Recent Changes

LEARNING GOAL: Students will work towards an accurate and informed performance of Alligator Alley both individually and as an ensemble.
PLANNING NOTES:
TITLE: Performance LEARNINGLEARNING GOAL: Students an ensemble. ACTIVITYACTIVITY 1: Performance Rehearsal Format a)a) Warm-up- review Rehearsal Objectives c)c) Rehearsal of reinforce, assess d)d) Introduction of and Materials e)e) Conclusion and subsequent rehearsals f)f) Performance- reinforces long-term achievements) ACTIVITYACTIVITY 2: Student Journals (on-going) MINDSMINDS ON: Think your performance?” ACTION: EachACTION: Each student will steps etc. FORMATIVEFORMATIVE ASSESSMENT: TeacherTeacher will collect practice goals ACTIVITYACTIVITY 3: CREATING PERFORMANCE ASSESSMENT MINDSMINDS ON: Brainstorm a performance?” ACTION:ACTION: Students will a performance. FORMATIVEFORMATIVE ASSESSMENT: Students of themselves. (if(if recording equipment SUMMATIVE ASSESSMENT: StudentsStudents will perform attached rubric)
TITLE: COMPOSITION
LEARNING GOAL:
ACTIVITY 2: Music and Sense of Place
MINDS ON: How does Michael Daughetry represent Alligator Alley in his composition? Would you know it was about Alligator Alley if it was not in the program notes?
ACTION:
Students will be given pictures of landscapes (ex. city, country, landscapes of countries with very distinct landscapes ex. Ireland, Africa and also Canadian landscapes). They will examine each picture and brainstorm what ‘musics’ and sounds are associated with that place.
think about:
1.
1. If they meter etc.)?
2.
2. Why do others not?
3.
3. Does Canada place musically?
4. Do certain parts of Canada have a stronger sense of place musically? Why do you think this is
ACTIVITY 3 (Culminating Activity):

have completed basic composition projects
RESOURCES: score and parts, lead sheets (two themes), for musictheory.net lessons need a computer, an internet connection, htmldiff6
Burton Kaplan, Think-Pair-Share sheets (partner 1 knows, partner 2 knows),and student practice journals (see appendix), and graphic score cards. appendix).
RESOURCES: score and parts, lead sheets (two themes), for musictheory.net lessons need a computer, an internet connection, and a projector.
ACCOMODATIONS:
LEARNING GOAL: Students will work towards an accurate and informed performance of Alligator Alley both individually and as an ensemble.
PLANNING NOTES:
Rehearsal Format a)a) Warm-up- review your performance?” ACTION:ACTION: Each student attached rubric)
TITLE: COMPOSITION
LEARNING GOAL:
Students will explore the compositional techniques composers (in particular Michael Daugherty) use to convey place in programmatic music.
ACTIVITY 1: Themes and a Sense of Place
· Questions to think about:
1. If they were a composer how would they represent each place (instrumentation, form, meter etc.)?
2. WhyWhy do some
3. Does Canada have a strong sense of place musically?
4. DoDo certain parts
ACTIVITY 3 (Culminating Activity):
Music and Our Sense of Place: Creating Our Own Soundscape

� Tchaikovsky's - Romeo and Juliet
Canal by Mike Ford and David Francey
Evaluation:
1. You need to you correct sentence and paragraph form: 4 marks
2. You need to include 2 specific musical examples for each piece: 8 marks
3. You need to explain your choices in a logical and detailed manner: 8 marks
4. Statement of programmatic form: 4 marks
Total out of: 24 marks

Unit Design
Alligator Alley: Music and Spaces
Brianna Papia and Jenn Harris-Lowe
C/I Music EDU 1230
Introduction
Grade 10, instrumental music
10 X 75 min periods (ongoing and periodic)
the Unit:
Through the study of Alligator Alley students will discover elements of programmatic music, specifically the representation of ‘place.’ We will also examine compositional techniques employed by the composer such as themes. Students will also study theoretical concepts that arise throughout the piece such as modes, irregular meter and syncopation. Students will explore how they can use music/sound to represent their own places and spaces.
Stages One- Desired Results
Enduring Understandings
· Through this unit students will understand that music can represent places and spaces.
· Through this unit students will understand that composers use compositional techniques to create moods, images, and characters.
· Through this unit students will understand the importance of music that represents where they live and will be given the tools to create their own.
Essential Questions
· What are the elements of programmatic music?
· How do composers represent place musically?
· How do composers use elements of music to illicit a response in their listeners?
· How do we navigate modes, irregular meter and syncopation?
Curriculum Expectations
a1.2 apply the creative process when composing and/or arranging music (e.g., in a small group, plan and create a simple composition; use innovation, planning, experimentation, reflection, and refinement when arranging and transposing music or when composing an eight-bar melody with appropriate accompaniment)
Teacher prompts: “How might you gather input from your peers on your composition?” “Which stages of the creative process did your group use when creating its composition? How did the group approach the revision stage of the process?” “What role did imagination and experimentation play in developing your arrangement?”
a 3.1 demonstrate technical skill when performing notated and/or improvised music (e.g., perform, with control and subtlety, notated or stylistically correct dynamics; accurately perform scales, patterns, or technical exercises related to the repertoire; apply correct articulations when performing notated passages; perform with suitable breath control, bow control, stick technique, or finger style, as appropriate) Teacher prompt: “What specific technical skills does this selection require? What exercises might you practise to enhance those skills?”
a 3.2 apply compositional techniques when composing and/or arranging simple pieces of music (e.g., compose simple diatonic melodies that demonstrate an understanding of instrumental and/or vocal range; compose or arrange a selection in binary form for more than one voice or instrument; arrange a selection for percussion using musical forms common in West African drumming)
this shape?”
b 1.2 identify and explain the use of elements and other components of music in a variety of selections, including their performance repertoire (e.g., identify aspects of elements that contribute to the development of form in traditional folk music [melodic themes, rhythmic patterns, harmonic structures, dynamic levels]; identify individual elements and describe how they have been manipulated in a small ensemble performance by their peers; explain how composers indicate expressive intent through a variety of markings [signs, symbols, terminology]; identify elements in musical selections from a variety of cultures, and explain how these elements make the music distinctive)
Teacher prompts: “In this jazz selection, in what ways have the musicians manipulated the melody? What effect does this manipulation produce?” “How have you altered your approach to the elements of this étude between your original sight-reading and your most recent performance? What are the reasons for the changes?”
c 1.1 demonstrate an understanding of the elements of music, particularly through practical application and aural recognition, and use appropriate terminology related to these elements (e.g., describe and accurately perform major and minor scales and major triads as they relate to course repertoire, integrating changing dynamics and varied articulations; describe and demonstrate an understanding of the form of a twelve-bar blues progression; describe and demonstrate appropriate approaches to dynamics in the interpretation of a musical selection; identify the elements in a broad range of aural samples; use correct terminology when describing and/or demonstrating repetition and contrast in musical forms; identify various forms and aspects of form such as binary and ternary form, rondo, introduction and coda, theme and variation, opera, round/canon, fugue)
c. 1.2 demonstrate an understanding of, and use proper terminology when referring to, fundamental concepts associated with notation (e.g., demonstrate correct notation such as articulation and phrase markings when constructing melodies; use correct notation when arranging a standard ballad from a lead sheet; use style and tempo markings that are appropriate for the musical style of their composition or arrangement)
CROSS-CURRICULAR CONNECTIONS
With this unit the possibilities for corss-curricular connections are endless as it is about programmatic music. The program behind the music could be about anything from Niagara Falls to the war of 1812. In geography there is a lot of emphasis on having a sense of place and I think that music is one of the best indicators of a regions sense of place. For example there is lots of folk music in Newfoundland and around the world. If you wanted to team up with a geography teacher you could make the listening assignment pieces all about different regions in Canada and then the students could hand the work into both teachers. Similarly if you wanted to make connections with history you could use pieces used in war times, or protest songs about the feminist movement. You could then discuss what role music has had throughout history. There is also the potential to expand the technology portion of this unit, because students will be recording themselves using the program audacity. If desired, students could do a lot more with recording in this unit and even potentially create a class CD of the compositions they created in the soundscape portion.
OF UNDERSTANDING
Explanation: By the end of this unit students will be able to explain how composers bring the program behind the music to life in their composition. They will explain how composers use the elements of music such as rhythm, melody, timbre, and harmony to get across the mood or theme of a piece.Specifically in the listening journal reflection they will be describing how different composers represent something in their music.
the unit.
Application: Students will be applying what they have learned by playing different pieces that involve syncopation and irregular meter. They will be designing their own own soundscape. They will also be tested on their knowledge of the theoretical concepts in a quiz setting.
their program.
Empathy
Empathy Students will culminating activity.
Self-knowledge:
Self-knowledge: Students will their practice.
htmldiff1PRIOR KNOWLEDGE AND SKILLS:
technical and musical competencies at grade 3 band level
LEARNING GOAL: Students will work towards an accurate and informed performance of Alligator Alley both individually and as an ensemble.
PLANNING NOTES:
TITLE: Performance LEARNINGLEARNING GOAL: Students
TITLE: COMPOSITION
LEARNING
LEARNING GOAL:
Students will explore the compositional techniques composers (in particular Michael Daugherty) use to convey place in programmatic music.
ACTIVITY 1: Themes and a Sense of Place
conductor score.
“Describing a stretch of Interstate 75 that crosses through Florida's Everglades National Park, Alligator Alley celebrates this noble beast that has remained largely unchanged from prehistoric times. The first theme (Alligator's Theme) features the woodwinds (predominantly bassoons) while the second theme (Hunter's Theme) is performed by the brass.”
Students will listen to a recording of Alligator Alley and indicate when each theme is heard (hold up right hand for hunter left hand for alligator etc.)
ACTION:
use theme)
· In groups of four students will examine the two themes (lead sheets or a conductors score would be helpful). What musical conventions does the composer use to represent the hunter (brass, whip, meter, rhythm)? The alligator (bassoon, meter, semitones, accents in clarinet, rhythm)? How do the themes contribute to the composer’s goal to represent Alligator Alley?
FORMATIVE:
Students will present their findings to the class (class will compare and contrast their findings)
ACTIVITY 2: Music and Sense of Place
MINDS ON: How does Michael Daughetry represent Alligator Alley in his composition? Would you know it was about Alligator Alley if it was not in the program notes?
ACTION:
that place.
· Questions to think about:
1. If they were a composer how would they represent each place (instrumentation, form, meter etc.)?
others not?
3.
3. Does Canada place musically?
4. Do certain parts of Canada have a stronger sense of place musically? Why do you think this is
(Culminating Activity):
Music
Music and Our Own Soundscape

LEARNING GOAL: Students will work towards an accurate and informed performance of Alligator Alley both individually and as an ensemble.
PLANNING NOTES:
TITLE: Performance
LEARNING LEARNING GOAL: Students an ensemble.
ACTIVITY ACTIVITY 1: Performance Rehearsal Format
a) a) Warm-up- review and concepts
b)b) Statement of Rehearsal Objectives
c) c) Rehearsal of reinforce, assess
d) d) Introduction of and Materials
e) e) Conclusion and subsequent rehearsals
f) f) Performance- reinforces long-term achievements)
ACTIVITY ACTIVITY 2: Student Journals (on-going)
MINDS MINDS ON: Think your performance?” ACTION: Each student will log (see log in appendix) their individual practice goals after rehearsals. Students will write a few sentences after their practice sessions about issues encountered, achievements, next steps etc. FORMATIVE ASSESSMENT: Teacher will collect and check students’ progress making suggestions for improvement specifically related to the students’ individual practice goals ACTIVITY 3: CREATING A PERFORMANCE ASSESSMENT MINDS ON: Brainstorm in groups: “What do you listen for in a performance?” ACTION: Students will work in groups to create criteria for self-assessment of a performance. FORMATIVE ASSESSMENT: Students will use their own criteria to assess a recording (ex. audacity) of themselves. (if recording equipment is not available students can assess their own live performance but a recording is preferred) SUMMATIVE ASSESSMENT: Students will perform for the class a predetermined section of Alligator Alley (see attached rubric)
TITLE: COMPOSITION
LEARNING GOAL:
Students will explore the compositional techniques composers (in particular Michael Daugherty) use to convey place in programmatic music.
ACTIVITY 1: Themes and a Sense of Place
MINDS ON: Students will read the performance notes in the conductor score.
“Describing a stretch of Interstate 75 that crosses through Florida's Everglades National Park, Alligator Alley celebrates this noble beast that has remained largely unchanged from prehistoric times. The first theme (Alligator's Theme) features the woodwinds (predominantly bassoons) while the second theme (Hunter's Theme) is performed by the brass.”
Students will listen to a recording of Alligator Alley and indicate when each theme is heard (hold up right hand for hunter left hand for alligator etc.)
ACTION:
· Teacher will briefly define theme (giving examples of other musical works that use theme)
· In groups of four students will examine the two themes (lead sheets or a conductors score would be helpful). What musical conventions does the composer use to represent the hunter (brass, whip, meter, rhythm)? The alligator (bassoon, meter, semitones, accents in clarinet, rhythm)? How do the themes contribute to the composer’s goal to represent Alligator Alley?
FORMATIVE:
Students will present their findings to the class (class will compare and contrast their findings)
ACTIVITY 2: Music and Sense of Place
MINDS ON: How does Michael Daughetry represent Alligator Alley in his composition? Would you know it was about Alligator Alley if it was not in the program notes?
ACTION:
Each studentStudents will log (see log in appendix) their individual practice goals after rehearsals. Studentsbe given pictures of landscapes (ex. city, country, landscapes of countries with very distinct landscapes ex. Ireland, Africa and also Canadian landscapes). They will write a few sentences after their practice sessions about issues encountered, achievements, next steps etc.
FORMATIVE ASSESSMENT:
Teacher will collectexamine each picture and brainstorm what ‘musics’ and check students’ progress making suggestions for improvement specifically relatedsounds are associated with that place.
· Questions to the students’ individual practice goals
ACTIVITY 3: CREATING A PERFORMANCE ASSESSMENT
MINDS ON: Brainstorm in groups: “Whatthink about:
1. If they were a composer how would they represent each place (instrumentation, form, meter etc.)?
2. Why do you listen for insome landscapes have music as such a performance?”
ACTION: Students will work in groups to create criteria for self-assessmentcentral feature of a performance.
FORMATIVE ASSESSMENT:
Students will use their own criteria to assesssense of place? Why do others not?
3. Does Canada have a recording (ex. audacity)strong sense of themselves.
(if recording equipment is not available students can assess their own live performance butplace musically?
4. Do certain parts of Canada have a recordingstronger sense of place musically? Why do you think this is preferred)
SUMMATIVE ASSESSMENT:
Students will perform for the class a predetermined section
ACTIVITY 3 (Culminating Activity):
Music and Our Sense of Alligator Alley (see attached rubric) Place: Creating Our Own Soundscape

LEARNING GOAL: Students will work towards an accurate and informed performance of Alligator Alley both individually and as an ensemble.
PLANNING NOTES:
ACTIVITYTITLE: Performance
LEARNING GOAL: Students will work towards an accurate and informed performance of Alligator Alley both individually and as an ensemble.
ACTIVITY 1: Performance Rehearsal Format a
a) Warm-up- review and introduces new skills and concepts
b) Statement of Rehearsal Objectives
f) Performance- reinforces acquired skills and concepts (what are the long-term achievements)
ACTIVITY 2: Student Reflection Journals (on-going)
your performance?”
ACTION:
ACTION:
Each student will log (see log in appendix) their individual practice goals after rehearsals. Students will write a few sentences after their practice sessions about issues encountered, achievements, next steps etc.
FORMATIVE ASSESSMENT:
Teacher will collect and check students’ progress making suggestions for improvement specifically related to the students’ individual practice goals
ACTIVITY 3: CREATING A PERFORMANCE ASSESSMENT
MINDS ON: Brainstorm:Brainstorm in groups: “What do a performance.
FORMATIVE
FORMATIVE ASSESSMENT:
Students
Students will use of themselves.
(if
(if recording equipment is preferred)
SUMMATIVE
SUMMATIVE ASSESSMENT:
Students
Students will perform class a selectedpredetermined section of Alligator Alley. (rubric attached)
TITLE: COMPOSITION
LEARNING GOAL:
PLANNING NOTES:
RESOURCES:
ACCOMODATIONS: Alley (see attached rubric)

10 X 75 min periods (ongoing and periodic)
Brief Description of the Unit:
such as motives.themes. Students will
Stages One- Desired Results
Enduring Understandings
have completed basic composition projects
RESOURCES: score and parts, lead sheets (two themes), for musictheory.net lessons need a computer, an internet connection, htmldiff6
and a projector. htmldiff7ahtmldiff7a projector, htmldiff8“Practicing
RESOURCES: score and parts, lead sheets (two themes), for musictheory.net lessons need a computer, an internet connection, and a projector.
ACCOMODATIONS:

technical and musical competencies at grade 3 band level
have used recording programs such as Audacity to record individual practice and/or performance
syncopation and mode major and minor keys
have completed basic composition projects
RESOURCES: score and parts, lead sheets (two themes), for musictheory.net lessons need a computer, an internet connection, htmldiff6

Self-knowledge: Students will be given the opportunity in the performance section of this unit to self-assess their own playing. They will also be writing a journal of their practice habits which will help them to understand what they need to work on and therefore focus their practice.
htmldiff1PRIOR KNOWLEDGE AND SKILLS:
htmldiff2
htmldiff3
htmldiff4
htmldiff5technical and musical competencies at grade 3 band level
have used recording programs such as Audacity to record individual practice and/or performance
are familiar with syncopation and mode
have completed basic composition projects
RESOURCES: score and parts, lead sheets (two themes), for musictheory.net lessons need a computer, an internet connection, htmldiff6
and a projector. htmldiff7a projector, htmldiff8“Practicing for Artistic Success” Burton Kaplan, Think-Pair-Share sheets (partner 1 knows, partner 2 knows), student practice journals (see appendix), and graphic score cards.

Unit Design
Alligator Alley: Music and Spaces
Brianna Papia and Jenn Harris-Lowe
C/I Music EDU 1230
Introduction
Grade 10, instrumental music
10 X 75 min periods (ongoing and periodic)
the Unit:
Through the study of Alligator Alley students will discover elements of programmatic music, specifically the representation of ‘place.’ We will also examine compositional techniques employed by the composer such as motives. Students will also study theoretical concepts that arise throughout the piece such as modes, irregular meter and syncopation. Students will explore how they can use music/sound to represent their own places and spaces.
Stages One- Desired Results
Enduring Understandings
· Through this unit students will understand that music can represent places and spaces.
· Through this unit students will understand that composers use compositional techniques to create moods, images, and characters.
· Through this unit students will understand the importance of music that represents where they live and will be given the tools to create their own.
Essential Questions
· What are the elements of programmatic music?
· How do composers represent place musically?
· How do composers use elements of music to illicit a response in their listeners?
· How do we navigate modes, irregular meter and syncopation?
Curriculum Expectations
a1.2 apply the creative process when composing and/or arranging music (e.g., in a small group, plan and create a simple composition; use innovation, planning, experimentation, reflection, and refinement when arranging and transposing music or when composing an eight-bar melody with appropriate accompaniment)
Teacher prompts: “How might you gather input from your peers on your composition?” “Which stages of the creative process did your group use when creating its composition? How did the group approach the revision stage of the process?” “What role did imagination and experimentation play in developing your arrangement?”
a 3.1 demonstrate technical skill when performing notated and/or improvised music (e.g., perform, with control and subtlety, notated or stylistically correct dynamics; accurately perform scales, patterns, or technical exercises related to the repertoire; apply correct articulations when performing notated passages; perform with suitable breath control, bow control, stick technique, or finger style, as appropriate) Teacher prompt: “What specific technical skills does this selection require? What exercises might you practise to enhance those skills?”
a 3.2 apply compositional techniques when composing and/or arranging simple pieces of music (e.g., compose simple diatonic melodies that demonstrate an understanding of instrumental and/or vocal range; compose or arrange a selection in binary form for more than one voice or instrument; arrange a selection for percussion using musical forms common in West African drumming)
this shape?”
b 1.2 identify and explain the use of elements and other components of music in a variety of selections, including their performance repertoire (e.g., identify aspects of elements that contribute to the development of form in traditional folk music [melodic themes, rhythmic patterns, harmonic structures, dynamic levels]; identify individual elements and describe how they have been manipulated in a small ensemble performance by their peers; explain how composers indicate expressive intent through a variety of markings [signs, symbols, terminology]; identify elements in musical selections from a variety of cultures, and explain how these elements make the music distinctive)
Teacher prompts: “In this jazz selection, in what ways have the musicians manipulated the melody? What effect does this manipulation produce?” “How have you altered your approach to the elements of this étude between your original sight-reading and your most recent performance? What are the reasons for the changes?”
c 1.1 demonstrate an understanding of the elements of music, particularly through practical application and aural recognition, and use appropriate terminology related to these elements (e.g., describe and accurately perform major and minor scales and major triads as they relate to course repertoire, integrating changing dynamics and varied articulations; describe and demonstrate an understanding of the form of a twelve-bar blues progression; describe and demonstrate appropriate approaches to dynamics in the interpretation of a musical selection; identify the elements in a broad range of aural samples; use correct terminology when describing and/or demonstrating repetition and contrast in musical forms; identify various forms and aspects of form such as binary and ternary form, rondo, introduction and coda, theme and variation, opera, round/canon, fugue)
c. 1.2 demonstrate an understanding of, and use proper terminology when referring to, fundamental concepts associated with notation (e.g., demonstrate correct notation such as articulation and phrase markings when constructing melodies; use correct notation when arranging a standard ballad from a lead sheet; use style and tempo markings that are appropriate for the musical style of their composition or arrangement)
CROSS-CURRICULAR CONNECTIONS
With this unit the possibilities for corss-curricular connections are endless as it is about programmatic music. The program behind the music could be about anything from Niagara Falls to the war of 1812. In geography there is a lot of emphasis on having a sense of place and I think that music is one of the best indicators of a regions sense of place. For example there is lots of folk music in Newfoundland and around the world. If you wanted to team up with a geography teacher you could make the listening assignment pieces all about different regions in Canada and then the students could hand the work into both teachers. Similarly if you wanted to make connections with history you could use pieces used in war times, or protest songs about the feminist movement. You could then discuss what role music has had throughout history. There is also the potential to expand the technology portion of this unit, because students will be recording themselves using the program audacity. If desired, students could do a lot more with recording in this unit and even potentially create a class CD of the compositions they created in the soundscape portion.
OF UNDERSTANDING
PRIOR KNOWLEDGE AND SKILLS:
technical and musical competencies at grade 3 band level
have used recording programs
Explanation: By the end of this unit students will be able to explain how composers bring the program behind the music to life in their composition. They will explain how composers use the elements of music such as Audacityrhythm, melody, timbre, and harmony to record individual practice and/or performance
are familiar withget across the mood or theme of a piece.Specifically in the listening journal reflection they will be describing how different composers represent something in their music.
Interpretation: Students will be making sense of what the composer did to try to portray the programmatic elements in the listening section of the unit.
Application: Students will be applying what they have learned by playing different pieces that involve syncopation and mode
have completed basic composition projectsirregular meter. They will be designing their own own soundscape. They will also be tested on their knowledge of the theoretical concepts in a quiz setting.
Perspective After the students do their listening assignment we will have a group discussion about how well they think the different pieces portray their program.
Empathy Students will be assumming the role of a composer when they create their soundscape in the culminating activity.
Self-knowledge: Students will be given the opportunity in the performance section of this unit to self-assess their own playing. They will also be writing a journal of their practice habits which will help them to understand what they need to work on and therefore focus their practice.
htmldiff1PRIOR KNOWLEDGE AND SKILLS:
htmldiff2
htmldiff3
htmldiff4
htmldiff5
RESOURCES: score internet connection, htmldiff6
and a projector,“Practicingprojector. htmldiff7a projector, htmldiff8“Practicing for Artistic score cards.
RESOURCES: score and parts, lead sheets (two themes), for musictheory.net lessons need a computer, an internet connection, and a projector.
ACCOMODATIONS:
TITLE: Performance