MUS 382A Curriculum Project Template

Name:
Type of Choir: 6th grade mixed ensemble
Please number your selections F1 (Fall 1), F2, etc. and W1 (Winter 1), W2, etc.

Fall Concert Title Composer/Arr. Voicing

Repertoire (please F1. I Have a Dream Ruth Elaine Schram 3-part mixed
plan 10-15 minutes of F2.The Dream Keeper Rollo A. Dilworth 2-part
music): F3. Kusimama Jim Papoulis 2-part treble

The text in italics below is an example based on the piece “Fair and True” by James Mulholland
Selection Justification for Tempo: Concepts/Skills to Core Arts Standards Assessment
Choosing Up- Teach in this Piece Addressed (be specific—list Possibilities
Tempo, numbers)
Ballad,
etc.
F1. This piece Ballad  Dotted vs. even MU:Pr4.2.6.c. Identify how  Short report about
contains texts patterns cultural and historical context either We Shall
that are iconic  Balance inform performances. Overcome or the I
markers of the  Form Have a Dream
civil rights  Historical context Speech.
movement. The  Rit.  ML activity with
ballad nature  1st/2nd endings individual
helps provide assessment of
context for the rhythmic patterns
rest of the show. encountered in
piece.
F2. This piece has a Mid-tempo  Context MU:Pr4.2.6.b. When analyzing  Have students
text written by  Minor tonality/ la- selected music, read and write dreams in
Langston based minor identify by name or function their score and
 Hughes, a 20th  Form/repeats standard symbols for rhythm, grade for
century writer  Tenuto markings pitch, articulation, and completion.
known for his  Dynamic contrast dynamics.  Quiz on dynamic
texts about  Rhythmic complexity marking
many societal  Syncopation MU:Pr4.2.6.c. Identify how identification.
issues including  Writer Langston cultural and historical context  Make a road-map
racism. This fact Hughes inform performances. of the song for a
alone speaks to visual
the potential MU:Pr4.3.5.a. Demonstrate representation of
theme of the and explain how intent is form.
concert. This conveyed through interpretive
mid-tempo song decisions and expressive
will provide a qualities (such as dynamics,
segue into the tempo, timbre, and
upbeat African articulation/style ).
piece at the end.
F3. This piece is an Up beat  Cultural Context MU:Pr4.2.6.c. Identify how  Visual roadmap of
upbeat way to  Complex cultural and historical context piece
end an form/repeats inform performances.  Check scores for
emotionally  Learning in a “non- translation
heavy concert on traditional” rote style MU:Pr4.3.5.a. Demonstrate  Quiz on accents
a positive note of  Body percussion and explain how intent is  Memorization
“standing tall”. It  Macaronic – Swahili conveyed through interpretive assessments.
also provides and English decisions and expressive
opportunity for  Percussion qualities (such as dynamics,
rhythmic instruments. tempo, timbre, and
contrast and  Accents articulation/style ).
percussion  Complex rhythmic
instruments. patterns
 October Curriculum Plan

Day Teaching Strategies Assessment Strategies

Week 1, Day 1 No music today. Informal assessment: Teacher
Begin warm-ups in any given key. Include a warm-up observation of how well students are
in a minor key and end in D minor. Sing M-F-M-R-D-T- grasping the music literacy concepts.
Si-L to provide melodic context. Begin solfege syllable
patterns with hand-signs. Give time for audiation and
then allow students to repeat patterns back. Use
patterns directly from the piece as well as patterns
that dance around in the key.
Display measures 4-7 without text or context and
complete a scaffolded music literacy lesson on just
this portion.
Week 1, Day 2 Begin with a 5 minute rhythmic music literacy activity. Individual assessment of ability to repeat
Use spider fingers for rhythmic context and speak rhythmic patterns during ML activity.
patterns on a neutral ‘ba’ syllable. Allow students time
to audiate and then repeat. Implement individual Informal assessment: teacher
assessment by calling on individuals to repeat simple observation of how well takadimi
patterns. End this activity with rhythmic patterns from syllables are understood.
the piece.

Instruct students to take out music and turn the first

page. Ask students to pair share the takadimi syllables
for measures 4-9. Read through on takadimi. Isolate
and repeat as needed. Read through once more but
with snaps on the downbeat of measures 5, 7, and 9 to
ensure the eighth note rest is observed. Continue with
this method of rhythmic learning through measure 17.
Week 2, Day 1 Begin warm-ups using text from the piece to Informal assessment: Teacher
emphasize diction. “Dream Keeper” on a drone tone observation of how well students are
 would work well. Begin to emphasize ‘dream’ with a grasping the different sections of the
tenuto style. Then put it into the rhythmic context of piece.
the opening with the correct articulations and have
students repeat.

Instruct students to take out music and give harmonic

context using the before-mentioned tonal sequence
for La-based minor. Then ask students to audiate part
one on solfege measures 4-9. Sing all together on
solfege with correct rhythm, implement snaps if
necessary. Isolate and repeat as needed. Run through
in a similar sequence until measure 17. If time allows
add text.
Week 2, Day 2 Open class by telling the story of the legend of The Check scores and grade on participation
Dream Keeper. Ask students to give their dreams to in the dream keeper activity.
the dream keeper by writing them in their score
somewhere for only them to see. Allow students to
share with the class if the desire.

Assign a visual roadmap assignment to be turned in

next week and give a short explanation of form and
repeats in the piece. Complete the beginning through
measure 17 on text for review. Begin teaching part 2
to the whole class. Use a scaffolded approach of
rhythm first then add solfege to teach this part. Then
slowly add part one and two together on solfege.
Week 3, Day 1 Begin class with warm-ups that incorporate different Visual roadmap to be graded and
dynamics. Have student show different dynamics with returned for reference this week.
their bodies. Complete a short quiz on dynamic
markings. Quiz on dynamic markings.
 Instructs students to take out music. Play simplified
accompaniment and begin running through piece with
special attention to dynamics and their expressive
intent. Get through measure 17 and keep going as
long as possible. Most of the content in the piece is
covered in measures 4-17. Isolate and rehearse
sections as needed.
Week 3, Day 2 Begin with a short recorded memory assessment on Recorded assessment for memorization
measures 1-17. testing.

For this class set up the chairs in two rows facing each
other and have part one sit on one side and part two
sit on the other. Warm up using ‘row, row, row your
boat’ in a round to emphasize part independence.
Work through call and response section (m.30-39)
using a call a response method of teaching. Instruct
students to take out their music and sing though the
call and response section while facing each other. Play
accompaniment. Emphasize the need to hear each
individual entrance. Instruct students to stand when
their part is most important and sit when they are less
important.
Week 4, Day 1 Begin class with an octet memorization tests on Octets for memorization testing
measure 17 through the end. This will take up a
considerable amount of rehearsal.

Run through piece with special consideration for

context and expression. Repeat and isolate as needed.
Week 4, Day 2 Final rehearsal before concert. Use time to get as Informal assessment: Teacher
many repetitions on piece as possible. No music is observation of how well the students are
used today as the piece should be memorized. prepared for concert.
Make sure the students understand what they are
singing about and boost their confidence with
deserved affirmations.