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EXAMPLE ELECTIC LESSON PLAN ANALYSIS
Course: MUSIC ED 2665, Fall 2009School: Temple
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Lesson Eclectic Plan Analysis ConceptandSkills: placeanasterisksnexttoconceptsandskills emphasized Rhythm Melody Singing Listening Form Harmony Moving Creating Whatnewconceptsandskillscouldyouincludenext lesson? Howcouldyouintegratethoseconceptsandskills? NationalMusicStandard(s): placeanasterisksnexttoconceptsandskillsemphasized tSinging,aloneandwithothers,avariedrepertoireofmusic...
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Lesson Eclectic Plan Analysis
ConceptandSkills: placeanasterisksnexttoconceptsandskills emphasized Rhythm Melody Singing Listening Form Harmony Moving Creating
Whatnewconceptsandskillscouldyouincludenext lesson?
Howcouldyouintegratethoseconceptsandskills?
NationalMusicStandard(s): placeanasterisksnexttoconceptsandskillsemphasized tSinging,aloneandwithothers,avariedrepertoireofmusic tPerformingoninstruments,aloneandwithothers,avariedrepertoireofmusic tImprovisingmelodies,variationsandaccompaniments tComposingandarrangingmusicwithinspecificguidelines tReadingandnotatingmusic tListeningto,analyzing,anddescribingmusic tUnderstandingrelationshipsbetweenmusic,the tEvaluatingmusicandmusicperformances otherartsanddisciplinesoutsidethearts tUnderstandingmusicinrelationtohistoryandculture BloomsTaxonomy: DifferentiatedLearning: placeanasterisksnexttocognitiveprocesses placeanasterisksnexttolearningstyles emphasized emphasized Remember/Recall Understand/Summarize Analyze/Differentiate Visual/Spatial Auditory Kinesthetic Evaluate/Critique Logical/Math Verbal/Linguistic Musical Connectionstootherapproachesandlearning Naturalistic Interpersonal theories: Howcanstudentskillandprogressbe assessed?
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Temple - MUSIC ED - 2665
EXAMPLES OF THE SEQUENCE OF TONES IN C MAJOR, D MAJOR, AND F MAJOR. The sequence of tones begins on the fifth scale degree and ends on the tonic: 5, 6, 5, 4, 3, 2, 7, 1.EXAMPLES OF THE SEQUENCE OF TONES IN G minor, D minor, AND F minor. The sequence of t
Temple - MUSIC ED - 2665
Evaluation of Rhythm Pattern Interaction Duple Verbal Association Name_ Evaluator_ The teacher _ establishes meter correctly Duple _ continues to familiar patterns without interrupting the meter _ maintains consistent tempo throughout pattern instruction
Temple - MUSIC ED - 2665
Evaluation of Tonal Pattern Interaction Aural/Oral Major Tonality Name_ Evaluator_ The teacher _ refrains from unnecessary talking _ establishes tonality correctly _ maintains tonality throughout pattern instruction _ maintains keyality throughout pattern
Temple - MUSIC ED - 2665
Evaluation of Tonal Pattern Interaction Verbal Association Major Tonality Name_ Evaluator_ The teacher _ refrains from unnecessary talking _ establishes tonality correctly (tonal syllables Movable DO) _ maintains tonality throughout pattern instruction _
Temple - MUSIC ED - 2665
INFANTS and TODDLERS Pennsylvania Learning Standards for Early ChildhoodTable of Contents Introduction.6 Uses for the Early Learning Standards.7 Infant and Toddler Learning: Essential Points to Consider.8 The Early Learning Standards for Infants and Todd
Temple - MUSIC ED - 2665
Alison Reynolds 2003 Rote Song Instruction1WHOLE-PART-WHOLE Example at the Aural/Oral Level: 1. Listen to my song silently. Move like I move. T sings song while moving heels to Macrobeats and students follow directions. T observes student movement. 2. L
Temple - MUSIC ED - 2665
JH/SHPerformingEnsembleObservationForm Gradelevel:_ Ensembletype:_ Howoftendoestheensemblemeet? Name: TeachersSignature: Describethephysicallearningenvironment.(Forchoral,howarestudentsarranged?Sitting? Standing?Byvoicepart?)Describehowtheteacherbegi
Temple - MUSIC ED - 2665
Name:_ Approach:_ Date:_ Evaluator:_+ (2) Consistently performed criteria: Evidently understood task - (1) Inconsistently performed criteria: Evidently understood, however 0 Skill Description Either inconsistently performed criteria without understanding
Temple - MUSIC ED - 2665
TITLETeaching Approach: Teacher Name: ConceptandSkills:placeanasterisksnexttoconceptsandskillsemphasizedRhythm Singing Form Moving ToneColorMelody Listening Harmony Creating PlayingInstrumentsMaterials/Equipment:NationalMusicStandard(s):placeanaste
Temple - MUSIC ED - 2665
ARTSEDGE: The National Standards for Arts Education1/15/09 5:40 PMGRADES 5 - 8 CONTENT AND ACHIEVEMENT STANDARDSExcept as noted, the standards in this section describe the cumulative skills and knowledge expected of all students upon exiting grade 8. S
Temple - MUSIC ED - 2665
ARTSEDGE Glossary1/15/09 5:42 PMDance Music Theatre Visual ArtsDANCEAB - A two - part compositional form with an A theme and a B theme; the binary form consists of two distinct, self - contained sections that share either a character or quality (such
Temple - MUSIC ED - 2665
ARTSEDGE: The National Standards for Arts Education1/15/09 5:40 PMGRADES K - 4 CONTENT AND ACHIEVEMENT STANDARDSThe standards in this section describe the cumulative skills and knowledge expected of all students upon exiting grade 4. Students in the ea
Temple - MUSIC ED - 2665
October 2009M on Tue Wed1ThuF ri2 Peer Teaching: Kodaly Talk about observation requirementsSat3 Toddler 9:30-10:15 Preschool 10:30-11:15 Infant 10:30-11:15 TUCC 5th Floor1515 Market St. 10 Toddler 9:30-10:15 Preschool 10:30-11:15 Infant 10:30-11:15
Temple - MUSIC ED - 2665
Name:_ Approach:_ Date:_ Evaluator:_+ (2) Consistently performed criteria: Evidently understood task - (1) Inconsistently performed criteria: Evidently understood, however 0 Skill Description Either inconsistently performed criteria without understanding
Temple - MUSIC ED - 2665
Academic Standards for the Arts and HumanitiesPennsylvania Department of Education22 Pa. Code, Chapter 4, Appendix D (#006-276) Final Form-Annex A July 18, 2002Academic Standards for the Arts and Humanities XXV. TABLE OF CONTENTSIntroduction. XXVI.TH
Temple - MUSIC ED - 2665
Listening Library: Suggestions for Developing Tonal and Rhythm Skills Three strategies for developing tonal and rhythm skills 1. Listen to the patterns and echo the patterns. 2. Listen to patterns performed using a neutral syllable and associate the sylla
Temple - MUSIC ED - 2665
Methodology/ApproachPresentationRubric Exemplary Preparation Content (individual) 20 points Student demonstrates a clear mastery of information. Student demonstrates full knowledge, and thorough understanding of the approach, and is able to answer all cla
Temple - MUSIC ED - 2665
Preparatory Sequences for Songs and ChantsThe preparatory sequence (prep sequence) is an efficient way for you to establish the tonic, the meter, the starting pitch for the song, and give quick directions before performing a song or chant (Waddle, 1989).
Temple - MUSIC ED - 2665
Orff Schulwerk Two-Week Certification Workshops 2010http:/www.aosa.org/approvedcourses.phpSORTED ALPHABETICALLYInstitution Location Levels DatesAnderson University Appalachian State University Carnegie Mellon University George Mason University Souther
Temple - MUSIC ED - 2665
TEMPLEUNIVERSITY BOYERCOLLEGEOFMUSICANDDANCE MusicEducation2665:MusicLearningandDevelopment Fall2009 MWF:11:0011:50a.m. Presser128 ProfessorJillA.Reese PhDCandidateinMusicEducation Office:Presser14(basementofPresser) 2158736638(emergenciesonly) OfficeHour
Temple - MUSIC ED - 2665
Required Folder Materials 11/30 Musical Skills Pattern interaction assessment Rhythm Aural/Oral Tonal Aural/Oral Rhythm Verbal Association Tonal Verbal Association Rote Song procedure documents Rote Song procedure assessment Song demonstration evaluations
Temple - MUSIC ED - 2665
Click to edit Master subtitle styleResearch in Music Acquisition:Jill Reese Music Learning and Development Fall 20094/10/11How do we become & musical? When Interaction between genes andenvironmentnature and nurture(Plomin & Bergeman, 1991; Gordon, 2
Temple - MUSIC ED - 2665
Evaluation of Rhythm Pattern Interaction Duple Name_ Evaluator_ The teacher _ uses language clearly and concisely _ refrains from unnecessary talking _ establishes meter correctly Duple _ continues to familiar patterns without interrupting the meter _ mai
Temple - MUSIC ED - 2665
PREPARING FOR ROTE SONG PEER TEACHING ASSIGNMENT Here are things you consider as you practice for this assignment (and prepare for extern teaching this semester): What do you need to prepare when planning to model singing for children? What do you need to
Temple - MUSIC ED - 2665
Teachers Name: _ Whole Part Whole Rote Song InstructionEvaluators Initials: _Delivery of InstructionsCircle the number of the step for which you delivered instructions incorrectly. 1 2 3 4 5 6 7Musical ChecklistThe number(s) in the blank(s) below rep
Temple - MUSIC ED - 2665
Notes from folders on September 16, 2009 Infant preference of consonance and dissonance? Infants prefer consonant intervals to dissonant intervals. Researchers think that preference might have to do with an innate preference for intervals with simple rati
Temple - MUSIC ED - 2665
MLDFall2009 TechnologyintheClassroom NameofWebsite#1: Websiteaddress: Descriptionofwebsite#1:Howcouldthiswebsitebeincorporated intoalessonplan?Whatagegroupwouldbenefitmostfrom useofthiswebsite?NameofWebsite#2 Websiteaddress: Descriptionofwebsite#2Howc
Temple - MUSIC STUD - 1711
RULES FOR SPECIES COUNTERPOINT 1:1Considerations for Melodic Writing 1. Melodies must be singable and fall within an acceptable vocal range. 2. Stepwise motion and skips should predominate. A leap or two is acceptable. 3. Treat leaps with care. A leap sh
Temple - MUSIC STUD - 1711
RULES FOR SPECIES COUNTERPOINT 2:1 1. When the voices come together at each beat, the counterpoint follows the rules of First Species (1:1). 2. Second Species introduces embellishments (on off-beats) of the following type: a. Passing tones - move by step
Temple - MUSIC STUD - 1711
Examples for Suspensions (From Boyden, Ex. 22)&c &c w ?c # & ?# w ?# w w w w w w w w w w w w w w w w w ww w
Temple - MUSIC STUD - 1711
Theory I Assignments (all pdf files) HW1 - Clefs HW2 - Major Keys HW3 - Minor Keys HW4 - Minor Key Signatures HW5 - Minor Key Signatures HW6 - Intervals HW7 - Triads HW8 - 7th Chords HW9 - 7th Chords HW10 - 2-part Counterpoint HW11 - 2-1 Counterpoint HW
Temple - MUSIC STUD - 1711
Temple - MUSIC STUD - 1711
Temple - MUSIC STUD - 1711
Temple - MUSIC STUD - 1711
Temple - MUSIC STUD - 1711
Temple - MUSIC STUD - 1711
Temple - MUSIC STUD - 1711
Temple - MUSIC STUD - 1711
Temple - MUSIC STUD - 1711
Temple - MUSIC STUD - 1711
Temple - MUSIC STUD - 1711
COUNTERPOINT CHECK SHEET AND CORRECTION CHARTMelody 1. Your melody is weak for the following reasons: A. Too many skips resulting in an awkward line; move primarily by step. B. Too much stepwise action; use a few more skips. C. Dull line, monotonous, cir
Temple - MUSIC STUD - 1711
Theory 1 - Assignment #1Name _1. Write the letter name and register for each of the pitches below. Watch for clef changes.&wA4BbwAb3&#wBbw&#w?wBbw&bwB#wBbw&wB#w?wBbw #w&wBbwBw?#w&wBbwB2. Write whole notes as in
Temple - MUSIC STUD - 1711
Theory 1 - Assignment #2, Page 1Name _1. Write ascending major scales, starting on the given note. Use accidentals (not key signatures). Watch clefs!&w ?w Bw B wbw bw w #w2. Identify each of the Major Key-Signatures below.&#bbb # ##bbbbb # # ##
Temple - MUSIC STUD - 1711
Theory 1 - Assignment #3, Page 1Name _1. Using the given note as the tonic, write ascending Natural (N), Harmonic (H), or Melodic (M) Minor scales. Use accidentals, NOT key signatures. Watch clefs!&wMbw bwN&wHN?wH#wM?wH#wNBwMwHBwHw
Temple - MUSIC STUD - 1711
Theory 1 - Assignment #4Name _1. Given a Major Key-Signature, identify each note as a scale-step, and as a scale-degree name.&bScale Step: Name:w#wbbbw#wbbbbw? #Scale Step: Name:wbbbbw#wbbbbbw#w2. Given a Minor Key-Signature, iden
Temple - MUSIC STUD - 1711
Theory 1 - Assignment #5Name _1. Identify the Intervals Below&w ? bw#w w w#w w w bww bw ww w bwbw #w w #ww w ww bw wbw w wbw bw ww#www w bwB #wbw bwbw #w2. Write the specied melodic intervals ABOVE (and to the right of) the given pitche
Temple - MUSIC STUD - 1711
Theory 1 - Assignment #6Name _1. At each blank between the staves, identify the harmonic interval between the inner voice (in the left hand) and the upper voice. Place a box around any dissonant interval.Bach: Gavotte II from G-minor English Suite# &
Temple - MUSIC STUD - 1711
Theory 1 - Assignment #7Name _1. Build Triads as indicated. Use the given note as a root. WATCH CLEFS!&Majorbw w w ww w w w wbw bw #w w#w #w #w bw#w #w w bwbw ww bw ww #w w wMinor? B BDiminishedAugmentedbw#w2. Identify each triad below
Temple - MUSIC STUD - 1711
Theory 1 - Assignment #8Name _1. Build 7th Chords as indicated. Use the given note as a root. WATCH CLEFS! M=Major/Major, m=minor/minor, V7=Dominant 7th, Dim.=Diminished, Half-Dim=Half-Diminished& ? B BbwMwmbwV7#wHalf-Dim#wDimbwMw bwwV7
Temple - MUSIC STUD - 1711
Theory 1 - Assignment #9Name _1. Given a key (Upper Case=Major, Lower Case=Minor) and a Roman Numeral, write the key signature and the indicated triad or 7th chord.& &6 E: ii 5f#: vii o 6D: V 4 3f: IIIEb: IV 74 g: V 2Bb: vi 66 b: VI 5Ab: ii 6
Temple - MUSIC STUD - 1711
Theory 1 - Assignment #10Name _1. Resolution of dissonances. Resolve each dissonance below. IDENTIFY THE HARMONIC INTERVALS BETWEEN THE VOICES. Recall that diminished 5ths resolve "in" by step.Augemented 4ths resolve "out" by step. 7ths resolve with the
Temple - MUSIC STUD - 1711
Theory 1 - Assignment #11Name _1. In the second species (2:1) example below, label all intervals between the voices. Circle all embellishments and label them above the staff with P=passing, N=neighbor, and CS=Chordal Skip.b &bb c ? bb c b n2.
Temple - MUSIC STUD - 1711
Theory 1 - Assignment #12 (Page 1)Name _1. Complete each of the suspensions begun below, resolving the suspension properly. Label the Preparation (P), Suspension (S), and Resolution (R) of each Suspension. Finally, identify the intervals of the Suspensi
Temple - MUSIC STUD - 1711
Theory 1 - Assignment #13 (Page 1)Name _1. Given the Key, Roman Numeral, and Soprano, write the indicated chord in 4-part chorale style. Use accidentals instead of key signatures. Watch doubling and spacing.& c b ?c f: iib#E: IV 6a: V 6d: VIf: i
Temple - MUSIC STUD - 1711
Theory 1 - Assignment #14 (Page 1)Name _1. Harmonize each of the Soprano lines below with root-position I-V-I progressions, SATB. Use the Common-Tone/Stepwise method of connecting chords. All the Soprano lines are in a Major Key.&# ? # c c bbbbb b
Temple - MUSIC STUD - 1711
Theory 1 - Assignment #15 (Page 1)Name _1. Harmonize the following Soprano patterns using root-position I-V-I progressions. Remember that when the Soprano uses Do-Re or Re-Do, it is not possible to use the Common-Tone method of connecting chords.# c &
Temple - MUSIC STUD - 1711
Theory 1 - Assignment #16 (Page 1)Name _1. Harmonize the following Soprano patterns using root-position I-V7-I progressions.b &b c ?bc b & ? # & ?# ## # # b b 2. Harmonize the following Soprano patterns using I-V6/5-I progressions.# # 3. Harmoniz
Temple - MUSIC STUD - 1711
Theory 1 - Assignment #17 (Page 1)Name _1. Complete the progressions below using half notes. Remember that when the bass moves by step, the upper upper voices will move in contrary motion to the bass. Also be sure to prepare and resolve 7ths.b &b c ? b
Temple - MUSIC STUD - 1711
Theory 1 - Assignment #18 (Page 1)Name _1. Complete the progressions below, which include cadential 6/4 chords. Remember to double the bass of the 6/4 chord, and resolve its upper voices down by step.&#? # c # & ? # I Ic IVb 6 V45 3Ib bb bb
Temple - MUSIC STUD - 1711
Theory 1 - Assignment #19 (Page 1)Name _1. Complete the progressions below. Remember to double the 3rd of the leading-tone chords and to resolve the leading tone. When leading-tone chords have a 7th, use all 4 notes (no doubling).b &b c ?bc bIb b#v