwasa
collaborativeproject.IfIhadplannedforthegrouptoworkonaspecificscenefor20minutesbut,theykepthittingtheproverbial
wall,wewouldmovetothenextsceneinstead.Thisgoesbacktotheebbandflowofcreativeworkandbeingflexible.
Halfoftheobjectivesfortheunitwerebasedinvocalperformance.Thissuggeststhatalargepartoftheunitwouldbespent
addressingtheseobjectives.Thoughthiswastheintention,thisisnotwhatactuallyhappened.Thisispartlybecausethestudentswere,
forthemostpart,easilyabletomeettheseobjectivestowardthebeginningoftheunit.TheotherreasonIdecidednottospendcopious
amountsoftimeonvocaltechniqueisbecausealargemajorityofthestudentshadotherinterests,suchasacting,dance,theatre
technologyanddirecting.So,Ireflectedontheessentialquestionsoftheunitanddecidedthatthestudentswouldbemorethan
capabletoanswertheessentialquestionsoftheunitandmeettheunitoutcomesthroughtheirowninterests.Ultimately,Ididhavethe
studentsdovocalworkfor3classesandfoundthattheycouldallmeettheoutcomesso,Imovedon.Towardtheendoftheunit,after
wehadspentweeksdevelopingtheirproject,Ireferredbacktothosefirst3classesandwediscussedhowtheywereabletogain
multipleperspectivesfromdoingthevocalexercisesaswellasthevariousrolestheyfilledindevelopingtheirproject.Inthisway,the
vocaldevelopmentpartoftheunitwasimportanttowhatthestudentslearnedabouttheroleofmusicinmusicaltheatre.Theylearned
thattherolechanges,dependingonyourperspectiveorwhatyouareresponsibleforintheproductionandIreallybelievethatthere
wasnootherbetterwayforthemtolearnthisthantoactuallyexperienceitandthenreflectonit.
Inadditiontotheoutcomesinthestudentsvocalproductionandperformance,alloftheotheroutcomesweremetand,some
outcomeswerealsotaughtsubconsciouslyonmypart.Ifoundthatthisparticulargroupofstudentswasverywillingtotrynewthings
but,theywereveryreluctanttolead.Throughouttheunit,studentswouldaskmespecificquestionsaboutwhatIwantedthemtobe
doinginaparticularsceneorwhattheyshouldsay.Atthebeginningoftheunit,Iwouldgivemultiplesuggestionsfromwhichthe
studentscouldchoose.Atfirst,therewassomehesitancybut,afterawhile,theybecamemorevocalaboutwhattheythoughtofmy
suggestionsandwhattheywantedtobedoing.However,towardstheendoftheunit,whentheywouldaskmesimilarquestions,I
wouldoftensaysomethinglikeItsyourproject.Youdecide.Here,therewasalotofreluctanceso,Itriedtofosteranenvironment
forstudentstobrainstormtogetherbyturningthequestionovertotheentiregroupandhavingthemdecide,orjustencouragingthe
studentstoimproviseanddowhattheythinkisappropriateorwhat,tothem,feelsright.Withthelatter,someofthestudentsbecame
impatientandfrustratedthatIwastakingastepback.Bythistime,myrelationshipwiththisgroupofstudentswassuchthatIknew
thatIcouldpushandstretchthemandthatitwouldnotdamagemyrelationshipwiththem.
Myrelationshipwiththestudentsmadeitsothattherewerevirtuallynoclassroommanagementissuesorinappropriate
behavioralissues.Therewasoneclasswherethestudentsfounditdifficulttofocus.Ithinkthatthismostlyhadtodowiththefactthat
wehadtohaveclassintheopenlobbyofthetheatrebecausethesetwasupforthedramaproduction,onthestage,andallother
useablespaceswerefull.Thiswasdifficultformeasateacherbecausesomeofthestudentsfriendscametothelobbyandthey
22

startedsocializingatwhichpointIhadtoexplaintoorremindthemthatwewerehavingaclassandthattheyarewelcometowatch
but,iftheybecameadistraction,theywouldbeaskedtoleaveanditseemedtoworkfairlywell.
IfItaughtthisunitagain,Imightconsiderallowingthestudentstoviewaperformanceandthendoananalysisofthedifferent
rolesthatthemusicfillsthroughouttheproduction.IdidthinkofdoingthiswhileIwasteachingtheunitbut,becauseoftime
constraintsandtheunavailabilityofresources,Ichosenotto.Thoughitwouldhaveaddedadifferentdimensiontotheunit,Iamglad
thatthestudentswereabletodoandnotjustsimplywatchandassumeorguess.Ialsowouldhaveprovidedaspecificdateforthe
projecttobefinishedandgeneralcheckpointstomakesurethatthingswerebeingaccomplishedinatimelymanner.Thiswouldhelp
thestudentsdeterminethescopeandsizeoftheprojectandwouldhelpthem,andme,measuretheirprogress.

23

Overall,Ienjoyedteachingtheunit.Itwasdefinitelyalearningexperienceforme.IrealizethatItookabigriskandIthinkit
paidoffbecausethestudentswereengagedandIreallydothinkthattheylearnedsomethingnewaboutmusicand,moreimportantly,
Ithinktheylearnedsomethingaboutthemselves.Ididaskalotofthem,throughouttheunitbut,basedonwhatIobservedofthe
24

groupbeforeteaching,Iknewthattheywereabletodoit.Thepayoffformewasseeingtheirfacesaftertheyperformedtheirproject
forasmallgroupofgrade9dramastudents.Ithinkthat,inthatmoment,theyrealizedthemagnitudeofwhattheyhadlearnedand
created,andtheimagesofthembowingandsmilingwillstaywithmeforalongtime.

25

26

27

References
Boyceavenue [User name]. (2015 Jan 11). Latch
Disclosure feat. Sam Smith (Boyce Avenue feat.
Lia Marie Johnson) on iTunes & Spotify [Video file].
Retrieved from https://www.youtube.com/watch?
v=Jo2QHf4Itoo
BRITAwards2015 [User name]. (2015 Feb 22).
Lady Gaga Sound of Music Tribute The Oscar
Awards 2015 HD [Video file]. Retrieved from
https://www.youtube.com/watch?v=dSgQqSmZz6k
Karmin [Username]. (2011 Feb 19). Jessie J Price
Tag ft. B.o.B (Cover by Karmin) [Video file].
Retrieved from
https://www.youtube.com/watch?v=uZ6L6sC6QTU
Traditional German Song. Music Alone Shall Live.
PTXofficial [User name]. (2012 May 7). We Are
Young Pentatonix (Fun Cover) [Video file].
Retrieved from https://www.youtube.com/watch?
v=Mn3Zkq9PP_Y

28

Schwartz, S. (2003). Im not that girl. In Wicked (pp. 52-56). Milwaukee, WI: Hal Leonard Corporation.

29