Unit: Expressing Emotion

Choir 10/20/30, Grades 10-12

Maria Rosvick
2/2015

TABLE OF CONTENTS
Idea Web...2
Unit Plan Basics3
Topic and Synopsis
3
Scope and Sequence
4
Lesson Summaries
7
Unit Assessment Plan...12
Sample Lesson Plans15
Lesson 1
15
Lesson 2
19
Lesson 7
23
Social Context Unit Plan Rationale....27
Analytical Reflective Critique.29
Samples..32
Expression Journal rubric
32
Expression Journal assignment sheet
33
Singing test rubric
34
Bibliography.35

IDEA WEB

UNIT PLAN BASICS

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 domain (i.e. big idea).
Generative Topic: Expressing emotion beyond the words of a song, using vocal modulation and body language
Unit Title (Based on a Generative Topic): Expressing Emotion
Synopsis. Summarizes the unit (i.e. the unit in a nutshell)
and lists the following information:
a. Central focus, theme, topic, big idea, generative topic;
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:
This unit will focus on how one goes about creating and expressing different
emotions using their voice and body movement while singing, rather than
simply relying on the lyrics. It will be focused on high school choir (Choir
10/20/30), and take around four weeks (thirteen 70-minute lessons).
Expression in different forms is a large part of the Alberta choir curriculum,
as it is with any form of music. In focusing specifically on the idea of
expression beyond the lyrics of a song, the unit will help students start to add
those expressive characteristics to their singing (and possibly playing) in the
future automatically, which will lead them to becoming better, well-rounded
musicians.

Culminating Activity/Products.
Briefly describe the culminating activity and products (e.g. a composition,
performance, recording) explaining how these are authentic performance
tasks and how they bring the unit to an appropriate closure.

Culminating Activity/Products:
Students will publicly perform the piece Pardon the Expression by Jill
Gallina, utilizing techniques taught throughout the unit to convey the
different musical expressions portrayed in the song. This will be recorded
and marked using a rubric. The performance will also include several
other songs (Waka Waka and Hava Nashira) that the students had started
work on before the unit and into which they will have incorporated unit
ideas on expression.

This will close the unit effectively and give me a very strong idea of how
well each student has absorbed the techniques I have taught them. As
choir is a performance group, having to prove their learning in front of a
live audience is the best way to make sure it is becoming automatic and
they have put significant thought into it.
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 . . . that messages and emotions in songs and even in speech
are not conveyed simply through words, but through the ways in which one modifies their voice and moves their body.
Essential questions. (Two to five per unit) Important, overarching, thought-provoking questions that guide the inquiry
throughout the unit.

Essential questions:
1. How can one use just their voice to express how they feel, both when singing and when simply speaking?
2. In what ways can vocal emotion be supplemented by the ways in which you move your body?
3. How can body language alone pass on messages?
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 . . .

GLE/GLO: 1
develop skills in listening, performing, and using notational systems.
SLE/SLO: 1.1
identify dynamic markings and tempo indications; e.g., allegro, andante and
other terms as related to the repertoire being studied.

ULE: 1.1.1 consistently interpret

dynamics and tempo relevant to the style of
each piece.

SLE/SLO: 1.2
understand and demonstrate musical phrasing.

ULE: 1.2.1 demonstrate good posture and

air support at all times.
ULE: 1.2.2 ...carry every line to the end of
the phrase when singing.

SLE/SLO: 1.3
successfully perform his or her part in a two- or three-part selection.

ULE: 1.1.1 effectively blend their voice

with that of the ensemble at all times.
ULE: 1.1.2 successfully perform their
part in Pardon the Expression with 100%
pitch accuracy.

GLE/GLO: 2
...develop self-expression, creativity and communication through music.
SLE/SLO: 2.1
demonstrating the function of onomatopoeia, dynamics and varied
articulation as devices in word colouring.

ULE: 2.1.1 utilize sudden dynamic shifts

and significant articulations to bring
attention to changes in style and create
interest.

Assessment/Evaluation
(Summative i.e. assessment of
learning at the end of the
unit)

1. Final performance on April

23 concert
2. Mid-round singing tests in
small groups
1. Final performance on April
23 concert
2. Mid-round singing tests in
small groups
1. Final performance on April
23 concert
2. Mid-round singing tests in
small groups
1. Final performance on April
23 concert
2. Mid-round singing tests in
small groups
1. Final performance on April
23 concert
2. Mid-round singing tests in
small groups
1. Final performance on April
23 concert
2. Mid-round singing tests in
small groups
3. Expression journal comments
and interpretations

SLE/SLO: 2.2
using nuance and facial expression as aids to storytelling and picture
painting in songs.

ULE: 2.2.1 include relevant facial and

body motions while singing in various
styles.

SLE/SLO: 2.3
developing intensity; e.g., tension and release

ULE: 2.3.1 correctly interpret and sing

dissonance and consonance within a group.
ULE: 2.3.2 maintain musical energy
through long lines and cadences.

SLE/SLO: 2.4
adding flexibility of tempo; i.e., rallentando, rubato, accelerando.

SLE/SLO: 2.5
adding dynamic contrast to repeated phrases or figures and extended
passages or selections

ULE: 2.4.1 successfully perform

accelerando and ritardando in
Pardon the Expression while
maintaining pitch accuracy and
blend.
ULE: 2.5.1 correctly interpret
dynamic shifts throughout Pardon
the Expression and other pieces.

1. Final performance on April

23 concert
2. Mid-round singing tests in
small groups
3. Expression journal comments
and interpretations
1. Final performance on April
23 concert
2. Mid-round singing tests in
small groups
1. Final performance on April
23 concert
2. Mid-round singing tests in
small groups
1. Final performance on April
23 concert
2. Mid-round singing tests in
small groups
1. Final performance on April
23 concert
2. Mid-round singing tests in
small groups

Master List of Major Learning Activities and Experiences

1. Discussion on key questions such as What does it mean to be expressive?
9. Breathing exercises Long held breaths, visualizations (eg. Breathing from
and How can we communicate without saying anything?
the centre of the Earth up through your feet to your head), dynamic breathing,
2. Posture reviews at the beginning of and during each lesson What do they
etc.
need to always be aware of? Eventually this will become automatic and
10. Warmups Zooma (articulation, range), Sing E (vowels, tone), Bumblebee
unconscious.
(intervals, range), Maybe My Mummy (enunciation), Oh This Is So Low
3. Musical exemplars Of each piece being sung, as well as stylistically
(range, tone), Mee-Ah (smooth transitions, range) others as needed.
similar pieces (such as The Lioness Hunt)
11. Expression Journals three short entries evaluating the expressive qualities
4. Pardon the Expression A fun piece describing the different kinds of
of professional and semi-professional performances.
musical expressions and articulations that one would see in a choir score.
12. Spoken Word Poems Small groups of students read given poems and then
5. Waka Waka A powerful, rhythmic African piece about pushing through
attempt to read them again and change the meaning through tone and body
trials, popularized by Shakira.
language rather than changing the words.
6. Hava Nashira A slow, lyrical Israeli folk song with a simple melody but
13. Singing tests Mock test one week prior, with formative verbal feedback,
powerful dynamic and expressive shifts
and then written summative feedback after the true test.
7. Silent communication class(es) Designed to emphasize the importance of
14. Student self-evaluation Students evaluate the video recording of their
non-verbal communication and how hard it actually is to make oneself
singing tests and give themselves a mark (not counted in final grades) and
understood when you cant explicitly state your meaning.
several suggestions for expressive improvement.

8. Final concert recorded as a final evaluative culmination of student

learning over the unit.

15. Body movement activities Dancing in the dark, dancing to a recording,

choreography, etc.

Master List of Materials, Equipment, and Resources

Pardon the Expression score and 9 copies
9. JWPepper.com Pardon the Expression recording
Waka Waka score and 9 copies
10. Expression Journal assignment sheets (10)
Hava Nashira scores (10)
11. Expression Jounral rubrics (10)
Say Something scores (10)
12. Singing test rubrics (20)
Electric keyboard, pedal, chords, stand
13. iPad with video camera
Whiteboard and markers
14. Student email addresses for emailing video for selfSmartboard connected to computer
assessment
YouTube videos The Lioness Hunt, Waka Waka
15. Accompaniment tracks recorded to the keyboard
16. Warmup tracks recorded to the keyboard
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.
1.
2.
3.
4.
5.
6.
7.
8.

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:

I modified slightly for a student in the class who has Aspergers Syndrome.
Specifically, he struggles with having a lot to say about everything and being
very overpowering in the group. I have designed several strategies for keeping
him on track. Firstly, I will be carefully addressing his powerful voice by
encouraging him to blend with the choir. Being the only male student, he tends
to overcompensate with too much volume. Also, I will be giving him a solo in
Pardon the Expression that I will encourage him to make his; he can make it
as flamboyant as he wants, which will help to curb some of his need to be seen
and heard at all time. Finally, when he starts on tangents, I will be very careful
to address his concerns or acknowledge his story, and then steer it back to the
concepts we were working on. He often just needs to know you are listening to
him, rather than shutting him down as soon as he starts talking. If I engage him
for a moment and then gently steer him back, it will work more effectively and
make him still feel welcome and acknowledged in the class.

Many of the students in this school and this area in general come from a lower
socio-economic background. This I have addressed by making sure at all
times that students have everything they need to see or use the technology I
am providing; in particular, I will make sure that they all have email and can
view videos sent through it. If they cannot, I will burn CDs so that they have
some way of listening to their singing tests and exemplar songs. I will also
offer the opportunity to come in at lunch and listen. Several of my students
come from very broken homes, and so I will be including a lot of activities
and general attitudes that are specifically designed to make them feel welcome
and safe in the classroom. I will be addressing my favourite idea of a safe
space in my classroom, and enforcing it if I hear any kind of put-downs or
inappropriate talk. This will help all students, and especially the less fortunate
ones, feel safer and able to express themselves more easily in the class.

Lesso
n
1
March
17

Topic

Introduction to
Expressing
Emotion

Summary of Lessons
Learning Objectives
Assessment/Evaluation
By the end of this lesson TSWBAT . . .
Formative &/or Summative
(i.e. assessment as, of, for
learning).
1. Begin to develop an understanding of
1. Student answers to the
basic expression through body language
question: What does it mean
and tone.
to be expressive?
2. Perform basic warmups with
2. Observations on each
enthusiasm and good tone.
students natural postural and
3. Begin to add stylistic movement and
breathing tendencies while
energy to the song Waka Waka while
singing.
singing.
3. Listening to each students
proficiency while singing
warmups.

Learning Activities/ Instructional Strategies

1. Discussion on What does it mean to be

expressive? Lead students toward the idea of
tone and body language possibly changing and
supplementing their lyrics.
2. Posture and breathing introduction and review
Introduce new concepts such as level chins, soft
knees, and dropped-jaw breathing.
3. Listening to The Lioness Hunt from the Lion
King musical to begin interpreting the vocal style of
African music and how the students might properly
perform vocal scoops and slides.
4. Some work on Pardon the Expression, which was
handed out last class in preparation for the

Silent
Communication

1. Interpret non-verbal instructions both

during performance and in teaching
moments.
2. Continue to develop an understanding
of basic expression through body
language and tone.

1. Reactions to and
interpretations of non-verbal
cues and instructions.
2. Observations of students
ability to recreate and
enhance suggested changes
and expressive motions.

Silent
Communication
debrief The
importance of
expression outside
of words

1. Explain the features of effective nonverbal communication.

2. Perform basic warmups with
enthusiasm and good tone.
3. Continue to develop an understanding
of basic expression through body
language and tone.

1. Student participation and

answers to discussion
questions surrounding the
features of non-verbal
communication, based on the
previous class experience.
2. Observations of pitch and
note accuracy during
warmups and rehearsal.
3. Observations of students
ability to recreate and
enhance suggested changes
and expressive motions.

Expression
Journal
introduction;
Breathing and
posture work

1. Develop ideas for determining the

effectiveness of the expression in
professional music performances.
2. Begin to develop and maintain proper
breath control and posture throughout
warmups and song rehearsals.

1. Discussion of relevant
journal sources and what
they might have to look for
in each performance.
2. Observations of students
ability to assimilate practiced
posture and breathing into
rehearsal.

March
18

3
March
20

4
March
24

beginning of the unit. Students listened to a

recording and did a small amount of work on the
opening measures, and now will continue with the
basic melody and opening harmonies.
1. Totally silent communication throughout lesson
Hand gestures, mouthing words, musical prompts,
and occasionally writing on the board. This forces
students to watch and listen constantly and interpret
every movement.
2. Breathing and posture exercises, and warmups for
various articulations and ranges.
3. Rehearsal of Say Something, Waka Waka, and
Eatnemen Vuelie Run each through and hit trouble
spots that need attention in regards to tone,
breathing, dynamics, pitch, etc.
1. Discussion about the features of non-verbal
communication, including a debrief about what was
and was not effective in the previous lesson How
much effort did I have to put into being understood
when I couldnt use my words? How does that
relate to expressing while singing?
2. Breathing and posture exercises, and warmups for
various articulations and ranges.
3. Rehearsal of Say Something, Waka Waka, and
Eatnemen Vuelie Run each through and hit trouble
spots that need attention in regards to tone,
breathing, dynamics, pitch, etc.
4. Continued rehearsal of Pardon the Expression,
including a short discussion on how to become more
effective sight-readers, and what each section of the
piece is talking about.
1. Discussion about the Expression Journal
assignment hand out assignment sheet which
details expectations, and discuss what constitutes a
good source and what might be less effective.
Emphasize the due date.
2. Breathing and posture exercises, and warmups for
various articulations and ranges.
3. Continued rehearsal of Pardon the Expression:
get through each section until the coda section at 61,

5
March

Expression
through spoken
word

1. Change the meaning of performed

spoken word poetry using tone and body
language modification, without changing
the words.
2. Begin to develop an understanding of
more complex expression through body
language and tone.

1. Observations on the
effectiveness of each
students attempts to change
meaning using body
language and tone.
2. Discussion about the most
and least effective methods
and how to add these
methods to singing as well as
speaking.

Mock singing
tests

1. Demonstrate 80% dynamic and pitch

accuracy in singing the pieces they have
rehearsed for several weeks in small
groups.
2. Demonstrate proper breath control and
musical shaping throughout each song.

1. Observations of student
proficiency while singing in
small groups with only one
voice per part.
2. Short discussion on each
students potential evaluation
based on their current
performance, and what they
might do to improve it for the
actual test.

Adding body
movement to
emphasize
emotion

1. Continue to develop an understanding

of more complex expression through
body language and tone.
2. Perform Waka Waka with free body
movement and energy.
3. Sing through Pardon the Expression
with moderate pitch accuracy.

1. Answers to and
discussion around
question: What makes
a good performance?
What makes a great
performance?
2. Observations
regarding student
willingness to move

25

6
March
27

7
March
31

focusing on each sections distinct dynamics and

articulations, and how they will be conducted.
1. Introduction of the poem To Sit In Solemn
Silence by Gilbert and Sullivan Use a repeatafter-me format that forces students to listen and
interpret the alliteration and rhymes, rather than
reading them.
2. Assign each student to a small group (three
groups in total) and have them each research a short
poem on their phones. Discuss each poems
meaning as a class.
3. Each group performs their poem after individual
group rehearsal and attempts to change the meaning
of the poem without changing any of the words.
This is followed by a discussion of the effectiveness
of each attempt.
1. Allow students to determine which
song they will sing other than Hava
Nashira This allows them to have some
autonomy while still meeting the test
requirements. Form groups based on
song choice and individual part
assignments.
2. Rehearse each piece top-to-bottom
once as a group before having each small
group perform Record these as though
it were the true test.
3. Discuss what each student did or did
not do and what they can do to improve
for their actual test, using peer feedback
and personal self-assessment as a guide.
1. Breathing and posture exercises, and warmups for
various articulations and ranges.
2. Dancing in the dark have students find a clear
spot in the room where they wont hit anyone else.
Turn off the lights and start the accompaniment
recording for Waka Waka, and have them dance and
sing at the same time. This makes them feel more
comfortable in moving while singing, because they
know that no one else is watching what they are

and participate in more

out there activities.
3. Observations for
Pardon the Expression
Who knows their part
and who still needs
work?
8

Singing Tests

1. Demonstrate 100% dynamic and pitch

accuracy in singing the pieces they have
rehearsed for several weeks in small
groups.
2. Demonstrate proper breath control and
musical shaping throughout each song.

1. Video recordings of
each small group
performance of two
different songs Hava
Nashira and one other
song of their choice
for summative
evaluation.

Self-evaluation
debrief and
rehearsal

1. Reflect effectively about past

performance and provide examples for
future improvement.
2. Sing through Hava Nashira and Waka
Waka with 100% pitch and dynamic
accuracy.

1. Student responses and selfevaluation (formative) of

their singing test videos, and
how it compares to my own
evaluation.
2. Observations of each
students ability while
singing through pieces.

Visualizations to
aid in expression

1. Use visualizations to aid in creating

more effective expressive motions.
2. Relate musical ideas in pieces to
student-determined stories.
3. Continue to develop an understanding
of more complex expression through
body language and tone.

1. Discussion about effective

visualizations and what each
student suggests who is
offering ideas and who is
simply nodding along?
2. Continued observation of
song proficiency and
integration of more complex
expressive ideas.

April 1

9
April
14

10
April
15

doing. Repeat the activity with the lights on if

students are willing.
3. Continue work on Waka Waka spots and adding
deliberate motion and rhythmic movement while
they sing in their rows.
4. Continue rehearsal of Pardon the Expression: get
through each section including the coda, focusing
on each sections distinct dynamics and
articulations, and how they will be conducted.
1. Each student performs two songs
(Hava Nashira and one other of their
choice) in a small group with one singer
to a part. This will be recorded on the
iPad and accompanied by a pre-recorded
part on the electric keyboard.
2. Hand out Expression Journal rubric and
facilitate a small discussion about the
final expectations for the assignment as
we go into Easter break.
1. Breathing and posture exercises, and warmups for
various articulations and ranges.
2. Continue work on Waka Waka spots and adding
deliberate motion and rhythmic movement while
they sing in their rows. Confirm memorization of all
parts and each verse between the choruses.
3. Continue work on Hava Nashira, particularly in
the shaping of dynamic changes throughout the
piece and how to use breath control to achieve a
church-choir-esque ending that fills the room.
1. Breathing and posture exercises, and warmups for
various articulations and ranges.
2. Discuss visualizations in each part of Pardon the
Expression How can we use metaphors such as a
train zooming down a hill and then hitting the
brakes to visualize things like accelerando,
crescendo, and ritardando?
3. Continue rehearsal of Pardon the Expression:
sing from beginning to end and address any problem
areas, and then add visualizations to each section
that requires more help to be expressive and fun.

10

11

Articulations as
an expressive tool

1. Correctly interpret abrupt

changes in articulation in Pardon
the Expression.
2. Continue to develop an
understanding of more complex
expression through body
language and tone.

1. Observations of each
students ability to integrate
each articulation and switch
seamlessly between them as
the song dictates.
2. Continued observation of
song proficiency and
integration of more complex
expressive ideas.

Maintaining
breath support
while expressing

1. Carry every phrase to the end of the

line with good tone.
2. Seamlessly incorporate correct
breathing habits and posture into
performance of various pieces.

1. Observations of which
students continually take
shallow breaths/have bad
posture, in correlation with
who is consistently running
out of breath early.
2. Continued observation of
song proficiency and
integration of more complex
expressive ideas.

Final rehearsal

1. Perform Waka Waka, Pardon

the Expression, and Hava
Nashira with 90% overall
accuracy in preparation for
concert.
2. Add purposeful body
movement to all performances,
including both natural rhythmic
motions and more
choreographed group actions.

1. Observations: Who is
remembering to move? Who
is forgetting choreography?
Who is standing still unless
prompted?
2. Observations and listening
to accuracy of all pitches,
dynamics, articulations, and
movements.

April
17

12
April
21

13
April
22

1. Breathing and posture exercises, and warmups for

various articulations and ranges.
2. Discuss articulations and the different techniques
for creating them distinctly while singing through
Pardon the Expression. Address anything (such as
staccato) that is interpreted differently in band vs
choir (as many of them are also band kids).
3. Sing through Waka Waka while incorporating
rhythmic movement and African-style vocal
modulation.
1. Continue work on Hava Nashira,
particularly in the shaping of dynamic
changes throughout the piece and how to
use breath control to achieve a churchchoir-esque ending that fills the room.
2. Review choreography and
visualizations for each part of Pardon the
Expression and rehearse sections
individually and then as a whole piece in
order to reinforce the order of the parts
and how they fit together.
3. Begin rehearsing with performance
mics Discuss microphone etiquette and
how to hold them effectively while
singing and performing choreography. Set
levels for each student and assign them a
permanent mic number for the
performance.
1. Run through each piece Review any
choreography and sudden dynamic/articulation/style
shifts that need attention, and then address any
problem spots in preparation for performance.
2. Review breathing and posture for performing.
3. Rehearse everything in the performance area
outside the classroom, with mics Students must
get used to the space before the concert that evening
and need to know how much power they must use in
order to fill the space properly.

11

UNITASSESSMENTPLAN
Stage1DesiredResults
EstablishedGoals:
GLO1.Developskillsinlistening,performing,andusingnotationalsystems.
GLO2.Developselfexpression,creativityandcommunicationthroughmusic.
Understandings:
Studentswillunderstandthat

Whatyouconveywhenspeakingor
singingisaffectednotjustbythewords,
butbyhowyousayit.
Bodylanguagecanchangethemeaning
ofwords.

EssentialQuestions:
1.Howcanoneusejusttheirvoicetoexpresshowtheyfeel,bothwhensingingand
whensimplyspeaking?
2.Howcanbodylanguagealonepassonmessages?
3.Inwhatwayscanvocalemotionbesupplementedbythewaysinwhichyoumove
yourbody?

Studentswillknow

Studentswillbeabletodo

1.identifydynamicmarkingsandtempo
indications;e.g.,allegro,andanteandother
termsasrelatedtotherepertoirebeingstudied

1.understandanddemonstratemusicalphrasing
2.successfullyperformhisorherpartinatwoorthreepartselection
3.demonstrateanunderstandingofthelayoutofachoralscoreandfollowaspecific
part
4.identifyandperformphrases,achievingmusicalsensitivitythroughstylistic
practices:
a)demonstratingthefunctionofonomatopoeia,dynamicsandvariedarticulation
asdevicesinwordcolouring
b)usingnuanceandfacialexpressionasaidstostorytellingandpicturepainting
insongs
c)developingintensity;e.g.,tensionandrelease
d)addingflexibilityoftempo;i.e.,rallentando,rubato,accelerando
12

e)addingdynamiccontrasttorepeatedphrasesorfiguresandextendedpassages
orselections
Assessments
Title

Learning
Outcomes

Type

(Formative/Summative)

Weighting

1. understand and demonstrate

musical phrasing
2. successfully perform his or her
part in a two- or three-part
selection
3. demonstrate an understanding
of the layout of a choral score
and follow a specific part
4a. demonstrating the function of
onomatopoeia, dynamics and
varied articulation as devices in
word colouring
4b. using nuance and facial
expression as aids to storytelling
and picture painting in songs

Observati
on/
Participat
ion
Formativ
e and
Summati
ve
10%

Spoken
Word
Activiti
es

Small
group
assessme
nt 1

Small
group
assessme
nt 2

Video
selfassessme
nt

Expressio
n Journal

Final
Performan
ce

Formati
ve

Formativ
e

Summati
ve

Formativ
e

Summati
ve

Summativ
e

25%

15%

50%

4c. developing intensity; e.g.,

tension and release

4d. adding flexibility of tempo; i.e.,

rallentando, rubato, accelerando

4e. adding dynamic contrast to

repeated phrases or figures and
extended passages or selections

13

5. identify dynamic markings and

tempo indications; e.g., allegro,
andante and other terms as
related to the repertoire being
studied

Assessment Tool Overview

Assessment
Tool

Brief Description

Observation /
Participation

This will be based on daily classroom participation (including

attendance) and observation of how well students are learning
and synthesizing various concepts. One formative feedback
checklist will be given halfway through the unit with suggestions
for improvement and areas of strength, and one summative
classroom feedback will be given with the final performance
feedback.

Spoken Word
Activities

These will be non-musical activities that force students to use

verbal nuance and/or body language to change the meaning of
given words and phrases, in order to help them isolate that skill
development outside of singing. This will be assessed through
group discussion and observation.

Small Group
Assessments

Video SelfAssessment

These will happen on two occasions: the first will fall on a Friday,
and the second will be the following Wednesday. The students will
perform each piece in a small group (3-4 people) in order to check
pitch and rhythm accuracy and proper use of breath control and
tone. This will be assessed with a checklist. The first assessment
will be formative, with a short talk-back after the assessment to
help them identify areas of improvement for the second,
summative assessment.
The second small group assessment will be videotaped, and the
videos sent to the students. They will be required to watch the
video and make observations on how they achieved or did not
achieve the musical goals of the assessment. Then, they will be
asked to further assess their expressiveness and how they will be
continuing to improve upon it as they continue in the unit.

Assessment
FOR Learning

Assessment
AS Learning

Assessment OF
Learning

14

Expression
Journal

Final
Performance

This will be assigned at the beginning of the unit and due near
the end, and students will be required to reflect on three or more
self-selected videos of singers/choirs. I will use a rubric to assess
the quality of their observations as they use the different forms of
verbal and physical expression they have learned in class to
relate to the music they have chosen. They can respond in
writing, as a video recording, or in another approved medium.
The final performance will be a public performance of the pieces
we have worked on in this unit, and will incorporate basic
techniques we have learned and the different forms of verbal and
physical expression. The performance will be videotaped, and a
rubric will be used to assess each students level of expression
and proficiency. They will receive feedback a few days later to
help improve future performances.

SAMPLELESSONPLANS
Lesson

Intro to Expressing Emotion (Lesson 1)

Date

March 17, 2015

Subject/Grade
Level

Choir 10/20/30

Time
Duration

70 minutes

Unit

Expressing Emotion

Teacher

Maria Rosvick

OUTCOMES FROM ALBERTA PROGRAM OF STUDIES

General
Learning
Outcomes:
Specific
Learning
Outcomes:

1. Develop skills in listening, performing, and using notational systems.

2. Develop self-expression, creativity and communication through music.
The student will be able to
1. successfully perform his or her part in a two- or three-part selection
2. demonstrate an understanding of the layout of a choral score and follow a specific part

LEARNING OBJECTIVES
Students will:
1. Begin to develop a concrete (P) understanding of basic expression (B) through body language and tone (C). [Domain:
Cognitive]
2. Perform basic warmups (B) with enthusiasm and good tone (P) when in a group (C). [Domain: Cognitive, Psychomotor]
3. Begin (P) to add stylistic movement and energy (B) to the song Waka Waka while singing (C). [Domain: Psychomotor]

ASSESSMENTS
Observations:

Listening to parts as we progress through the pieces (as a group and in sections) (3)

15

Key Questions:
Products/Performances:

How each student is standing and breathing as they sing (2)

Discussion about new unit concepts (1)
What does it mean to be expressive? (3)
Singing and breathing during full piece rehearsal (1, 2, 3)

LEARNING RESOURCES CONSULTED

Alberta PoS
JWPepper.com

MATERIALS AND EQUIPMENT

All song scores
Piano
Lion King exemplar song (The Lioness Hunt)

PROCEDURE
Prior to lesson
Consider:

Attention Grabber
Assessment of Prior Knowledge
Expectations for Learning and
Behaviour
Advance Organizer/Agenda

Transition to Body

Consider:
Variety of Learning Styles
Questioning throughout
Differentiation for students
Focused formative assessment

Turn on piano, set scores, prep Lion King song

Introduction
1. Set up and short conversations
Greet students as they enter; have small side conversations to catch up
on what they have been doing over the weekend. This establishes
relationships and makes the students feel comfortable in the room with
each other.
Make sure each student sets up his/her chair in the customary arc and
has their music and any other supplies (such as water bottles) on hand.
Body
1. New unit introduction
Ask: What does it mean to be expressive?
Facilitate a short discussion on expressiveness, focusing on body
language and tone. Is this just in music, or is it also outside of it? Lead
the discussion toward the idea of body language and tone modulation.
Use examples such as sarcasm and insincere smiling to help them get
an idea of what Im trying to lead them toward if they are struggling.
Say: This is what we are going to be focusing on for the next couple of
weeks. We have to sing beyond the words and notes of the music; we
need to make it come alive.
Mention the single written assignment; assigned Friday, very easy! It will
be handed out then, so dont even worry about it because it will not be
due until after the Easter break.

Time

5 mins

Time

5 mins

2. Posture and breathing.

Have students stand and put their folders on their chairs, and make sure
they have enough space to move their arms without hitting each other.
Review posture and breathing from last week

16

Stand up straight, feet shoulder-width apart, knees loose, chin

flat as though looking out over a horizon
o Roll arms back until they are loose, and then let shoulders fall
back naturally
o Open mouth, take a breath that pulls all the way up from the
ground and fills your lungs to the very top
Run students through several deep breaths, observing and correcting
any posture/breathing that is too tense, not full enough, etc.
Assure students that yawning is okay In fact, this means that you are
breathing correctly!
Long breathing exercise - 4 seconds in, 4 out, then repeat for 5, 6, 7, 8,
9, and 10.
Short stretch break, roll downs
o Put all your tension into your arms as you stretch them above
your head, and then release each joint one by one until you can
roll down to the floor.
o Take deep breaths while you are down there Each breath should
let you move a little bit closer to the floor.
o

2. Warm-ups
Interval exercise Play recording and have students sing through it
o Emphasize the need for very accurate pitches It is a step from
one note to the next, not a slide. Each note needs to hit exactly
in the centre, not somewhere on the edge.
Arpeggios: Mee-ah, staccato once it gets too high!
o Students will be surprised how high they can get if they dont
know what notes theyre singing
Ask for someones favourite warm-up
Draw attention to breath throughout and after each warm-up Observe
each students breathing habits and remind the group as a whole
(without pointing out a specific student) about any issues that arise with
anyone. This ensures the matter is addressed without singling anyone
out.
3. Waka Waka
Play Lion King musical exemplar
Ask students what they noticed about the style and expression; discuss
how this might relate to certain sections in Waka Waka or the piece as a

10 mins

10 mins

20 mins

15 mins

17

Consider:

Consolidation of Learning
Feedback from Students
Feedback to Students

Transition to Next Lesson

whole
Play the exemplar one more time to emphasize the style, especially in
the scoops and slides, as they directly relate to what the students are
singing in this piece.
Review hep section and the scoops earlier in the piece How can we
make the scoops stylistic rather than over-dramaticized or cheesy?
Work through the key change What intervals do you need to remember
in order to move the key from F to Gb, even when you dont have the
piano to help you sing it?

4. Pardon the Expression

Review what was rehearsed last week Opening section until
sforzandos. What are the ideas being expressed throughout this section?
Discuss dynamic changes What is the difference between soft and
quiet? We want intensity when we are singing piano, not quietness.
Cover the next short section (sforzandos) How can we emphasize just
one note while still singing forte? Use rocking hand motions to force
students to start visualizing what their sforzandos should feel like when
sung correctly.
o If they are struggling, have them de-emphasize the note after
each sforzando, in order to make it stand out a little bit more.
Closure
Ask: So, what are we going to be talking about in the next few weeks?
Review ideas about expression using body language and tone
Mention the concert on April 23 This will be their final evaluation in
this unit.
There will be a short singing test before Easter break, which you will get
more information for in the next week or so.

Time

5 mins

Dismiss before the bell

Sponge Activity/Activities

Hava Nashira expression and hitting pitches dead centre; dynamics and how to sing softly
without losing intensity.

Reflections:
The counted breathing really helped them to relax, and the stretching continued in that vein. I believe these or similar should be added at the beginning
of every lesson in order to both focus the group together with something they enjoy, and also release any tension that would later get in the way of
properly relaxed singing.

18

It took a bit for the students to get on the right track with the opening introduction question. Once they got there, they still seemed a tad confused as to
how this can constitute a unit as a whole. In the future, perhaps incorporate a few videos to help them see what Im talking about maybe a choir that is
very physically and vocally expressive, versus one that is less so. In the meantime, I will make sure to relate everything in the future back to the idea of
being expressive beyond words.
The posture and breathing review was very good for the girls who were absent the previous week due to sports. I asked the other students to explain the
concepts to the ones who were absent, which worked as both an informative session for the absentees and an effective review for the ones explaining.
A student suggested dancing to a full recording of another choir singing Waka Waka first, before singing themselves, and I decided it was a good idea. It
got the students moving a bit more before they had to sing themselves, and I feel it added some good energy to the group even before they sang. I think
this is an activity I could definitely get around to doing again during the unit.

19

Lesson

Silent Communication (Lesson 2)

Date

March 18, 2015

Subject/Grade
Level

Choir 10/20/30

Time
Duration

70 minutes

Unit

Expressing Emotion

Teacher

Maria Rosvick

OUTCOMES FROM ALBERTA PROGRAM OF STUDIES

General
Learning
Outcomes:
Specific
Learning
Outcomes:

1. Develop skills in listening, performing, and using notational systems.

2. Develop self-expression, creativity and communication through music.
The student will be able to
1. successfully perform his or her part in a two- or three-part selection
2. demonstrate an understanding of the layout of a choral score and follow a specific part

LEARNING OBJECTIVES
Students will:
1. Correctly (P) interpret non-verbal instructions (B) both during performance and in teaching moments (C). [Domain:
Cognitive, Psychomotor]
2. Continue to develop a concrete (P) understanding of basic expression (B) through body language and tone (C).
[Domain: Cognitive]

ASSESSMENTS
Observations:
Key Questions:
Products/Performances:

Listening to parts as we progress through the pieces (as a group and in sections) (2)
Reactions to silent communication (1)
How can you express by saying nothing? (1)
Singing and breathing during full piece rehearsal (1, 2)

LEARNING RESOURCES CONSULTED

Alberta PoS
JWPepper.com

MATERIALS AND EQUIPMENT

All song scores
Piano

PROCEDURE
Prior to lesson
Consider:

Attention Grabber
Assessment of Prior Knowledge
Expectations for Learning and
Behaviour
Advance Organizer/Agenda

Turn on piano, set scores

Introduction
1. Set up and silent conversations
Greet students silently; gesture to indicate that I will not be speaking
(they will hopefully assume a lack of voice)
Make sure each student sets up his/her chair in the customary arc and
has their music and any other supplies (such as water bottles) on hand.

Time

5 mins

20

Consider:
Variety of Learning Styles
Questioning throughout
Differentiation for students
Focused formative assessment

Body
1. Posture and breathing.
Have students stand and put their folders on their chairs, and make sure
they have enough space to move their arms without hitting each other.
Review posture and breathing from last week. Do this through gestures
alone; students should be able to follow exactly what I am doing when I
adjust my posture very obviously.
o Stand up straight, feet shoulder-width apart, knees loose, chin
flat as though looking out over a horizon
o Roll arms back until they are loose, and then let shoulders fall
back naturally
o Open mouth, take a breath that pulls all the way up from the
ground and fills your lungs to the very top
Run students through several deep breaths, silently observing and
correcting any posture/breathing that is too tense, not full enough, etc.
Do this through obvious adjustments on my own part, as well as hand
gestures and facial expressions such as raised eyebrows.
Long breathing exercise - 4 seconds in, 4 out, then repeat for 5, 6, 7, 8,
9, and 10.
Short stretch break, roll downs
o Put all your tension into your arms as you stretch them above
your head, and then release each joint one by one until you can
roll down to the floor.
o Take deep breaths while you are down there Each breath should
let you move a little bit closer to the floor.
2. Warm-ups
Run all warm-ups by playing the line on the piano and mouthing the
words if needed
Interval exercise Play recording and have students sing through it
o Indicate each pitch sharply with hand gestures, in order to
silently emphasize the need for landing squarely in the centre of
the pitch.
Arpeggios: Mee-ah, staccato once it gets too high!
o Students will be surprised how high they can get if they dont
know what notes theyre singing
Ask for someones favourite warm-up
Oh This Is So Low Begin on high C and move lower with each interval.

Time
5 mins

10 mins

21

3. Say

Cut off individual students when they are no longer phonating effectively
and thus might be hurting their voice if they go any further.
Zooma Gesture on each ma syllable to emphasize the need to open
their mouths widely while they sing longer pitches, especially as it gets
higher and higher.
Draw attention to breath throughout and after each warm-up Observe
each students breathing habits and remind the group as a whole
(without pointing out a specific student) about any issues that arise with
anyone. This ensures the matter is addressed without singling anyone
out. Do so through obvious readjustments and gestures.
Something
Hold up piece to indicate what we are singing
If accompanist is present, sing through with shaping through gestures
If no accompanist, indicate that students should listen to the piano
dynamics I play
Repeat sections for dynamic differences
Sing through the entire piece, changing dynamics as appropriate and
mouthing the words.
Work individual sections by playing their part on the piano Indicate
measure numbers with fingers.
If necessary, write a word or two on the board. This should be avoided
unless it is crucial, as the entire point of the lesson is to create an
environment in which every gesture must be interpreted, sometimes
with difficulty.

4. Hava Nashira
Hold up piece to indicate what we are singing
Gesture about hitting notes directly in the centre
Indicate dynamics as much as possible; repeat until they listen. This
repetition will force them to self-correct, as I cannot physically tell them
what they are doing wrong. They will know that I am satisfied when I
move on from the section we are working on to something else.
Create greater dynamic change in the last four measures of the piece
o Attempt to convey the idea of a church choir that fills the entire
space in which they are singing
o Repeat the ending until they can hear the ringing that indicates
they are filling the room Raise eyebrows to let them know when

15 mins

10 mins

10 mins

10 mins

22

I am pleased and that they should discuss how that felt.

5. Waka Waka
Run through a capella
Shape lines, especially the hep hep sections, and try to indicate
through gestures what is needed to improve
Run straight through the key change, and then go back to review with
individual parts what interval they need to do. Have each sing with me
playing the piano along with their line, and then with just
accompaniment. Finally, have them do it a capella, and then with all
three parts together.
6. Discussion (possibly waylaid until next class)
That was a silent rehearsal. What did we get done despite me not saying
anything?
Ask: How can you express by saying nothing at all?
Discuss! See where it goes today, and next class address the actual
concept I want to lead into.
Closure
Consider:

Consolidation of Learning
Feedback from Students
Feedback to Students
Transition to Next Lesson

Sponge Activity/Activities

Thank students for being so cooperative in their participation in something so

unusual.

Time
5 mins

Dismiss before the bell

Run spots in Eatnemen Vuelie

Reflections:
As very strange luck would have it, this was the day I ended up with laryngitis and so legitimately could not speak. This helped me not break my
decision to not say a word during the lesson! I loved when a student at the end got suspicious and asked Did you really lose your voice, or are you
just pretending in order to make a point? and I could legitimately say Id lost it!
This lesson went incredibly well. It took some practice in order to find gestures that the students interpreted correctly, but once we reached a sort of
understanding, we were able to communicate well enough. I found it interesting how quiet and attentive they were at all times; they clearly were
interested in what I was doing, even turning it into a sort of game of charades in which the one who interpreted my meaning correctly first won.
The posture and breathing review was very effective without words It allowed me to very easily see who was getting it and who was not, because
those who remembered adjusted with me and those who didnt just looked confused.
During warmups, students were very receptive to very obvious breaths on my part, and quickly incorporated them into their singing.

23

The church choir ending of Hava Nashira went beautifully They were forced to watch me closely and so they responded much more quickly to my
gestures to get quiet and grow exponentially as they went along. The church metaphor (which took awhile to interpret, Ill admit) worked very
effectively once it was understood!
The end discussion was very short Most of it will be moved to the next day. How do I get the quieter students to answer, especially when there are
outgoing students who like to drop answers and suggestions as much as possible?

24

Lesson

Adding body movement to emphasize emotion

(Lesson 7)

Date

March 31, 2015

Subject/Grade
Level

Choir 10/20/30

Time
Duration

70 minutes

Unit

Expressing Emotion

Teacher

Maria Rosvick

OUTCOMES FROM ALBERTA PROGRAM OF STUDIES

General
Learning
Outcomes:
Specific
Learning
Outcomes:

1. Develop skills in listening, performing, and using notational systems.

2. Develop self-expression, creativity and communication through music.
The student will be able to
1. successfully perform his or her part in a two- or three-part selection
2. demonstrate an understanding of the layout of a choral score and follow a specific part
3. use nuance and facial expression as aids to storytelling and picture painting in songs

LEARNING OBJECTIVES
Students will:
1. Continue to develop a concrete (P) understanding of more complex expression (B) through body language and tone
(C). [Domain: Cognitive]
2. Perform Waka Waka (B) with free body movement and energy (C) while maintaining 100% pitch accuracy (P). [Domain:
Cognitive, Psychomotor]
3. Sing through Pardon the Expression (B) with moderate pitch accuracy (P) in a group (C). [Domain: Cognitive,
Psychomotor]

ASSESSMENTS
Observations:

Key Questions:
Products/Performances:

Listening to parts as we progress through the pieces (as a group and in sections) (1,2)
Body movement both in the dark and in the light What are they doing? Who is standing still?
(2,3)
What makes a good performance? What makes a great performance? (3)
Singing and breathing during full piece rehearsal (1, 2, 3)

LEARNING RESOURCES CONSULTED

Alberta PoS
JWPepper.com

MATERIALS AND EQUIPMENT

All song scores
Piano
Whiteboard and markers

PROCEDURE
Prior to lesson
Consider:

Turn on piano, set scores, write To Sit in Solemn Silence on board

Introduction
1. Set up and conversations

Time
5 mins

25

 Attention Grabber
Assessment of Prior Knowledge
Expectations for Learning and
Behaviour
Advance Organizer/Agenda

Consider:
Variety of Learning Styles
Questioning throughout
Differentiation for students
Focused formative assessment

Greet students as they enter, have small side conversations

Make sure each student sets up his/her chair in the customary arc and
has their music and any other supplies (such as water bottles) on hand.

Body
1. Questions about singing test or expression journal?
Address any questions and remind the students of the dates for each
(April 1, April 17 respectively).
Review expectations briefly so that there is no confusion even if
students fail to speak up or are too unsure to voice their question.
2. Posture and breathing.
Have students stand and put their folders on their chairs, and make sure
they have enough space to move their arms without hitting each other.
Review posture and breathing from last week
o Stand up straight, feet shoulder-width apart, knees loose, chin
flat as though looking out over a horizon
o Roll arms back until they are loose, and then let shoulders fall
back naturally
o Open mouth, take a breath that pulls all the way up from the
ground and fills your lungs to the very top
Run students through several deep breaths, observing and correcting
any posture/breathing that is too tense, not full enough, etc.
Assure students that yawning is okay In fact, this means that you are
breathing correctly!
Long breathing exercise - 4 seconds in, 4 out, then repeat for 5, 6, 7, 8,
9, and 10.
Short stretch break, roll downs
o Put all your tension into your arms as you stretch them above
your head, and then release each joint one by one until you can
roll down to the floor.
o Take deep breaths while you are down there Each breath should
let you move a little bit closer to the floor.

Time

5 mins

10 mins

10 mins

2. Warm-ups
Oh This Is So Low Begin on high C and move lower with each interval.
Cut off individual students when they are no longer phonating effectively
and thus might be hurting their voice if they go any further.

26

Sing E, Sing A
o Have students ignore the hand gestures for today; this is
something they know, and there is something else to address
right now
o Have students go bleh Throat relaxed, tongue pushed up
against bottom teeth, jaw wide. This is what you should feel
when you sing!
o Encourage students to touch their face and throat while singing
the exercise in order to make sure they are relaxed I will do it
myself as well in order to show them that they wont look foolish
doing so and I am actively encouraging them to do it.
Maybe My Mummy Start on low C and work up chromatically. Pick up
the tempo as students grow more confident in the syllables, and overemphasize every m while singing it in order to make sure they are not
mumbling along
To Sit In Solemn Silence Have students repeat after every line
o Tell students to spit out each consonant like a sunflower seed It
should be almost over-emphasized, especially on the alliterative
words and sharp end consonants.
Draw attention to breath throughout and after each warm-up Observe
each students breathing habits and remind the group as a whole
(without pointing out a specific student) about any issues that arise with
anyone. This ensures the matter is addressed without singling anyone
out.

3. Waka Waka
Ask: What makes a good performance? What makes a great
performance?
o Discuss the use of movement How does it add to a vocal
performance? How might it detract from it? Which is better
stillness or movement? Does it depend on the song you are
singing?
Dancing in the dark
o Have students spread out around the classroom so that they can
spread their arms without hitting another person, a wall, or a
percussion instrument.
o Turn off the lights and start the accompaniment recording
o Have students sing through with the lights off entirely, moving at

20 mins

10 mins

27

will as long as theyre in a space that they wont hit anyone or

anything This is designed to make them less self-conscious
about dancing, especially those who are naturally very reserved.
o I will stand in a dark spot of the room (away from the light
coming in through the door) so my eyes can quickly adjust and I
can partially observe the students as they dance.
Sing through, identify trouble spots

5. Pardon the Expression

Sing through piece from beginning to end Students should be able to
push their way through the coda by now, even though they have only
sung it once. This will help them gain skills for improving their sightreading.
Review the necessary articulations (such as staccato and marcato) in
the second verse, and what they should sound like in context.
Work through the coda in individual parts and then as a group These
are longer notes than any other section of the piece, so it feels drawn
out and requires a lot more breath to support it.
o Address the fermata note what will we need to do in order to
hold that as long as possible? Where must we breathe?
o Entertain the possibility of breathing in the middle of the word
musical Students are still struggling with breath control and
might need that extra support in order to create a long enough
fermata to be properly humorous.
5. What to sing for the concert
Take a short vote: Hava Nashira/Say Something (slow song options),
Waka Waka/Eatnemen Vuelie (fast song options). We will sing one slow
and one fast.
Pardon the Expression is our for-sure third song, as it is the culminating
piece of the unit.
Closure
Consider:

Consolidation of Learning
Feedback from Students
Feedback to Students

Transition to Next Lesson

Thank students
Ask them to reiterate the two important things coming up Singing test and
expression journal due date.
Dismiss before the bell

5 mins

Time
5 mins

28

Sponge Activity/Activities

Say Something Dynamic changes

Hava Nashira Church choir ending, breathing in key spots

Reflections:
Make sure to send the expression journal assignment sheet to X student who keeps missing class! I keep forgetting to give it to her personally, but I
know she checks her email regularly.
Dropped jaws during warmups are getting better The students were shocked by how easy the high notes felt when they were properly relaxed! Do this
more often and make it a point to sing a bit higher each day without telling them. This will boost their confidence and emphasize the idea that not
thinking of high notes as high will actually help them to hit them easier.
Several students LOVED the dancing in the dark, but others were less enthused. They didnt complain, but I know from observations that they moved
much less when the lights were off and no one was there to police them. How can I get them moving more? Can I have a lights-on dance and just
encourage them more strongly? In the past just holding out my hands and making them dance with me helped to break through their shells and get them
having a bit more fun.
Concert song choices: Hava Nashira, Waka Waka
Make sure to record all piano parts for the singing tests; playing it live both prevents me from conducting effectively, and leaves too much room for
error that would lead to an unfair testing environment.

29

SOCIALCONTEXTUNITPLANRATIONALE
One of the things I definitely had to consider in this unit is the small-town background that most of my students come
from. They are generally from middle or low socio-economic families, which informed much of the technology use in my
classroom. I will be providing my students with recordings of the pieces we will be singing, but I will make sure that they all have
email to receive and play the file before giving it to them. If necessary, I will burn the recordings to a CD so that any students
without email will be able to play them. I was originally planning to have them do some home audio or video recording, but
many of them wouldnt have the means, so I have changed it to in-class recordings instead.
Their economic background also means that many of them will be looking for life-applicable learning in all their classes,
even choir. That is why I have focused my unit around expression, and will be doing activities that relate not just to music. For
example, we will be doing small presentations where each group of students is given a small script, and they have to try and
completely change the meaning of what the characters are saying just by modifying their voice or using body language. It is a
skill that will lead them well in life, because they will become more adept at reading others meaning and conveying their own
actual intent. Too often, especially as teens, do students find themselves being misunderstood simply because they said
something with the wrong tone or body language. I hope that the unit will help them all in the future, instead of just being about
singing the right way.
Another consideration I had to make is that many of the students come from Low German Mennonite or very
conservative religious families, and this affects the way the students treat their teachers and each other. The largest
consideration I had to take into account (and my TA agrees) is the fact that I am a female teacher, and many of my conservative
male students are just getting to the age where they start to realize their place in society, which is often that of a leader and

30

generally superior to women. I have built specific moments into my unit plan where I will be displaying my skill (including
recording the exemplar songs myself, instead of finding other recordings) to help prevent the questioning of my expertise and
gain their respect. Thankfully, all of the songs in my unit are fun to sing and dont appeal more to one gender or another, which
will help to prevent any of my students from saying I wont sing that; its a girls song! or This is way too boy-ish. All of the
students in my choir are avid singers and excited to be there, so I have little to fear by way of music.
Though I have not yet included Aboriginal materials in my choir unit, I have included several songs from other cultures,
including a Hebrew lullaby and a raucous African song. Before approaching either of these songs, I will be providing a direct
translation of all non-English lyrics and will then facilitate a discussion about why the lyrics are important and what they mean in
the context of both the songs and the cultures from which they came. Respect and understanding will be key before we ever
sing them.
There are a number of 21 st Century Learner skills embedded in my unit plan. Collaboration is a skill that students are
expected to learn in a music classroom no matter what the unit or who has planned it. I have explicitly included the final
performance as part of the students grades, because it is an important factor. They need to learn that learning is not something
that can be done alone, but is something that they work on together. Communication is also a skill that is explicitly included in
the unit, as the entire premise of the unit involves communicating in different ways, besides language. One of my essential
questions is How can tone and body language convey messages? As addressed above, this will help them to understand and
be understood in the future.
Critical thinking is part of any interpretation of music, and it is also specifically included in my Expression Journal
assignment, where they will be asked to watch videos of singers or choirs and identify ways in which they communicated
beyond just their words, and in what ways they might have improved. Then the students will have to apply those ideas to their

31

own performances, and self-assess how well they achieved them. Creativity and innovation are, of course, vital to music and
essentially a given in any music class. The students will learn and create new ways to express emotion without changing the
words they are saying, and it will force them to think outside the box and, occasionally, outside their comfort zone.

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ANALYTICALREFLECTIVECRITIQUE
What would you do the same/differently next time to improve individual lessons or the unit as a whole?
The parts of the unit that I would definitely do the same in the future would be the interactive activities such as dancing in the dark and
the spoken word poems. The dancing in the dark was a great idea, especially when I included (on student-suggestion) a high-energy
recording of the song we were singing in order to get the students moving. It had them growing more and more comfortable with the
space and with moving around each other, even if they were a generally reserved person. I think, in the future, I would add some more
of this to every second or third lesson, because it was also a very good physical warmup and got their blood pumping, especially on
days where the class fell in the last period of the day and everyone was tired. The spoken word poems were very fun in getting some
of the quietly students to come out of their shells, especially since I ended up pairing them in such a way that had the move actively
involved students together in one group, and the quieter ones in the other two. It got them thinking and offering their own ideas instead
of just coasting by and letting the more active students make all the suggestions.
Another thing I would definitely keep would be the five minutes of social time at the beginning of every class. In a lot of ways,
planning in social conversations into a lesson felt a bit blasphemous and a waste of good teaching time, but it was incredibly
beneficial. Some of the conversations led to the establishment of an amazing rapport, to the point where several students would
regularly stay after class just to converse and catch me up on the troubles and successes in their lives, as well as to ask for advice on
different things. I feel that this is what it means to be a teacher, so that conversation time (as long as it is kept to a conservative amount
of time) is very important.
In future, I think I would purposely add a few more silent lessons (such as having a Silent Friday regularly) in order to emphasize
the non-verbal communication and force them to take initiative and make some of their own decisions as we went along. Perhaps even
a student-led lesson would be beneficial, to help the group see other styles of conducting and expression than just my own.
Were the content and instructional approaches effective and relevant to achieving the stated objectives?
The content was very relevant to the objectives of the unit, especially the song choices. Each of them addressed a different emotional
or stylistic idea, and so the students were able to exercise their new understandings of expression. As the choir is a younger one (they
have not been singing for long), they needed some extra guidance when it came to being confident and expressive outside of their
comfort zone. The pieces, especially Pardon the Expression, forced them to not just sing, but act out what they were singing. The
visualizations I used (such as being jerked by a seatbelt when a car stops in order to illustrate the very sudden fermata near the end of

33

the piece) helped them to gain a focus for what they were singing and apply it to something they already knew, and it brought out a lot
of expression that, at the beginning of the unit, they had assured me they could not do because it was too hard.
Ibelievethatseveralofthelessonscouldhaveusedamoreclearfocus.Threeorfourofthemturnedintosimplepiecerehearsal
lessons,especiallytheonesthatdidnthaveaparticulartopictoaddress(suchasAddingArticulationforExpression).Theunitfocus
shouldhavebeenbroughtbackintoeveryaspectofthelesson,andexplicitlyaddressedsometimeduringtheperiod.Thisledto
studentsalwayshavingtoberemindedwhattheunitwasaboutwhenIdidbringitup,andIfeelthattheywouldhavehadafirmer
graspoftheconcreteideasifIhadincludeditineverylesson.Instead,thestudentscameoutwithageneralimpressionthatexpression
isgoodandcanbedoneinseveralways,insteadoftheconvictionthatitneedstobeaddedintoeveryaspectoftheirmusicianship.
Were the objectives age and level appropriate, and doable within the instructional setting (time, physical setting, etc.)?
The objectives were definitely age level appropriate for the students, especially considering their social interactions. For example, the
spoken word poetry activity had them using tonal and body language techniques that they use in everyday life as teenagers, such as
sarcasm and sass. It and several other activities throughout the unit helped them to get better at interpreting things that they otherwise
would not think very hard about, such as the actual meaning behind the lyrics of Say Something or the proper translation of nonEnglish lyrics. As they were all high school students, this finding-the-meaning-behind-the-words focus will be beneficial to them as
they move into their English reading comprehension exams and other diplomas in the next couple of years. Seeing beyond what is
directly posed to you is an important part of later high school education.
The space and time allotted to the unit were more than sufficient. Though the band room where we rehearse is rather small, I actually
prefer it that way. The choir consists of only nine students, and a larger band room would simply eat up their sound and make it feel
small and thin. The smaller room, especially with its lack of sound baffling and slightly boomy-er attributes, was actually a blessing in
disguise, as it made the choir sound more powerful and boosted their confidence as they sang. Seventy minute periods were also the
perfect amount of time to do a proper amount of warmup and piece work; many choir classes end up with only thirty or forty minutes,
and so have to focus immediately on song products instead of developing good techniques during pre-singing and warmups. This also
allowed the classes to feel more relaxed and welcoming to all of the students. The only thing I would want to change in the future
would be to secure a full-time accompanist, as having ours only sporadically made it difficult for the students to hear what the
accompaniment sounded like, and also made it harder for the accompanist to keep up with and understand any dynamic, articulation,
tempo, or other changes that had been effected in her absence.

34

Were the materials, repertoire, resources, and activities used interesting, of good quality, engaging and useful in achieving the
stated goals?
Pardon the Expressionwasaverygoodexampleforexplicitlystatedexpression,tothepointwhereitessentiallyconveyed,thisis
whatwearesingingandyoudontneedtointerpretitatall.Thisactedasaspringboardintothelessexplicitsongs,suchas Hava
NashiraandWakaWaka.Theparticularlyeffectivethingaboutthesetwosongsisthattheyareprimarilyinotherlanguages,andso
theysimplycantsayexactlywhattheyresingingabout.Thesongsrequiresomekindofextralyricalexpressioninordertosendthe
messagetotheaudience.Ithinkthatthiswaseffectivelyconveyedtothestudents,especiallywhenIrelatedittomysilentlesson.I
spoketothemabouthowmucheffortIhadtoputintomakemyselfunderstoodwhenIcouldnotspeak,andthenrelatedittothe
songstheyaresinging.YoucantjustsayThissongissad!whileyouresinging;youhavetodosomethingoutsideofthelyricsto
provethatthesongissad.
SomethingIhadtoconsiderwhilechoosingmusicforthisunitwasthemakeupofthechoir:wehadeightgirlsandoneboy,andit
madeforadifficulttimeinchoosingpiecesthatwerebothappropriateforthegroupsizeandvoicecombination,andstillengaging
andfuntosing.ThebestwayIfoundtodosowastolookathigherlevelelementarychoralmusic,asittendstofocusontwoor
perhapsthreevocallineswithoutintenselydifficultharmonyorrhythmicstructures.ManyofthepiecesIfoundwereincrediblyfunto
singandwouldhaveappealedtothegroup,butIfeltthatPardontheExpressionwasquiteliterallytheperfectpiecetoframemyunit
around.Theotherpieceswereonesthattheywerealreadyworkingon,whichworkedwellbecausetheyhadsomethingfamiliarto
relatethenewconceptsto,andbeabletoexercisenewstrategiesimmediatelywithouthavingtolearnanentirelynewpiecein
advance.
Afinal,veryconvenientpointaboutmyunitcontentwasthatitlinedupperfectlywiththetheoryunitthestudentshadjustfinished
withmyTA;theyhadbeenworkingondynamic,articulation,andtempomarkings,andPardontheExpressionusedexactlywhatthey
hadjustlearnedabout.Itwasaninterestingwayforthemtomoreeffectivelyengagewiththecontent,asitactedasbothareviewof
previoustheoryconceptsandawaytoconcretelyapplythemtosomethingnew.

35

SAMPLES
Expression Journal Rubric
Teacher Name: Ms. Rosvick
Student Name:
CATEGORY

________________________________________

Amount of
Information

All topics are

addressed and all
questions
answered fully.

All topics are

addressed and
most questions
answered fully.

All topics are

addressed, and
most questions
answered in
some detail.

One or more
topics were not
addressed.

Quality of
Information

Videos meet
criteria and relate
to ideas being
studied. It
includes several
supporting
details and/or
examples.

Videos meet
criteria and relate
to ideas being
studied. It
provides 1-2
supporting
details and/or
examples.

Videos meet
criteria and
loosely relate to
ideas being
studied. No
details and/or
examples are
given.

Videos do not
meet criteria.
Information has
little or nothing
to do with the
main topic.

Relevance

Ideas about
expression
clearly relate to
those discussed
in class. Clear
ideas for
incorporation are
expressed.

Ideas about
expression
closely relate to
those discussed
in class. A few
ideas for
incorporation are
expressed.

Ideas about
expression
loosely relate to
those discussed
in class. Vague
ideas for
incorporation are
expressed.

Ideas about
expression do not
relate to those
discussed in
class. Little or no
ideas for
incorporation are
expressed.
36

ExpressionJournal
DueDate:Friday,April17,2015
Rationale:Expressivenessisakeycomponentinanyperformance,butinvocalmusicitcantakeonawholenewmeaning.Whatone
doeswithonesvoiceandbodygoesbeyondthewordsofasong;thewordsarejustwordsuntilyouinjectemotionandmeaninginto
them.Thebestwaytobecomeadeptataddingexpressivenessistoidentifyitinothers.Studentswhocaneffectivelyinterpretthe
gesturesandemotionsofanothergrouporartistaremorelikelytobeabletoaddthemtotheirownperformances.

Yourtask:
Createajournalconsistingofatleastthree(3)entries.Eachoftheseentriesshouldbefocusedononesong.
Youwillchoosevideoperformancesofthreedifferentartistsorgroups.Oneofthesemaybeapop/rock/modernmusicartist,butthe
othertwomustbecontemporarychoirsorclassicalperformancessuchasoperaormusicaltheatre.Thesecanbeeasilyfoundon
YouTubeorothervideosites.Thenatureofthesongsperformedisuptoyou,butbeawareofwhatyouwillberequiredtolookforin
theseperformances,asdescribedbelow.
Onceyouhavechosenyourthreevideos,writeashortjournalentryabouteachvideo,discussingthefollowingideas:
1. What are the ideas of the song that they are singing? (What is the song about? Is it happy? Sad? Angry? Something else? Is it
telling a story?)
2. How do the singer(s) modify their voice(s) to help express the story and emotions that the song suggests? If they dont modify
their voice(s), how does that change the effectiveness of the song?
3. Do they move in any way? How does this motion add to their storytelling? If they dont move, how does that change the
effectiveness of the song?
4. If you were performing this song, what might you do to improve the expressiveness? How would you draw the audience in and
make them interested in what you have to say?

37

Thisisnotaformalessay;Iwanttohearyourownthoughtsandideasinyourownwords.Itcanbetypedorhandwritten.Thereisno
specifiedlength,butagoodruleofthumbisaboutonetypedpageor250wordsinordertoaddressallthequestionsinsufficient
detail.
ArubricforthisassignmentwillbediscussedbeforeEasterbreak.

Singing Test Rubric

Teacher Name: Ms. Rosvick
Student Name:

________________________________________

CATEGORY 4

Pitch

Virtually no errors.
Pitch is very accurate.

An occasional isolated error,

but most of the time pitch is
accurate and secure.

Some accurate pitches, but there

are frequent and/or repeated
errors.

Very few accurate or

secure pitches.

Dynamics

Dynamic levels are

Dynamic levels are typically
obvious, consistent, and accurate and consistent.
an accurate
interpretation of the
style of music being
sung.

Dynamic levels fluctuate but can

be discerned.

Attention to dynamic
levels is not obvious.

Breath
Support

Student is breathing
properly and supporting
the tone to the best of
his/her ability.

Student sometimes breathes

properly and only occasionally
supports the tone till the end of
each phrase.

Student is rarely
breathing correctly and
never supports the tone
till the end of each
phrase.

Student is usually breathing

properly, but occasionally does
not support the tone till the end
of each phrase.

38

Tone Quality Tone is consistently

focused, clear, and
centered throughout the
range of the voice.

Tone is focused, clear and

centered through the normal
singing range. Extremes in
range sometimes cause tone to
be less controlled. Tone quality
typically does not detract from
the performance.

Tone is often focused, clear and

centered, but sometimes is
uncontrolled in the normal
singing range. Extremes in range
are usually uncontrolled.
Occasionally the tone quality
detracts from overall
performance.

The tone is often not

focused, clear or
centered regardless of
the range, significantly
detracting from the
overall performance.

BIBLIOGRAPHY
DeOliveira,Renan,(2013).TheLionessHunt.[ONLINE]Availableat:https://www.youtube.com/watch?v=dCHpqMb8iOY.[Last
Accessed22April2015].
Gallina,Jill,(1991).PardontheExpressionrecording.[ONLINE]Availableat:
http://www.jwpepper.com/1804277.item#.VTg5m5ONrRg.[LastAccessed22April2015].
Gallina,Jill,(1991).PardontheExpression.Chester,NY:ShawneePress,Inc.
Leavitt,John(arr.),(2008).HavaNashira.Milwaukee,WI:HalLeonardCorporation.
Lightfoot,MaryLynn.(2003).SingableSolutionsforSmallerChoirs.MaryLynnLightfoot,(2003).SingableSolutionsforSmaller
Choirs.HeritageMusicPress.
Robinson,RussellandAlrhouse,Jay,(1995).TheCompleteChoralWarmUpBook.Florida:AlfredPublishingCo.,Inc.
Shakira(2010).WakaWakarecording.[ONLINE]Availableat:http://www.jwpepper.com/Waka
Waka/10185634.item#.VTg7P5ONrRg.[LastAccessed22April2015].
Shakira,(2010).WakaWaka(ThisTimeforAfrica).Nashville,TN:AniwiMusicLLC.

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Wasiak,E.B.,(2013).TeachingInstrumentalMusicinCanadianSchools.DonMills,Ontario:OxfordUniversityPress.

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