“Tres Cantos Nativos” Unit Curriculum Plan LAMP · 2018. 4. 25. · stylistic features of "Tres...

“Tres Cantos Nativos” Unit Curriculum Plan

LAMP

Ball State University

Fishers High School

Lindsey Stamper

Spring 2018

2

Table of Contents

3 Purpose of project

4 Objectives

5 Vocabulary

6 Timeline

7-27 Lesson Plans

28-32 Student Assessment Tools

33 Technology

34 Differentiation and Accommodation

35-40 Pre and Post Tests

41-43 Pre and Post Test Graphs

44-49 Narrative Statements

50-51 Project Rubric

3

Purpose of the Project

The purpose of this Learning Assessment Module Project is to teach students about the culture of

the Kraó tribe as it pertains to the music of “Tres Cantos Nativos”. This project functions as a

unit curriculum plan model for the choral classroom. It also addresses aspects of comprehensive

musicianship through performance in a choral setting. The standards addressed in this unit

include the following:

Indiana Music Standards (1994):

5. Reading and notating music.

e. sightread, accurately and expressively, music with a difficulty level of 4, on a

scale of 1 to 6.

8. Understanding relationships between music, the other arts, and disciplines outside the

arts.

c. explain ways in which the principles and subject matter of various disciplines

outside the arts are interrelated with those of music.

9. Understanding music in relation to history and culture.

d. identify and explain the stylistic features of a given musical work that serve to

define its aesthetic tradition and its historical or cultural context.

English Standard:

9. Students develop an understanding of and respect for diversity in language use,

patterns, and dialects across cultures, ethnic groups, geographic regions, and social roles.

4

Objectives

At the conclusion of this unit, students will be able to…

1. Cognitive Objective: Describe the music of the Kraó tribe of Brazil and explain the

stylistic features of "Tres Cantos Nativos Dos Indios Kraó" that serve to delineate its

cultural history (IS 9d).

• I will assess the outcomes of this objective through the use of a written test of

their knowledge of the Kraó tribe and their musical style.

2. Psychomotor Objective: Accurately read and perform rhythms from "Tres Cantos

Nativos Dos Indios Kraó", including metric borrowing and level 4 sixteenth note patterns

(IS 5e).

• I will assess the outcomes of this objective by administering individual rhythmic

reading tests.

3. Affective Objective: Compare and contrast language, culture, and music with respect for

the diversity represented in "Tres Cantos Nativos Dos Indios Kraó" (IS 8c; English

Standard 9).

• I will assess the outcomes of this objective through the use of classroom

discussion and individual responses to questions concerning respect for diversity

and languages of other cultures.

5

Vocabulary

• Congas – a percussion instrument from Latin America played by tapping the drumhead

with fingers and hands

• Drone – a long, sustained bass note

• Endangered Language – a language that has potential to die out because of declining

numbers of speakers

• Improvisation – the spontaneous composition of music

• Metric Borrowing – using the division of the beat from simple meter in a compound

piece, or vice versa; e.g. a triplet in simple meter

• Ostinato – a short rhythmic/tonal/melodic pattern that is repeated throughout a section or

piece

• Phoneme – the smallest meaningful unit of sound in a language

• Rattles – a percussion instrument consisting of a shell with beads inside that make noise

when shaken

• Syncopation – an accent off the beat

• Triplet – a rhythmic pattern of three equal eighth notes in one beat of a simple meter,

notated with a three above or below the beam

6

Timeline

Week 1: 1/16-1/19

• Pretest (1/17)

• Primeiro Canto with emphasis on rhythms of Soprano/Alto lines (1/19)

Week 2: 1/22-1/26

• Primeiro Canto with emphasis on language and rhythmic accuracy (1/23)

• Listening Lesson with other music from the Kraó tribe (1/25)

Week 3: 1/29-2/2

• Segundo Canto with emphasis on rhythms of Tenor/Bass lines (1/30)

• Segundo Canto with emphasis on the use of repeating figures in folk music (2/1)

Week 4: 2/5-2/9

• Musical style of the Kraó tribe (2/6)

• Terceiro Canto with emphasis on metric borrowing (2/9)

Week 5: 2/12-2/163

• Terceiro Canto with emphasis on ties (2/13)

• Polish and continue work on piece, add animal sounds and percussion (2/15)

Week 6: 2/19-2/23

• Review and discussion of diversity of the Kraó language and respect for other cultures

(2/20)

• Posttest (2/21)

7

Lesson Plans

Lesson One

Basic Info

Lindsey Stamper

MT: Mr. Johnson

19 January 2018

Cantabile

Behavioral Objectives

At the conclusion of this lesson, swbat…

• Sing with supported breath, resonant tone, excellent intonation and excellent diction through the use of VT exercises (IS 1).

• Accurately sightread an exercise including TKDM, TDM, and KDM on TKDM syllables with a steady tempo (IS 5).

• Sing “Primeiro Canto” with accurate pitches and rhythms on TKDM syllables (IS 1).

• Define the term “drone” using musical language (IS 6).

Standards

1. Singing, alone and with others, a varied repertoire of music.

b. sing music written in four parts, with and without accompaniment

c. demonstrate well-developed ensemble skills


b. sightread, accurately and expressively, music with a difficulty level of 3, on a scale of

1-6

6. Listening to, analyzing, and describing music.

b. demonstrate extensive knowledge of the technical vocabulary of music

Prereq Knowledge

Level 3 Simple Rhythms

Key signatures

Pitch matching

Materials

Whiteboard/marker

TCN Copies

Piano

Rhythm Cards

Set-up

Write exercise on the board

Start recording video

8

Procedures

10:32a VT

• Set: Respiration – breathe in for 4, pulse for 4, let all the air out of 4/8/12/16/20 counts

• Phonation: “Don’t you love to sing?” on SFMDMM from EM up to AM

• Resonance: “Hallelujah” on SSD’SMD from CM up to GM o Clean entrance on anacrusis

• Diction: “Unique New York” on SFMRD from DM down to AM 10:37a CT

• Intonation: D DRD exercise, omitting a chosen solfege pitch and inserting claps 10:40a ML

• Echo and echo translate Level 4 Simple patterns including TKDM, KDM, TDM, and TD

• Read rhythm cards for the same patterns o Add rest card to demonstrate placement of syllables visually

• Read patterns in context from the whiteboard (TKDM KDM TDM TD T KDM TDM TD TDM T)

10:47a Announcements

• Ask if anyone did not receive a copy of “Tres Cantos Nativos”

• The following people have not submitted a recording for their rhythmic pretest OR their recording did not have sound: Emilia P, Tayllor M, Genevieve D, Angel M, Christian M,

Jill B, Ainsley D, John W, Ryan W, Noel P, Allie G, Nathan M, Braeden H, and Maddie

D.

• The following people have not completed the written knowledge pretest on google forms: Emilia P, Tayllor M, Genevieve D, and Mackenzie S.

10:48a Rehearsal – “Tres Cantos Nativos”

• All echo the rhythm of the S line, one measure at a time

• Read rhythm together in time with Miss S for support

• QUESTION: Compare the alto line starting in m. 9 to the soprano line starting in m. 10. What is similar or different about this? Where do these parts become dissimilar?

• All echo measure long chunks, singing TKDM on pitches o Compare to VT exercise: “Don’t you love to sing?” o Isolate Altos/Sopranos in mm. 14-15

11:03a

• QUESTION: What key are we in? (EM) What solfege pitches do the basses and tenors sing? (D S D’)

• TB sing mm. 1-21 on TKDM (Ta) o Remind them to audiate the beat numbers to keep time

• Introduce them to the term DRONE through questioning – sustained bass note over several measures

• SA sing first and second ending on Ta

• All sing from m. 1 to the first ending

• QUESTION: What do the numbers 1 and 2 mean on page 3? (First and second ending)

• Perform entire song with repeat 11:18a

• Closure: Review the term drone. Sing “Primeiro Canto” once more.

9

Assessment

The instructor will utilize questioning, aural error detection, and sightreading exercises to

determine whether or not students understand the new material.

Lesson Two

Basic Info

Lindsey Stamper

MT: Mr. Johnson

23 January 2018

Cantabile



• Read level 4 simple rhythmic patterns accurately and expressively on TKDM syllables (IS 5).

• Sing with excellent diction, resonance, expression, phonation, and breath support through the use of vocal technique exercises and literature (IS 1).

• Define the term phoneme and describe its relation to “Tres Cantos Nativos” (IS 6).

Standards


c. demonstrate well-developed ensemble skills.


e. sightread, accurately and expressively, music with a difficulty level of 4, on a scale of

1 to 6.


b. demonstrate extensive knowledge of the technical vocabulary of music.

Prereq Knowledge

Primeiro Canto of “TCN”

Level 4 TKDM Simple

D DRD Exercise

Materials

Whiteboard/marker

TCN

Piano

Set-up

Write rhythms on the board

Write schedule on the board

Procedures

10:32a VT

10

• Set: Greetings to Cantabile and reminders to take headphones out and put cell phones away. Discussion of “word vomit”; set a goal to reduce extraneous talking with them for

this rehearsal.

• Respiration: Breathe in for 4, pulse on “ss” for 4, out for 4/8/12/16/20 on “ss”

• Phonation: Up and over vocal siren

• Resonance: “I love to sing” on SDSMD from BbM up to FM o Kinesthetic hand motion to assist with psychomotor skills o Lots of space, flat tongue, raised soft palate

• Diction: echo phonemes from the first song of “Tres Cantos” – [ham de ke ko ri ra re he za ra mu tum]

10:37a CT

• Intonation: D DRD DRMRD exercise but MUCH SLOWER o Insert claps on M and then L o Make sure they are audiating and not singing the solfege that we clap o Pay attention to intonation of solfege after a skip

10:40a ML

• Echo and echo translate Level 4 rhythms on TKDM syllables, including rhythms present in “TCN”

• Using the whiteboard, explain how the syllables TKDM line up in every beat. Compare and contrast these rhythms (written in vertical alignment to see the relationship): TKDM,

KDM, KD, T—M, TDM, TKD

• Read rhythmic exercise on the board: -KDM TDM TKD T—M -KD- TKDM -KDM -KD 10:47a Literature Rehearsal – “Tres Cantos”

• Review what we learned on Friday on TKDM syllables. Speaking first. Then, add pitches.

• Introduce Kraó language to the students. o Potentially endangered, only 1,900 speak it. o Composer is Marcos Leite o Treated the text as a group of phonemes because the meaning was unknown o Define phonemes: smallest meaningful unit of sound in a language

• Echo text of Primeiro Canto: RAM Dekekeke korirare he Jaramutum korirare o Pay special attention to their vowel production o Note that the timbre of their vowels is incredibly bright and forward when

compared to classic choral singing

o Speak text in rhythm 10:57a

• Sing with text.

• Clean and polish rhythms, pitches, and text.

• Sing with accurate dynamics. o Decrescendo at the ends of the RAMs for TB o S like an echo of A o Crescendo at the first ending o Get softer at the second ending

• Closure: Review the definition of phoneme and the endangered position of Kraó language.

11

Assessment

Throughout the lesson, the instructor will utilize questioning and student responses to assess

student learning. Based on the students’ response to reading rhythms, the instructor will

determine whether to continue reviewing the same rhythms or move on to new material for the

next lesson.

Lesson Three

Basic Info

Lindsey Stamper

MT: Mr. Johnson

25 January 2018

Cantabile



• Accurately sightread exercise level 4G.4 simple (sound connections) on TKDM syllables (IS 5).

• Sing with resonant tone, tall vowels, clear diction, and excellent expression (IS 1).

• Describe and evaluate the following musical elements while listening to examples of music from the Kraó tribe: timbre, repetition, improvisation, tempo, dynamics,

percussion, accents, articulation, intonation, contour, drone, and texture (IS 6).

• Demonstrate their progress in the affective domain of learning, as well as respect for diversity and other cultures, through the use of questions regarding the culture and

language of the Kraó people (English Standard 9).

Standards





1 to 6.


a. analyze aural examples of a varied repertoire of music, representing diverse genres and

cultures, by describing the uses of elements of music and expressive devices.

b. demonstrate extensive knowledge of the technical vocabulary of music.

English Standard:

9. Students develop an understanding of and respect for diversity in language use, patterns, and

dialects across cultures, ethnic groups, geographic regions, and social roles.

Prereq Knowledge

Drone, phoneme, accents, articulation, dynamics, repetition, tone, vowels – terms

“Tres Cantos Nativos: Primeiro Canto”

12

Materials

32 Copies of worksheet (Attached separately in LAMP folder in Box)

Projector/Screen

YouTube

Audio

Pencils (Students provide)

OneNote

Piano

Set-up

Connect your laptop to the projector screen and check audio

Pass out copies of worksheet

Print LP and record lesson

Procedures

10:32a ML

• Set: echo and echo translate level 4 simple rhythm patterns, including TKDM TKD TDM T—M -KDM -KD-

• Read patterns in context: read the pink exercise in OneNote from the projector. o If time, read the first blue exercise as well.

10:37a VT

• Respiration: hands on abdomen, floating ribs, small of back, and shoulders. Discuss which areas should move and which should not.

• Phonation: vocal siren by echoing, do the type with the “yees” at the beginning that move in circular motion upward

• Diction: “Don’t you love to sing?” from BbM up to EM o Expand at the beginning to imitate the literature “d-d-d-don’t you love to sing?” o Question: What TKDM syllables would the “d-d-d-“ of this exercise be? Use echo

translation. (-KDM)

• Resonance: “nai nai nai nai nai” on SFMRD from EM down to GM o Demonstrate bright, forward vowels and have them perform it that way. o Contrast with dark vowels. o Compare and contrast tall vs. spread vowels.

• Expression: “Li li li lo lo lo luuuu” on DDDRD RRRMR DRMRDS’D from DM up to GM

o Perform staccato, tenuto, accented, and marcato. o Use conducting gesture to show the difference. See if they could read your hand

gestures.

10:42a CT

• Intonation, Part-singing, Balance, Blend: Solfege scale building exercise in major. D DRD DRMRD and so on.

o Perform in canon: BTAS, STAB, ATBS 10:45a Listening Lesson

• Make sure worksheet is passed out and students have their pencils ready.

• Before each video, select students to read the questions aloud to get them thinking about what they will have to answer while watching the video. Accesses auditory learners.

13

• Play video one (the whole length) and mention important musical elements as they listen and fill out the questions for video one on the worksheet.

• Play video two (12:07-15:00) and mention important musical elements as they listen and fill out the questions for video two on the worksheet.

• Play the following excerpts of video three and mention important musical and cultural elements as they listen and fill out the questions for video three on the worksheet:

beginning part, 4:59-5:51, 6:48-7:41, 8:24-end.

• Give them time to finish writing questions about the videos and reflect on their understanding of cultural relations in the last section.

11:05a END/Transition to Mr. J

• Closure: Review what part of Brazil the Kraó tribe is from (Amazon Rainforest) and who the composer of the piece is (Marcos Leite).

Assessment

The instructor has attached a cognitive and affective worksheet that she will be using in

collaboration with several videos to listen and analyze. The instructor will also utilize

questioning and sightreading examples as methods of assessment in the first fifteen minutes.

Lesson Four

Basic Info

Lindsey Stamper

MT: Mr. Johnson

30 January 2018

Cantabile



• Accurately sightread Level 4 simple rhythms on TKDM, including sixteenth note patterns with rests (IS 5).

• Sing the “Segundo Canto” of “Tres Cantos Nativos” with accurate pitches and rhythms, precise repetition, and balanced parts (IS 1).

Standards


c. Demonstrate well-developed ensemble skills.


e. Sightread, accurately and expressively, music with a difficulty level of 4, on a scale of

1-6

Prereq Knowledge

Level 4 TKDM Simple

Primeiro Canto

Listening Lesson on Thursday

14

Materials

Whiteboard/marker

Piano

Sheet music

Set-up

Write rhythm exercise on the board

Procedures

10:32a VT

• Set: Grab their attention and focus it through a breathing exercise. Breathe in for 4, pulse for 4 on “ss”, exhale on “ss” for 8/12/16/20/24 counts. Let all the air out in this time.

• Phonation: “Brr rum pum pum pum pum” on DSFMRD from FM down to AM

• Resonance: “Sho weh oh weh” on D’SMD from CM up to GM

• Diction: [bi E bE bi i bi bi a:I bIka ba:I bi o bo…] from DM up to AbM o B, P, T, S, K, V

• Expression: “I will go with you, will you go with me to the Dairy Queen?” on skip step ladder from CM up to EbM

o Crescendo/decrescendo where instructed 10:37a CT

• Part-Singing and Blend: D DRD DRMRD… in DM o ASTB, TABS, BATS

10:40a ML

• Echo and echo translate level 4 simple patterns on TKDM syllables, including -KDM, T—M, -KD-, TDM, TKDM, and TD

• Read the following exercise written on the board: TDM TKDM TDM (Rest) T—M -KDM T—M -KD- TDM TKDM -KDM T—M -KD-

10:45a Literature Rehearsal: “Tres Cantos Nativos”

• Read the rhythm of the Tenor/Bass line on TKDM with Miss S for support

• Read the rhythm of the Alto/Soprano line on TKDM with Miss S for support

• Read the rhythms of the song in the context of the piece with precise entrances as written, m. 27-49.

• Add pitches: T echo on pitched TKDM o B echo on pitched TKDM o SA echo on pitched TKDM o All sing together mm. 27-49 on TKDM syllables

10:55a

• Make connections from the listening lesson: How does this section use repetition? How did the Kraó tribe’s music demonstrate repetition in the videos from last week?

• Concept introduction: Ostinato (a short rhythmic/tonal/melodic pattern that is repeated throughout a piece or a section)

o Ask students to list examples of ostinatos in the second song

• Perform “Segundo Canto” from mm. 27-49

• Closure: Review the term ostinato. 11:05a END

15

Assessment

Throughout the lesson, the instructor will use questioning, listening, and aural error detection to

assess students’ learning of the material.

Lesson Five

Basic Info

Lindsey Stamper

MT: Mr. Johnson

1 February 2018

Cantabile



• Sing vocal and choral technique exercises with excellent phonation, respiration, diction, expression, and intonation and apply these skills to the literature (IS 1).

• Read the green and orange examples of rhythm reading in OneNote with accuracy and precision (IS 5).

• Sing “Segundo Canto” of “Tres Cantos Nativos” with accurate pitches and rhythms, expression, and tempo, including all musical elements written on the page (IS 1).

Standards


a. sing with expression and technical accuracy a large and varied repertoire of vocal

literature with a difficulty level of 4, on a scale of 1 to 6, including some songs performed

from memory





1 to 6.

Prereq Knowledge

Tres Cantos Primeiro and Segundo Cantos

Li lo lu gesture reading exercise

Cascade/solfege amen

Half step

Floating ribs, drone, phoneme, ostinato

Materials

Projector/Screen/Laptop

Piano

Whiteboard/marker

16

Set-up

Plug in laptop and open OneNote

Procedures

10:32a Set

• Students will follow the teacher’s moves to create the sound effects of a rainstorm o Rubbing hands together, snapping, patting legs, jumping o Crescendo to climax of storm and decrescendo in reverse order o Give verbal instructions while they create the storm o Explain your goal with the exercise

10:35a VT

• Respiration: Lip trill pattern from CM up to GM o Switch to Ta ta ta ta ta ta na… ha syllables o Have students perform it all on one breath o Students put hands on their floating ribs to feel them expand and contract

• Phonation: [po tu la bE da mE ni] on a DM scale, changing the emphasized syllable every time the pitch changes

o Write these PHONEMES on the board so that they can follow along o Go slower than you want to

• Diction: echo phonemes from the Segundo canto (patcho iuenere djo sire patcho parrare adjosire iuenere kaporra djo sire)

• Expression: Li li li lo lo lo lu exercise from GM down to AM o Read gestured articulations to review (staccato, tenuto, marcato) o Now read tempo from the conducting gesture

• Intonation: Cascade/Solfege amen, move up and down by half steps and adjust tuning according to aural error detection

10:39a ML

• Echo and echo translate Level 4 and 5 simple rhythm patterns, including triplets and sixteenth note divisions

• Read green and orange examples in OneNote 10:44a Tres Cantos Nativos

• Review what we learned Tuesday o Lead students to understand which rhythms are syncopated o “Syncopation is an accent off the beat” ditty

• Learn text by rote o Speak in rhythm o Add pitches

• M. 26 – ad libitum o Define “ad libitum”, connect to “liberty” o Make sure students understand what the x notehead means o Pat eighth notes on leg and all speak text

• Perform up to tempo with all parts o Include clapping and m. 26 o Guys: claps are on “pa” of patcho

10:54a

• Review ostinato and repetition and how it applies to the literature

17

o Higher order question: Why would a composer use ostinatos and repetition? o HOQ: What is advantageous about repetition for folk music? Why would

repeating figures be a good technique to use in these genres?

• Add expressive elements: dynamics, atmospheric effects, rainstorm

• M. 47-48 try with rainforest sounds with TB ostinato

• Sponge: If time, go back to “primeiro canto” and sing at tempo with repeats and transition to “Segundo canto”.

• Closure: Review phoneme, ad libitum, syncopation, ostinato, drone, and details of the Kraó tribe.


Assessment

Throughout the lesson, the instructor will utilize several rounds of questions to review musical

terminology that we have learned in class. She will also attempt to include higher order questions

to challenge their thought process about multiculturalism and music composition.

Lesson Six

Basic Info

Lindsey Stamper

MT: Mr. Johnson

6 February 2018

Cantabile



• Accurately sightread the red orange and blue exercises on TKDM in OneNote (IS 5).

• Sing with great expression, intonation, balance, blend, diction, resonance, respiration, and phonation through the use of VT and CT exercises (IS 1).

• Read and peform the “Terceiro Canto” accurately and expressively on both TKDM and Solfege syllables (IS 5).

Standards





1 to 6.

Prereq Knowledge

Level 5 Basic Ability Rhythm

First and second song of TCN

Fermata, drone, metric borrowing, phoneme

18

Materials

OneNote

Laptop

Projector

Sheet Music

Piano

Set-up

Connect a laptop to projector

Procedures

10:32a VT

• Set: Stretch our bodies and turn them into instruments – rib cage expanded, shoulders back, feet shoulder width apart, knees relaxed, head level with shoulders, hands at the

side

• Respiration: Lip trill/ta ta ta from CM up to GM o Try all on one breath o Switch to Ta’s around EM

• Phonation: “D-d-d-don’t you love to sing?” exercise on SSSFMDMM from EM down to AM

o Sing on TKDM, student volunteer to translate it

• Resonance: [mi mE ma mo mu] on Major chord o Bass Do, Tenor So, Alto Mi, Soprano DO o Moving up by half steps from CM up to FM o Lots of space and spin in the sound, make it even and smooth

• Diction: echo phonemes from “Tres Cantos Nativos” o Patcho, iuenere, adjosire, kaporra, etc.

• Expression: practice facial expressions with [jam jam ji] on SMDRMRD o Excited, frightened, surprised, angry, sad, etc.

10:37a CT

• Intonation, Part-Singing, Blend, Balance: Cascade in DM o Evaluate CT by ear

10:40a ML

• Echo and echo translate Level 5 rhythms in simple meter with triplets

• Read the red orange exercise on TKDM from OneNote.

• Introduce (officially) the concept of ties o Define o Compare aurally and visually with examples

• Read the blue exercise with ties in it on TKDM syllables. o Compare to red orange exercise

10:45a Literature Rehearsal: “Tres Cantos”

• Goal: learn pitches and rhythms of Terceiro Canto

• Read the soprano/alto line rhythm (mm. 50-58) on TKDM as a class with Miss Stamper o Read without Miss Stamper o Make sure they do the fermatas in m. 50 and understand what a fermata is o Make sure they understand what a triplet looks like in this piece

19

• Read the tenor/bass line rhythm (mm. 50-58) on TKDM as a class with Miss Stamper o Read without Miss Stamper

• Once rhythm is secure, read pitch alone, no rhythm, one note at a time o Everyone first on SA line, mm. 50-58 o Then everyone on TB line, mm. 50-58 o Be super clear with your directions and repeat them so everyone can be with you

• Sing on TKDM in rhythm with pitches, mm. 50-58, own voice parts 10:58a

• Read rhythm of all lines mm. 59-65 on TKDM (homorhythmic)

• Sopranos read mm. 59-61 on Solfege in rhythm

• Altos and basses read mm. 59-61 on Solfege in rhythm

• Tenors read mm. 59-61 on Solfege in rhythm

• Put all parts together for mm. 59-61

• Read mm. 61-65 on TKDM, all parts o Point out the circle with the x in it notehead, define as sucking in air through

closed teeth, as it says at the bottom of the sheet music

o Compare to when someone wants you to do something that you are not fond of and you inhale through your teeth in exasperation

• Read mm. 61-65 on Solfege in rhythm, all parts, including sucking through the teeth

• Sing entire “Terceiro Canto” on TKDM o Be sure they are keeping a steady beat and that you are demonstrating that for

them as well

o Clean any parts that need it

• Closure: review terms (drone, phoneme, fermata, metric borrowing) that they have learned in class previously.

11:05a End/Transition to Mr. J

Assessment

Throughout the lesson, the instructor will utilize sightreading and questioning as methods of

assessment.

Lesson Seven

Basic Info

Lindsey Stamper

MT: Mr. Johnson

9 February 2018

Cantabile



• Read the exercise written below with accurate pitches and rhythms on Solfege (IS 5).

• Sing with excellent tone, diction, resonance, intonation, balance, blend, and dynamics (IS 1).

20

• Perform the third song of “Tres Cantos Nativos” with proper articulation, text pronunciation, and expression (IS 1).

Standards


a. sing with expression and technical accuracy music with a difficulty level of 4, on a

scale of 1 to 6





1 to 6

Prereq Knowledge

TCN: 3rd song

ML Level 4 Rhythms, Level 2 Major

Bee eh beh exercise

Materials

Whiteboard/marker

Piano

Sheet Music

Set-up

Write exercise and obj’s on board

Procedures

10:32a VT

• Set: Happy Friday! Inhale 4 counts, pulse on ss 4 counts, exhale all air 12/16/20/24 counts

• Phonation: “I love to sing!” on SD’SMD from CM up to GM o Lots of space, tall vowels

• Resonance: “Dekeke korira rehe” on SSSSFMDMM from EM down to AM o Bright, forward, resonant tone

• Diction: Bee eh beh bee ee bee exercise in EbM o B P T S K V R M N

• Expression: [jam jam ji] on SMDRMRD from EbM up to AbM o Perform with different dynamics: pp, p, mp, mf, f, ff

10:37a CT

• Cascade in DM o Blend, balance, intonation

10:40a ML

• Echo and echo translate level 5 rhythms

• Echo and echo translate level 3 major tonal patterns

• Read Curwen handsigns level 3 major

• Read this exercise on the board:

21

o Rhythm: 2/4 Ta TaDi / TaKiDa Ta Da / -KaDiMi TaDi / TaKiDa TaDi // o Solfege: EM Do LaSo / DoReMi Re Do / -SoSoSo DoRe / MiFaSo SoDo //


• Review pitches and rhythms that we learned Tuesday o Clarify any problems

• Echo text from the back page o Make sure you and the class are saying [kamahera] for Kamerrera o Double rr = [h]

• Speak text in rhythm with Miss S modeling first

• Sing song on text with repeats

• If they are not already, make sure they are performing the accents on the downbeats and the crescendos on the fermatas.

11:07a Closure: What is the difference between a tie and a slur? How do we speak ties on

TKDM? How do we speak slurs on TKDM?

11:25a Bell Rings

Assessment

Throughout this lesson, the instructor will utilize music literacy examples and questioning to

assess student understanding.

Lesson Eight

Basic Info

Lindsey Stamper

MT: Mr. Johnson

13 February 2018

Cantabile



• Sing with excellent diction, breath support, intonation, resonance, expression, and phonation (IS 1).

• Accurately sightread level 4 and 5 simple patterns on TKDM syllables (IS 5).

• Perform “Tres Cantos Nativos” with expression and accuracy (IS 1).

Standards


a. sing with expression and technical accuracy music with a difficulty level of 4, on a

scale of 1 to 6




1 to 6

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Prereq Knowledge

Tres Cantos Nativos

Phonemes, drone, syncopation

Info about Kraó tribe

Materials

Piano

Whiteboard/marker

Sheet Music

Set-up


Procedures

10:32a VT

• Set: echo consonant patterns (diction) o P ch t k h r s, etc.

• Stretches and massage train, switch sides o Give students option to opt out of massages

• Respiration: lip trill pattern (DMSD’SMDRMFSFMRDD’DSDMDRD) from CM up to GM

o Switch to ta na ha around EM

• Resonance: [i] on S—FMRD—RMFS—FMRD from FM down to AM o Warm tone, forward resonance, use [i] vowel for RTP

• Expression: “I will go with you will you go with me to the Dairy Queen?” on skip-step pattern from CM up to FM

o Turn to your neighbor and sing expressively to them o Be sincere o Switch to other neighbor

• Phonation: [ma:I ma:I ma:I] on MDL with portamentos (smoothly sliding between two notes) from fm down to Bbm

o Identify the sliding as a portamento 10:38a CT

• Intonation: Cascade in am, Sopranos L L Tenors F M Altos R D Basses T L o Make sure wholes and halves are tuned correctly o B half diminished seventh to A minor

10:42a ML

• Echo and echo translate level 4 and 5 rhythms, including metric borrowing and sixteenth note divisions

• Read the following exercise written on the board: 2/4 -KDM T-D- / T-DM (TKD) / TKD- (TKD) / -KD- T—M / (TKD) (T-D) / -KD- TK-M / (T-D) TKDM //


• Goal: expressive performance of all three songs together

• First Song o Intonation issues fix on drones o Sopranos (mp) as echo of Altos (f)

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o Distinguish between first and second ending dynamics 10:52a

• Second Song o Review speaking part for SA at the beginning o Make sure TB don’t rush o Pronunciation of words with double r’s = [h] o With claps – TB on every “pa” of patcho, SA on TaDi’s

10:57a

• Third Song o Accents on each downbeat o Crescendos on fermata notes in m. 50 o Clarity between TaDi’s and TaKiDa’s o Perform faster, up to tempo

11:02a

• Perform all three songs in succession with success

• Closure: Review terms and info on the post-test o Drone, phoneme, syncopation, Kraó tribe is from Amazon Rainforest


Assessment

Throughout this lesson, the instructor will adapt her methods based on the response of the

students. She will also utilize questioning as a method of reinforcing information about the Kraó

tribe and “Tres Cantos Nativos”.

Lesson Nine

Basic Info

Lindsey Stamper

MT: Mr. Johnson

15 February 2018

Cantabile



• Accurately sightread level 5 rhythms with metric borrowing as present in the third song of “Tres Cantos Nativos” (IS 5).

• Sing with excellent intonation, blend, balance, resonance, breath support, diction, and expression (IS 1).

• Perform “Tres Cantos Nativos” accurately and expressively with percussive elements and sound effects (IS 1).

Standards


a. sing with expression and technical accuracy a large and varied repertoire of vocal

literature with a difficulty level of 4, on a scale of 1 to 6

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1 to 6

Prereq Knowledge

TCN

Level 4 rhythm

Cascade

Materials

Laptop/projector

Whiteboard/marker

Sheet music

Congas and rattles

YouTube video

Piano

Study Guides from Copy Center

Set-up

Bring percussion instruments to choir room


Pull up YouTube video for examples of animal/rain sounds

Procedures

10:32a VT

• Set: Inhale for 2 counts, exhale powerfully on “sh” for 4 counts, repeat thrice

• Phonation: vocal siren

• Resonance: “Gloria” with tall open space on D’SMD from CM up to GM, gl- before bt.

• Diction: SFMRD on “Toy boat toy boat toy” and “unique New York unique New York unique” from DM down to AM

• Expression: [li lo lu] on DDDRDRRRMRDRMRDSD from DM up to AM, read gesture for tempo and articulation

10:37a CT

• New Cascade: o All sing major scale up o Sopranos DTD o Tenors LSS o Altos FFM(RM) o Basses RRD

10:40a ML

• Echo and echo translate level 4 and 5 simple rhythms with metric borrowing o Be sure to distinguish between Ta-Da and Ta—Mi

• Read the following exercise on the board: ¾ (Quarter Rest) Ta (fermata) Ta (fermata) / Ta (Ta-Da) (TaKiDa) / Ta (Ta-Da) (Ta-Da) / TaDi Ta (eighth rest) Ta Ta //


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• Goal: Polish a few areas and add percussive elements

• Fix Intonation on Ram’s for TB o Sustained breath support and open space

• Make a note of the rhythm for TB line o 8 counts, 8, 6, 4, 3, 3, 2, 2, 8 o Do without SA once o Do with SA but cueing TB still o SA enter with *BRIGHT AND FORWARD* vowels, just like the Kraó tribe

10:50a

• Perform all three songs together with percussion and sound effects o Begin with rainforest storm with hands o Play pitches from piano o TB and percussion enter – student volunteer

▪ Improvise on *CONGAS AND RATTLES* by using *REPEATING PATTERNS*

o SA add animal sounds: birds, monkeys, etc. ▪ https://www.youtube.com/watch?v=8myYyMg1fFE for examples

o SA enter with *BRIGHT AND FORWARD* vowels o Second song: make sure SA enter together and speak more quickly o Percussion enters with TB – new student? o Mention clapping adds another *LAYER OF PERCUSSION* o Animal and rain sounds with last TB repeats o Third song with quick tempo o New percussion volunteer o No percussion on “tioiremo” part

• Perform again if time permits with all elements

• Closure: pass out study guides, tell them they’re due Tuesday, review the parts of the lesson plan that are notated *LIKE THIS* because they’ll be on the test.

11:05a Transition to Mr. J

Assessment

In this lesson, the instructor will utilize aural assessment for the first twenty minutes of the plan.

For the last portion, the study guide will act as the method of assessment of learning objectives.

Lesson Ten

Basic Info

Lindsey Stamper

MT: Mr. Johnson

20 February 2018

Cantabile



• Detail aspects of the Kraó tribe’s culture and music through the use of a Kahoot (IS 9).

https://www.youtube.com/watch?v=8myYyMg1fFE

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• Compare and contrast language, culture, and music with respect for the diversity represented in “Tres Cantos Nativos” (IS 8; ES 9).

Standards

9. Understanding music in relation to history and culture.

d. identify and explain the stylistic features of a given musical work that serve to define

its aesthetic tradition and its historical or cultural context.

8. Understanding relationships between music, the other arts, and disciplines outside the arts.

c. explain ways in which the principles and subject matter of various disciplines outside

the arts are interrelated with those of music.

English Standard:

9. Students develop an understanding of and respect for diversity in language use, patterns, and

dialects across cultures, ethnic groups, geographic regions, and social roles.

Prereq Knowledge

Information about Kraó tribe and “Tres Cantos”

How to play a Kahoot

Endangered language

Materials

Laptop/Projector

Set-up

Connect laptop to projector through airplay

Procedures

10:32a Review Game

• Set: Kahoot will be waiting to be started for students on the projector screen.

• Collect study guide

• Instructions: take out your devices and go to kahoot.it. Enter the code that will be displayed shortly. You will be asked to provide a nickname. It must be school appropriate

or you will not be allowed to play.

• Play Kahoot 10:42a Discussion

• Ask students to raise their hands before talking and to not talk out of turn. Let’s all turn on our listening ears.

• Questions for Discussion: o What are some aspects of the culture of the Kraó tribe? Reflect back on the

listening lesson where we viewed some of the activities of the tribe.

o How do these differ from Western culture in America? o What are some differences between the music of Western culture and the culture

of the Kraó tribe (Non-western culture)?

o If you spoke an endangered language, how would this change your daily life? ▪ Angel commented the other day that we only sustain about 300

relationships in our lives, but we certainly interact in public with many

more people that we don’t know. What if there was a language barrier

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between you and these people because your language was endangered and

they did not speak it?

• Closure: Reminder to look over the rhythms in “Tres Cantos” tonight using TKDM to review for the post-test.

10:52a Transition to Mr. J

Assessment

Assessment in this lesson will be through the use of a Kahoot and discussion questions.

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Student Assessment Tools

Kraó Tribe Listening Lesson

QUESTIONS FOR VIDEO 1

Listen to this suite of traditional songs from the Kraó tribe and answer the following questions

based on their singing.

1. Describe the timbre (quality) of their vowels. For example, you could use words like tall, narrow, wide, spread, bright, forward, dark, throaty, resonant, etc.

2. What types of percussive instruments do they use? How do they use them? Write about the rhythmic patterns and interaction of the instruments and singers. Examples of

percussive instruments: bongos, rattles, marimba, congas, tambourine, maracas, drumset,

3. How do these songs use repetition?

4. What kind of dynamics do you hear this choir demonstrating?

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5. What kinds of accents and articulations do you hear this choir demonstrating?

6. Describe the conductor’s tempo (pace of music) choices in this performance. Do they keep a consistent tempo? Are there points where it speeds up or slows down or moves

freely?

7. Evaluate the intonation (pitch accuracy) of this choir. You can use words like in tune, sharp, or flat.


Listen to this soloist from the Kraó tribe sing and answer the following questions.

1. Describe the melodic contour (musical shape) of the song. You could use descriptive words, such as high/low, or you could draw a line to represent the contour of his song.

2. Describe the singer’s use of repetition in this song. Do you think that this song could have been improvised? (Improvisation is the spontaneous performance of music without

written notes.) Why or why not?

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Listen to the music of the Kraó tribe in this video and answer the following questions.

1. Listen for an example of a drone in the video and write at what point in the video it occurs (beginning, middle, end).

2. Describe the use of percussion in these songs. What kind of instruments are they playing? For extra credit, notate the rhythms that the instruments are playing in 4/4 time.

3. Which of the following textures (the interaction of melodic and harmonic line(s) with each other) does the tribe use most often?

a. Homophonic – one main melodic line with other supporting harmonic lines. b. Polyphonic – multiple simultaneous melodic lines. c. Monophonic – one single melodic line. d. Homorhythmic – one main melodic line with other supporting harmonic lines

moving in the same rhythm.

4. Describe the quality of tone and vowels of this tribe’s singing.

QUESTIONS FOR REFLECTION AND REVIEW

Answer the following questions based on what we have learned in rehearsal and your views of

language and culture.

1. Define the musical term drone. What voice part(s) demonstrate a drone in “Tres Cantos Nativos”?

BUT WAIT, THERE’S MORE 😊

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2. Relate your experience of the language you speak to the experience of a Kraó speaker. Remember that there are less than 2,000 people who speak this language. If your

language was potentially endangered, how do you think that would change your daily

life?

3. Define the language term phoneme. How do phonemes relate to “Tres Cantos Nativos”?

4. From what you saw in the video, describe the culture of the Kraó tribe—the materials they use in daily life, the clothing they wear, the ceremonies they have, etc.

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Performance-Based Rubric

“Tres Cantos Nativos” Rhythmic Pretest Rubric

Name: ______________________________________ Date: _______________________ Choir: _____________________________

Student will read portions of “Tres Cantos Nativos” on TaKaDiMi syllables.

56 Points

Unsatisfactory (D or

below)

(0-27)

Basic (C)

(28-31)

Proficient (B)

(32-35)

Distinguished (A)

(36-40)

Rhythmic Accuracy

(One Point Per Beat)

Performed many

incorrect rhythms

(thirteen or more errors).

Performed some correct

rhythms, but there were

nine to twelve errors.

Performed mostly

correct rhythms, but

there were five to eight

errors.

Performed rhythms with

four or less errors.

(0-10) (11-13) (14-15) (16)

Steady Beat & Tempo

(One Point Per

Measure)

Student did not keep a

steady beat or consistent

tempo. More than five

measures had steady beat

issues.

Student kept a steady

beat, but tempo

fluctuated or the student

had to stop in the middle.

More than two measures

had steady beat issues.


beat with mostly

consistent tempo, but

hesitated at a couple of

measures.


beat with consistent

tempo.

General Comments: Total Points: ____/56 Points

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Technology

• OneNote – This program from Microsoft Office allows users to create notebooks

with content of their choice. Fishers High School uses this program for every student

by creating a notebook for each class. In this project, I used OneNote to post rhythm

reading examples in the content library of Cantabile’s notebook.

• Projector – I used a projector to display rhythmic reading examples, videos of the

Kraó tribe, and a video for the rainforest sounds.

• YouTube – I utilized YouTube to find clips with music from the Kraó tribe as well as

their daily life practices. I also played a clip of rainforest sounds for students to

emulate in the first and second song of “Tres Cantos Nativos”.

o Cantosospeso - Suite of traditional songs of the Kraho tribe o Krahô Pārtêre tribe, the tradition of food and ethnic life (2014) o Indigenous people and their struggle in Tocantins Brazil - diariesof

#TravelStories

o https://www.youtube.com/watch?v=8myYyMg1fFE (Rainforest Sounds)

• Google Forms – I utilized Google’s information gathering system to create my

pretest. This system allows users to create questions and post the link to those

questions to anyone you allow.

• Socrative – This is a test and quiz taking software that has the added advantage of

shuffling questions while students are taking a test. I used this for my post-test so that

students would be less likely to look off one another’s tests.

• Kahoot – This software allows users to create a fun, timed quiz for anyone with the

quiz code to join. It makes it fun for the students by showing who has the top score,

based on who answered correctly the fastest. Students are also allowed to create their

own creative usernames.

https://www.youtube.com/watch?v=OwM1pGYtK3chttps://www.youtube.com/watch?v=qhuq7uydt1Qhttps://www.youtube.com/watch?v=LHwizf0fqqkhttps://www.youtube.com/watch?v=LHwizf0fqqkhttps://www.youtube.com/watch?v=8myYyMg1fFE

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Differentiation and Accommodations

In this class, I had a few students with Individualized Education Plans. In order to accommodate

these students, I allowed them 100% extended time on all assignments and tests. For one

listening lesson, I allowed a student to take the lesson home and access the videos from OneNote

in order to complete the assignment. During rhythm reading, I allowed these students to take as

much time as they needed to look over the rhythm examples and prepare to read them.

Additionally, one student with ADD was placed in their preferential seating to help them focus

during choir.

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Pre and Post Tests

Written Test, Student Version

1. Where is the Kraó tribe from?

A. The Yucatan Peninsula

B. The Fertile Crescent

C. The Amazon Rainforest

D. The Indus Valley

2. Which of these musical techniques is the Kraó tribe most likely to use?

A. Drone

B. Sequence

C. Pentatonic Melodies

D. Polyrhythm

3. Define syncopation using musical terms.

4. What are phonemes?

5. Who is Marcos Leite?

6. Which of these instruments might be used by the Kraó tribe (may be more than one)?

A. Congas

B. Marimba

C. Rattles

D. Timpani

E. Koto

7. The tribe’s language, Kraó, is potentially endangered.

True or False

8. Describe a way that the Kraó tribe might use clapping in music.

9. Describe the timbre of the vowels of the Kraó tribe. You could use words like bright, nasal,

tall, wide, spread, forward, backward, dark, light, throaty, and any others you may feel

appropriate.

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10. How do you notate the effect of sucking in air through closed teeth?

11. How does the Kraó tribe use improvisation in their music?

12. Relate your experience of the language you speak to that of a Kraó speaker. Remember that

there are less than 2,000 people who speak this language. If your language was potentially

endangered, how do you think that would change your daily life?

13. Describe the culture of the Kraó tribe. Include information such as ceremonies, daily life,

relationships, resources, etc.

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Written Test, Teacher Version

1. Where is the Kraó tribe from? (IS 9c)

A. The Yucatan Peninsula

B. The Fertile Crescent

C. The Amazon Rainforest

D. The Indus Valley

2. Which of these musical techniques is the Kraó tribe most likely to use? (IS 9c)

A. Drone

B. Sequence

C. Pentatonic Melodies

D. Polyrhythm

3. Define syncopation using musical terms. (IS 9c)

An accent off the beat

4. What are phonemes? (IS 8c)

The smallest meaningful unit of sound in a language

5. Who is Marcos Leite? (IS 9c)

A Brazilian composer, the composer of “Tres Cantos Nativos”

6. Which of these instruments might be used by the Kraó tribe (may be more than one)? (IS 9c)

A. Congas

B. Marimba

C. Rattles

D. Timpani

E. Koto

7. The tribe’s language, Kraó, is potentially endangered. (ES 9, IS 8c)

True or False

8. Describe a way that the Kraó tribe might use clapping in music. (IS 9c)

They might use clapping as an added layer of percussion.

9. Describe the timbre of the vowels of the Kraó tribe. You could use words like bright, nasal,

tall, wide, spread, forward, backward, dark, light, throaty, and any others you may feel

appropriate. (IS 9c)

Their vowels are bright and forward.

10. How do you notate the effect of sucking in air through closed teeth? (IS 9c)

Answer: D

11. How does the Kraó tribe use improvisation in their music? (IS 9c)

They use repetition of phrases and patterns to create different arrangements of

music.

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12. Relate your experience of the language you speak to that of a Kraó speaker. Remember that

there are less than 2,000 people who speak this language. If your language was potentially

endangered, how do you think that would change your daily life? (ES 9, IS 8c)

Answers vary by student.

13. Describe the culture of the Kraó tribe. Include information such as ceremonies, daily life,

relationships, resources, etc. (ES 9, IS 8c, IS 9c)

Answers vary by student.

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Skills Test, Student Version

Rhythm Reading Pre/Post Test for “Tres Cantos Nativos”

A.

B.

C.

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Skills Test, Teacher Version

Rhythm Reading Pre/Post Test for “Tres Cantos Nativos”

A. (IS 5e)

B. (IS 5e)

C. (IS 5e)

Ka Di Mi Ta Di Mi Ta Di Mi------ Ka Di Mi

Ta Di Mi Ta Di Mi--------- Ka Di Mi Ta Di Mi Ta Di Ta Ka Di Mi---

Ta Mi Ka Di Mi Ta Mi Ka Di

Ta Ta Da TaKiDa Ta Ta Da TaKiDa Ta Ta Da Ta Da Ta Di Ta Ta Ta

Ta Ta Da Ta Ki Da Ta Ta Da Ta Ki Da Ta Ta Da Ta Da Ta Di Ta

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Graphed Data

Pre and Post Test Comparison

Pretest in black

Post Test in red

Pre Test Indiana Standard 5e

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Pre Test Indiana Standards 8c, 9c, and English Standard 9

*Students 8 and 29 did not take the cognitive pretest before the unit started, so their

demonstration of knowledge would have been changed by instruction. They were not present on

the pretest day.

Post Test Indiana Standard 5e

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Post Test Indiana Standards 8c, 9c, and English Standard 9

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Narratives

Unit Narrative

In this unit, I addressed three music standards and one English standard to create

interdisciplinary connections. The music standards include Indiana Standards five, eight, and

nine—reading and notating music; understanding relationships between music, the other arts,

and disciplines outside the arts, and understanding music in relation to history and culture,

respectively. The English standard that I addressed is number nine--students develop an

understanding of and respect for diversity in language use, patterns, and dialects across cultures,

ethnic groups, geographic regions, and social roles. In this class, there were a few students with

different abilities. To prepare them for success, I allowed extra time and preferential seating for

these students. I also made sure to explain each concept in multiple ways to address multiple

learning styles. This unit allowed students to cultivate deeper understanding of the music they

perform. They made connections to the people of the Kraó tribe, studied their culture, and related

their experiences of language to those of the Kraó tribe. In terms of authentic critical thinking,

the students learned how to empathize with a culture of people whose language is endangered.

Throughout the unit, I implemented various instructional strategies. For rhythm reading, I used

several varying sightreading examples including metric borrowing and divisions of sixteenth

note patterns. Using the TaKaDiMi syllable system, I explained to the students how each

sixteenth note has a place in the beat that consistently stays the same. I utilized visual and aural

examples of these rhythms throughout the unit. Regarding the connections to history and culture,

I utilized videos from YouTube to demonstrate the culture of the Kraó tribe to the students. I had

them listen for musical traits as the tribe sung in the videos, such as timbre, dynamics,

articulations, and tone. I also integrated these aspects of culture into the rehearsal sequence as

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they learned the song. For students to understand the relationship between music and language

arts, I explained the concept of phonemes and how they are employed in “Tres Cantos Nativos”.

I also had a class discussion with the students regarding the importance of cultural and language

diversity in society. In this unit, I used the following technology—YouTube, Kahoot, OneNote, a

projector, Google forms, and Socrative.

Assessment Narrative

In this unit, I had a few students with special needs. However, their list of

accommodations and modifications for class only included extended time on tests and

preferential seating. The assessments that I created included a rhythmic reading test and a

knowledge-based test over the culture of the Kraó tribe. For the rhythm reading test, they read

rhythms from “Tres Cantos Nativos” that were particularly challenging. These included rhythms

with sixteenth note divisions, sixteenth note rests in the middle of the beat, metric borrowing,

and ties across bar lines. I used a rubric to grade these tests. The rubric consisted of a rhythmic

accuracy portion with one point per beat and a steady beat portion with one point per measure. I

calculated the score ranges based on Distinguished, Proficient, Basic, and Unsatisfactory

correlating with 90-100%, 80-89%, 70-79%, and 69% or below, respectively. For the written

portion of the test, I asked questions related to the musical material present in “Tres Cantos”. For

example, I asked students to define the term phoneme and explain its role in the piece. I also

asked students to define syncopation, locate the origin of the Kraó tribe, describe their cultural

traditions, and identify the specific symbol used in the third song to notate the effect of sucking

air in through closed teeth. For the final grade, I counted the written test as 60% of 100 points

and the rhythm reading test as 40% of 100 points. I made the rhythm reading portion worth less

percentage wise because these students are on different levels of sightreading. Mr. Johnson uses

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a system called “Tae Kwon Do Re Mi” where each student is on yellow, green, blue, red, pre-

black, or black belt level for sightreading. The range of belts in Cantabile was from yellow to

red, so I modified the weight of the rhythm reading portion to match the varying abilities present

within the choir. Another type of assessment I used was a formative listening lesson worksheet.

In this lesson, I asked the students to listen to three videos with examples of the Kraó tribe’s

music. I asked them to evaluate musical details such as dynamics, tempo, articulations, vowels,

instrumentation, and timbre. I asked them to notate rhythms performed in the percussion using

their echo translation skills. I also asked them questions about the culture that they witnessed in

the videos and how their culture compared to that of the Kraó tribe. This worksheet was used as

formative assessment and was only used for a five-point completion grade.

Instructional Narrative

Considering that my LAMP was based on a unit curriculum plan for an ISSMA

performance piece, the instructional portion relies on rehearsal techniques and supplemental

materials to teach the information to the students. In terms of directions, I used a lot of echoing

in the beginning to present the rhythms of the piece to the students. During rehearsal, I used a lot

of rehearsal techniques, such as looping, priming, echoing, speaking the rhythm, and repeating

sections. For lessons that were not rehearsal sequences, I repeated directions several times so that

all students had an opportunity to hear what was expected of them. The standards addressed in

this unit were connected to every activity in this unit. During rehearsal, I presented terms and

topics in the music and explained them to the students. I used lots of questioning to engage them

in the process of connecting the music to history and culture, as in standard nine. Every time that

we worked on music literacy, I presented rhythms from “Tres Cantos” and had them echo, echo

translate, and read the rhythms, which aligns with standard five. As far as addressing students of

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varying abilities and personalities, I incorporated several different levels of questioning, from

identification and explanation to synthesis and analysis. I also explained the rhythmic content of

the piece in several different ways to try to help them understand how the rhythms should be

performed. I talked about how each sixteenth note lies in the same place in every beat and how

they line up across different rhythmic patterns. I also talked about meter and the division of the

beat to explain the way that triplets work in simple time. I used various song examples with

different meters to explain the difference between simple and compound meter aurally. This

project also allowed students to connect their musical skills to real life investigation. By

connecting their own experience and culture to that of the Kraó tribe, students made connections

cross-culturally and across disciplines. The skills that they acquired by digging into the culture of

the Kraó tribe apply to any piece of music within a cultural context. They can take the same

process that we applied in “Tres Cantos” and bring it to other pieces that they perform in choir

and other musical contexts. As far as criteria for this project, the students understood from the

beginning that this piece was one of their ISSMA repertoire choices and that they would be

performing this for ISSMA contest in April. They also were informed that there would be a

pretest and posttest regarding their knowledge of the Kraó tribe and their ability to perform the

rhythms of the piece on TaKaDiMi.

Results/Interpretation Narrative

The pretest results indicated that students did not have any prior knowledge of the Kraó

tribe, their cultural traditions, and the musical content of “Tres Cantos Nativos”. This was the

results across the board, individually and collectively. However, for the rhythmic pretest, there

were a variety of results. Some students struggled to complete the rhythmic pretest at all. One

student in particular had a lot of anxiety leading into the rhythm reading and was pleading me

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not to make them take it. On the other hand, another student performed the rhythms in simple

meter nearly perfectly and only struggled with metric borrowing. Based on these results, I

continued as planned to address the rhythm and culture from a starting point of no prior

knowledge. I had already planned to teach the unit from this place, so I did not need to make any

adjustments. I expected the students to come with no prior knowledge of the Kraó tribe and to

struggle with the difficult rhythm examples of “Tres Cantos Nativos”, which they did. After

teaching the unit, most students showed significant growth. On average, students showed

improvement of about 35%. The student with the highest growth improved by 52.1%. Overall,

the average score increased by 37.1% from 48.3% on the pretest to 85.4% on the posttest.

Student performed very well overall on the cognitive portion of the posttest. On the rhythmic

portion, students showed significant growth and clearly demonstrated understanding of the

sixteenth note divisions and metric borrowing. Based on the results of this project, there are a

few aspects that I would have done differently. First, I would have liked to incorporate some

instructional time to coach students individually that needed more attention. For example, I could

have gone through the rhythm reading portion individually with the student who had anxiety

about the test to prepare them for success on the posttest. I also would have liked to incorporate

individual echoing and echo translation during music literacy instruction to prepare students for

the test ahead of them. However, I did incorporate many different resources of the culture into

the lesson plans, which allowed the students to observe the culture from different perspectives. I

also believe that my use of questioning to reinforce the concepts associated with the unit was

very strong.

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Final Statement

I believe this project was very useful for me to understand the process of creating deeper

connections to the music for students. It allowed me to go into detail about exactly what

knowledge and skills I wanted students to gain from performing a piece. I will be able to apply

this same process to future literature throughout my career. It was also very valuable to have the

experience of creating and administering written and performance-based assessments both before

and after instruction.

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Project Rubric Unsatisfactory Basic Proficient Distinguished

Instructional

Effectiveness

Instruction is not

designed to meet the

needs of students, neither

average nor exceptional.

Instruction is designed to

meet the needs of the

average student, but does

not include variety to

reach students of varying

abilities.


meet the needs of most

students through several

different resources and

methods of application

of content.


meet the needs of all

students through a

variety of resources and

methods of application

of content.

Quality of Assessment

Tools

The assessment tools

implemented are neither

valid nor reliable. The

tools are not suited to

guide student

understanding of content

and teacher

understanding of student

knowledge and skill.


implemented are

minimally valid and

reliable. The tools are

generally suited to guide

student understanding of

content and teacher


knowledge and skill, but

with basic success.


implemented are mostly

valid and reliable. The

tools are mostly suited

guide student

understanding of content

and teacher


knowledge and skill.


implemented are valid

and reliable. The tools

are perfectly suited to

guide student

understanding of

content, as well as

teacher understanding of

student knowledge and

skill.

Planning and

Preparation

The instructor does not

plan lessons with

effective methods,

resources, and

explanations. The

instructor is not prepared

for class and does not

have the necessary

materials.

The instructor plans

lessons with one method,

one or two resources,

and one main

explanation. The

instructor is minimally

prepared for class with

some materials

necessary.


lessons with a few

different methods,

resources, and

explanations. The

instructor is mostly

prepared for class time

with most of the

materials necessary.


lessons with a variety of

methods, resources, and

explanations. The

instructor is fully

prepared for class time

with all necessary

materials and clear

demonstration of

preparedness.

Student Success Students did not show

growth with lasting

effects. Students did not

demonstrate an increase

in knowledge and skill.

Students showed basic

growth without lasting

effects. Students

demonstrated minimal

increase in knowledge

and skill through the

assessment tools.

Students showed

significant growth but

with minimal lasting

effects. Students

demonstrated an increase

in knowledge and skill

through the assessment

tools.

Students showed

significant, lasting

growth and demonstrated

a great increase

knowledge and skill

through the assessment

tools.

51

Self-Ratings

Instructional Effectiveness: Proficient

Quality of Assessment Tools: Proficient

Planning and Preparation: Distinguished

Student Success: Proficient

LAMP Document: Distinguished

LAMP Document There are several

elements of the LAMP

document missing. The

document is not

organized in any way.

Some elements of the

LAMP document are

missing. The document

is not organized in a

logical way and/or

presentation is messy.

All elements of the

LAMP document are

present. The document is

organized in a logical

way, but presentation

may be messy.

All elements of the

LAMP document are

present, specific, and

detailed. The document

is organized in a logical

and well-presented way.

“Tres Cantos Nativos” Unit Curriculum Plan LAMP · 2018. 4. 25. · stylistic features of "Tres...

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