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Students will identify Classical songs in binary, ternary, rondo, and theme and variations form. Students will apply their knowledge to their own short composition in a form of their choice to be performed on the keyboard at the end of class. Students will be graded on criteria of accurate use of their selected forms, complexity of the composition, and demonstrated effort.
Students will identify Classical songs in binary, ternary, rondo, and theme and variations form. Students will apply their knowledge to their own short composition in a form of their choice to be performed on the keyboard at the end of class. Students will be graded on criteria of accurate use of their selected forms, complexity of the composition, and demonstrated effort.
Students will identify Classical songs in binary, ternary, rondo, and theme and variations form. Students will apply their knowledge to their own short composition in a form of their choice to be performed on the keyboard at the end of class. Students will be graded on criteria of accurate use of their selected forms, complexity of the composition, and demonstrated effort.
1. Learning Outcome/Behavioral Objectives: Students will identify Classical
songs in binary, ternary, rondo, and theme and variations form. Students will apply their knowledge of forms to their own short composition in a form of their choice to be performed on the keyboard at the end of class. 2. Required Prior Knowledge and Skills: This lesson is a continuation of a previous lesson in which major forms of music (binary, ternary, rondo, and theme and variations) will be defined and paired with familiar songs in each form. Students must have experience identifying sections and in recognizing melodies that are identical, similar or different from each other. Students must also have experience playing easy melodies on a piano keyboard. Anticipated needs: Students will need the definitions presented in the previous class, and I will quickly review those for students who were absent. For students who may have trouble identifying sections in longer works, I will supplement Classical-style examples with shorter pieces in contemporary styles and childrens songs that the students will be familiar with, presented in the previous class. I will also allow the students to discuss the listening examples and work to discover the sections in the pieces before divulging the answer as a class. For students who dont have extensive experience on the instruents, this exercise can be used as a starting point to build familiarity. It is not necessary that melodies be terribly complex in order to accurately follow the students selected form. 3. Standards and Frameworks: National Standards: Creating: AS1 Imagine AS2 Plan, Make AS3 Evaluate, Refine, Present Performing: AS4 Select, Analyze, Interpret AS5 Rehearse, Evaluate, Refine AS6 Present Responding: AS7 Select, Analyze AS8 Interpret AS9 Evaluate Connecting: AS10 Synthesize, Relate AS11 Relate for deeper understanding State Frameworks Singing Reading and notation Playing Instruments Improvisation and composition Critical response Purposes and meaning in the arts Role of artists in communities Concepts of style, stylistic influence and stylistic change Inventions technologies and the arts Interdisciplinary connections 4. Assessment: Student performances will be documented with audio recording and graded on criteria of accurate use of their selected forms, complexity of the composition, and demonstrated effort. Students will be expected to verbally identify the form they used and if asked identify the locations of the beginnings and endings of sections.
recording device, Orff instruments, copies of fill-in worksheet 6. Accommodations: a. Special needs My student with autism enjoys making music at the piano but becomes overwhelmed by the noise of many people playing at once. I will ensure that students use headphones on their keyboards while working on their compositions. He also has anxiety performing in front of the class, so if he declines the opportunity, I will be content to allow him to play his composition for me in private. I will also make up a worksheet with fill-in-the-blank spaces for definitions of each type of form and space to write in examples, to help this student by providing a kinesthetic activity (writing) in addition to listening. b. ELL I believe that the representational system of notating sections with letters will make intuitive sense to an English Language Learner. There will not be extensive language use in this class except for the introduction of some musical terms, including rondo and theme and variations. 7. Lesson Sequence: a. Activity: Listening to form in musical examples In the order listed on the worksheet (binary, ternary, rondo, theme and variations), fill in definitions for each form (AB or AABB, ABA, ABACA, and AAA) based on listening examples, asking students to raise their hands when they hear a new section and suggest names for the sections. Examples to be played: binary - Scarlatti Sonata K130 in A flat major, ternary minuet and trio from Mozarts Haffner symphony, rondo Fur Elise, theme and variations La Folia Estimated Time: 10 min b. Activity: Listening map Discussion of listening maps. Students will listen to Mozarts Rondo alla Turka and independently create their own listening maps. When finished, select one or two volunteers to share their map and explain their notation as the recording is played again. What form is this piece? Estimated Time: 10 min c. Activity: Composing a piece in small groups Discuss what makes a piece sound coherent and choose parameters. Class may vote on what form they would like to use. Divide the class into the requisite number of groups (no more than 3-4) and give 6 min to write 4 bars for their part on Orff instruments. Estimated Time: 6 minutes
d. Activity: Presentation of compositions
Students will play the composition as a whole for the entire class, repeating parts as necessary to make the form complete. Take a recording to post on class website. Estimated Time: 4 minutes 8. Assignments: None 9. Contingency plan: Real-life or familiar childrens song examples can replace recorded examples in case of a technology failure. The class may be given extra time to work on compositions if prior activities run under, or if there is not enough time to break into groups for compositions, the composition may be done as a class, with students contributing a bar at a time. 10. Evaluation/Diagnosis/Remediation: