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Primary Years Programme
Music scope and sequence

Primary Years Programme
Music scope and sequence
January 2004
© International Baccalaureate Organization 2004

Previously published as draft in 2000
Organisation du Baccalauréat International

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The arts in the Primary Years Programme
The arts provide:
• a means of communication
• opportunities for becoming skillful
• a means of expression of both emotional and intellectual perspectives
• exposure to other cultures and other times
• a means of accessing other disciplines
• a vehicle for wondering, reflecting and consolidating.
The arts are important areas of learning in the Primary Years Programme (PYP). Students will learn
the disciplines of visual arts, music and drama, as well as learning about the arts (the skills and
processes involved) and through the arts (artists, perspectives, themes and ideas using the arts). In all
areas of learning, the PYP teacher values imagination, creativity and original thinking. This may be
especially evident through the arts. The creative disciplines of visual arts, music and drama are closely
connected to each other, as well as having strong links to other disciplines. The creative process is
seen as a driving force in learning through inquiry.
The arts are built into the curriculum as essential areas of learning, not added on as optional extras.
Students are required to be exposed to all three arts (visual arts, music, drama) in the PYP. Specialist
teachers are not necessarily required, although some teachers may have specific responsibilities in the
arts. School organization needs to take into account the value that the school places on the arts in the
PYP. Visual arts, music and drama are significant disciplines in their own right and are also important
sign systems for interpreting and understanding the world. Students are encouraged to consider the arts
as a means of communication and as an expressive language.
Effective implementation of the arts in the PYP involves full participation of all teachers in the
collaborative planning of units of inquiry. In practice, teachers will develop a programme of inquiry with
authentic connections while maintaining the integrity and essential character of the disciplines. There is a
natural connection between the arts and the organizing theme: How we express ourselves. However,
students’ understanding of the central ideas of many units of inquiry within other organizing themes can
be developed through investigation in the arts, and the arts should be integrated where possible into other
areas of the curriculum.
Creativity is at the heart of the arts. It allows for innovation, interpretation, research, analysis and
transfer. Learning through the arts has a positive influence on self-esteem and creative development,
which needs to carry over to all aspects of learning. Valuing imagination and celebrating original
thinking promotes initiative and a lifelong love of learning.
Learning through the arts provides strong links to the student profile. From an early age, students have
the opportunity to develop genuine interest, to give careful consideration to their work, to become self-
critical and reflective. They are provided with opportunities to communicate about their creative work
and to share their understanding with teachers, peers and families. Students are encouraged to develop
responsible attitudes and find appropriate ways to take action through the arts, in order to make a
difference in and to the world. Appropriate action could involve presenting, exhibiting, celebrating,
communicating and sharing in a variety of ways.
“The arts are not mere diversions from the important business of education; they are
essential resources.”
Elliot W Eisner, “The Role of the Arts in Cognition and Curriculum”, in
Arthur L Costa (ed). 2001. Developing Minds: A Resource Book for Teaching Thinking (3rd edn).
Association for Supervision and Curriculum Development (ASCD).
PYP curriculum documents: music © IBO 2004 9.1

Music inquiry
To plan music inquiry, teachers must consider the following questions.
• What do we want students to learn?
• What do teachers need to learn about this topic?
• How best will students learn?
• How will we know what students have learned?
What do we want students to learn?

The music scope and sequence framework identifies the major expectations considered essential in the
PYP. These expectations are arranged into four strands: performing, creating and composing,
notation and listening and appreciation. The performing strand is organized into sub-strands of
singing and playing instruments. Each of the strands is addressed separately, although in practice
they are interactive and interrelated elements.
In performing: singing, students sing a repertoire of songs to display confidence, expression and an
awareness of musical elements such as pitch and rhythm. Singing lies at the heart of the music
curriculum as the voice is the most immediately available instrument for all students regardless of
their age or ability. In performing: playing instruments, students play musical pieces using a range of
instruments to demonstrate style, expression, and an understanding of melodic direction, tempo and
dynamics. They perform solo and as part of an ensemble for an audience, and follow directions from a
conductor. In creating and composing, students use their imagination and musical experience to
organize sounds into various forms that communicate specific ideas or moods. In notation, students
use non-traditional and traditional notation to record their compositions. In listening and
appreciation, students are given the opportunity to identify and describe various musical elements
such as rhythmic patterns, melodic patterns and form. They distinguish between a range of
instrumental sounds and respond to different styles of music, as well as to music from different times
and cultures. As humans, we tend to like what we are familiar with and so an important aim of the
music curriculum is to expose students to a wide and varied repertoire of musical styles.
Music as a discipline includes the development of creative skills, non-verbal expression and aesthetic
appreciation. Music enables students, including EAL students, to communicate in powerful ways that
go beyond their spoken language ability. Through music, students can begin to construct an
understanding of their environment, recognize patterns and structure and develop their cultural awareness.
“Music is a fundamental form of both personal and cultural expression.”
Ministry of Education. 2000. The Arts in the New Zealand Curriculum.
Learning Media Limited.
What do teachers need to learn about this topic?

The music scope and sequence document should be seen as a framework to demonstrate how a
balanced music programme could be put into practice in a school. We are aware that resources, staff
numbers and expertise, facilities and scheduling issues vary from school to school and all have an
impact on the implementation of a music curriculum. For this reason, the specific expectations in the
document are very general. This allows teachers, both generalist and single-subject, to develop, adapt
or change the activities and assessments to suit their individual circumstances.
Music is a part of everyday life. It is a form of non-verbal communication that allows us to convey our
ideas, feelings and emotions. Music contributes to personal, social and physical development. Physical
coordination is developed through large movements to music and fine motor control is developed in
the playing of instruments. Listening to and performing music can be a social activity. The development

Music inquiry
of listening skills, an important aspect of all learning, is constantly reinforced. Teachers should be
aware that music plays an important part in the language learning process. Through songs and rhymes,
students can hear patterns and develop a sense of the rhythm that applies to language. This can be
especially apparent when learning a new language as the meaning of the words is not necessarily
understood and so students concentrate on the rhythms and patterns they hear. Wherever possible,
teachers should try to include rhymes and songs in their teaching activities, not just in designated
music sessions.
Teachers can use the eight key concepts and related questions (Figs 5 and 6 Making the PYP happen)
to guide their own inquiry. Sample questions have been provided to show how this can be done. The
teacher may link each of the questions to one or more concepts. Some of the sample questions have
been linked to an appropriate concept as examples. By engaging in inquiry themselves, teachers will
not only achieve a deeper understanding of music but will also be a model for their students by
assuming the role of “teacher as learner”.
The sample questions provided here should not be seen as definitive—they are guidelines for teachers
to use. When teaching young students, a lot of work has to be done on the “how to” aspects of music.
While it is acceptable to ask “closed” questions, they should contribute to the stages of understanding
and help students to construct their own meaning.
Personal knowledge of the subject matter is of key importance. What teachers understand themselves
will shape how well they select from activities, resources and texts available, and how effectively they
teach. The teacher’s personal interest in, and development of, the discipline should be maintained
through regular professional development, reading professional journals and regular contact with
colleagues who share their commitment to teaching music through inquiry.
How best will students learn?

Music is both an active and reflective process when making or listening to music. Students should be
given opportunities to reflect upon their work and the work of others as well as being actively
involved in creating and performing. Collaborative activities with students (in their own class and
other classes) are encouraged. Working with students (older or younger) is a two-way learning
process. The older student is offered an opportunity to explain and verbalize his or her own learning to
a younger student, and the younger student has a new experience.
Music teaching and learning requires a formalized structure that does not hold back students’ music
development. Music skills and processes should be introduced in a systematic way without reducing
the opportunity for students to inquire into music as a creative process.
Students should draw on a wide range of stimuli in their music education: music composed by
themselves and other students, music composed by professional musicians (contemporary and
historical), literature, paintings, dance, their own imagination, real-life experiences, feelings, values
and beliefs. They should be exposed to live performances as well as recordings. They should
participate in live performances—informal as well as formal. Awareness of the audience is a skill that
can be developed only through practical application.
A PYP music classroom provides an environment that stimulates and challenges students. It is well-
resourced with an extensive range of music recordings, videos and instruments. These resources
should reflect the work of male and female musicians. Students have the opportunity to explore home-
made as well as manufactured instruments, from a variety of countries and cultures. The use of
appropriate technology influences and enhances student learning. They have the opportunity to use
available technology to create, compose and record their work: CDs for listening to and observing
music in practice; internet connections for research and downloading music scores or for uploading
their own work onto school web sites; professional software for composing and notation.
Wherever possible and appropriate, links should be made with the school’s programme of inquiry.
Examples of how the scope and sequence can link with the Sample programme of inquiry 2003 have
been included. The direct teaching of music in a unit of inquiry may not always be feasible, but prior
learning or follow-up activities may be useful to help students make connections between the different
9.4 PYP curriculum documents: music © IBO 2004

Music inquiry
aspects of the curriculum. This makes the learning experience a more authentic one for the students.
Collaborative planning with the homeroom teacher is especially important when single-subject
teachers have responsibility for teaching music in a school.
How will we know what students have learned?

Assessment is an integral part of effective teaching and learning of music. Assessment provides
insights into students’ understanding, knowledge, skills and attitudes. These insights are necessary to
plan further activities that address areas of concern to the teacher and the students. There should be
ongoing formative assessments as well as summative assessments. Assessment activities should be
carefully planned, and opportunities for students to self-assess using different methods should be
included. Examples of assessments appropriate to the specific expectations are included in this
document along with sample activities and key questions.
Music learning is easiest to assess when the students are participating in musical activities and so the
main strategy of assessment will be teacher observation of student performance. Every time a student
is involved in performing, composing or is able to share their ideas after listening to a piece of music,
they are participating in an activity that may be assessed. Student self-assessment will also give
teachers an indication of how students feel about music and their own performances, strengths and
weaknesses.
Record keeping should be simple and readily accessible to the teacher and the student. Teacher
observations, rubrics and self-evaluations can be used as examples of significant development and
could be included in the student’s portfolio.
* See glossary for explanation of italicized terms.

Glossary of PYP music terms
articulation The textural quality of a note with respect to duration, ie legato = smooth;
staccato = short and detached (choppy).
attack The beginning of the sound produced. In ensemble performance, a good

attack implies a good balance in the group with all instruments beginning
at the same time, following directions on articulation as well as conductor’s
gestures.
beat Rhythmic pulse or the physical action corresponding to this.
binary When a piece of music is made up of two contrasting sections: A and B,

or verse and chorus. See form.
call and response First person provides a call of melodic and/or rhythmic material of a given
length. Second person improvises with a response of consistent length and
appropriate melodic and/or rhythmic content.
canon A piece in which the same melody is begun in different parts successively,
so that the parts overlap.
chorus A group of singers performing a part of a song, as opposed to the soloist;

the refrain of a song.
composition A piece of original work.
compound metre The beat is divided into three.
contrast Musical opposites (fast/slow, loud/soft etc).
countermelodies Secondary melodies that accompany the principal one in a piece of music.
crescendo The music increases in loudness.
diatonic Music that is related to a given major or minor scale, for example, C major
or A minor in western classical music.
diminuendo The music becomes gradually softer.
dotted rhythm A note (or rest) that has a dot placed after it extending its duration by half
of its value.
duration The length of different sounds.
dynamics The loudness or quietness of a piece of music.
EAL English as an additional language.
elements The fundamental building blocks of music: pitch, duration, dynamics,

tempo, timbre, texture and structure (form).

ensemble A group of musicians who perform together.
expression The way a piece of music is interpreted.
folk song A song that has been transmitted orally from one generation to the next.
The composer is usually unknown, but not in every case. Folk songs can
change over time.
form The way a piece of music is constructed; structure of a composition. Basic

music forms include strophic (verse), binary (AB), ternary (ABA) and
rondo (ABACA).
harmony A note or notes that are added under a melody to make it more interesting
or pleasant.
improvisation Creation, on the spot, as it is being performed.
interval The distance between two consecutive notes that move by step (C–D) or
by leap (C–E).
leap Two pitches that are more than one step apart from each other (C–E).
legato Smooth movement between notes in music. See articulation.
locomotor Activities used to move the body from one place to another or to project
the body upward, for example, jumping, hopping, walking, running, skipping,
leaping, sliding and galloping.
melodic content The number of different pitches, and the direction and contour of a piece
of music (appropriate to the student’s vocal range and prior knowledge).
melodic direction The basic motion of successive pitches rising or falling.
melodic pattern A short melodic idea that is repeated throughout a piece.
melody A succession of notes varying in pitch and having a recognizable musical

shape.
metre The grouping of accented (strong) and unaccented (weak) beats. It can be
simple or compound.
motif (plural motives) A short melodic or rhythmic pattern that recurs throughout a piece of
music and helps to give it unity, for example, the “shark” motif in the
Jaws films.
motion The movement or progress of the notes in one or more melodic parts or
voices.
non-locomotor Activities that involve movement without travelling, for example, bending,
stretching, twisting, moving body parts or balancing.
non-traditional A communicating device in which sound events are represented by means

(graphic, iconic, of symbols, drawings, shapes, lines, patterns etc.
pictorial) notation

note i) A single sound of a given pitch and duration.

ii) The written sign to represent a given sound.
Orff pitched A set of instruments such as xylophones, chime bars, metalophones or

percussion glockenspiels, used in the Orff method of learning music.
ostinato A pattern of notes, either rhythmic or melodic, which are repeated over
(plural ostinati) and over again (can be vocal or instrumental).
part singing A song that is performed in several voice parts simultaneously (part songs,
partner songs, vocal ostinati).
partner songs Two songs that harmonize well when sung simultaneously.
pedagogy songs Simple pentatonic songs that are read.
pentatonic scale A five-note scale best represented as the black notes on the keyboard C#,
D#, F#, G#, A# or the white notes C, D, F, G, A.
pentatonic songs A song made up of the notes in a pentatonic scale. These notes are often
used in folk music.
phrase A group of notes forming a distinct unit or segment of a melody; a

musical idea.
pitch The highness or lowness of a note.
pitch range The pitches of a song from the lowest to the highest. The range increases
with age.
pulse The steady beat throughout a piece of music.
repertoire songs Non-reading songs.
rest Absence of sound on a beat or beats. Rests have definite time values in the
same way as notes; for every note there is an equivalent rest.
rhythm The way in which musical sounds are grouped together in relation to
duration.
rhythm values The representation of beat duration and division of beat: quarter note,
(note values) eighth note and sixteenth note. Multiple beats combined in one sound are
half note and whole note.
rhythmic patterns A short rhythmic idea that is repeated throughout a piece.
rondo A piece of music where the main tune alternates with other tunes, usually
constructed as A B A C A. See form.
round A simple type of song in which the melody comes “round” again and
again, where voices enter in turn, for example, “Three Blind Mice”,
“London’s Burning”, “Frère Jacques”.

9??
scale A progression of single notes upwards or downwards in steps.
sequence Repetition of a musical phrase at a higher or lower pitch.
simple metre Each beat is evenly divided into two. Simple metres can be two, three or
four beats.
solfatonic A method intended as an aid to sight-singing in which the steps of a scale

are called by the syllables do, re, mi, fa, so, la, ti, do.
solfège notation A method of recording music using the solfatonic system.
solo A composition for, or performance by, a single performer; passage in a

piece that is to be performed by a soloist, as opposed to the chorus or
everyone (tutti).
staccato Short, choppy movement between notes in music. See articulation.
staff The five lines and four spaces between them on which musical notes and
rests are written.
step Two pitches that are next to each other (C–D).
strophic A piece of music in which the music is repeated in each verse. See form.
style The recognized manner in which one or more composers organize the
elements of music according to specific conventions. Style determines
how a work is performed or interpreted. Style often relates to an historical
period or composer.
tempo The speed of music.
ternary A piece of music constructed in three sections where the third section is
the same as, or a variation on, the first, constructed as A B A. See form.
texture The way sounds are woven together in a piece of music. Texture can be
thin and light, or dense and weighty.
timbre The tone of a sound, for example, mellow or thin or resonant.
traditional notation A method of recording sounds for a future performance that uses the
conventional system of a five-line staff, clef, bar lines, notes and rests.
verse-refrain song A song made up of two sections: the verse and the chorus (refrain).
voice part An individual part or line of music written for a solo voice or a section of
a choir. A choral piece will often be written in four voice parts.

Recommended resources
Teachers involved in developing the music scope and sequence have suggested the following
resources:
Clark V. 2002. High Low Dolly Pepper: Developing Music Skills with Young Children (songbook
and CD). A & C Black (Publishers) Ltd.
Feldberg E and Atkinson E. 1997. Music Key Stage One (Curriculum Bank). Scholastic.
Feldberg E and Atkinson E. 1997. Music Key Stage Two (Curriculum Bank). Scholastic.
Gilbert J. 1981. Musical Starting Points with Young Children. Ward Lock Educational.
Lougheed J. 1997. Signposts to Music. Oxford University Press.
Mills J. 1993. Music in the Primary School (2nd edn). Cambridge University Press.
Music schemes include:
Bond J et al. 1995–2000. Share the Music. Macmillan McGraw-Hill.
Leask J and Thomas L. 1987–1990. Upbeat: Music Education in the Classroom (Preparatory Level–
Level 6). Ashton Scholastic.
Silver Burdett. 2002. Making Music (Grades 1–6). Pearson Scott Foresman.
Music dictionaries include:
Bennett R. 1995. Music Dictionary. Cambridge University Press.
Jacobs A. 1998. The Penguin Dictionary of Music (6th Edition). Penguin.
Web sites
www.artsalive.ca
www.datadragon.com/education
www.playmusic.org
www.sfskids.org

Music scope and sequence overview
In addition to the following strands, students will have the opportunity to identify and reflect upon “big ideas” by making connections between the questions asked and the concepts that drive the inquiry.
They will become aware of the relevance these concepts have to all of their learning.
Strand By the end of this age range, children aged 3–5 will: By the end of this age range, students aged 5–7 will: By the end of this age range, students aged 7–9 will: By the end of this age range, students aged 9–12 will:
Performing: • explore vocal sounds, use the voice to imitate sounds and • display vocal control in singing through participation in a variety of • sing with accuracy and control, focusing awareness on the • sing songs or voice parts with increasing control, confidence
singing communicate feelings, develop language and speech through rounds, folk songs and pentatonic songs (to include songs of five musical elements of pitch, rhythm, tempo, duration and dynamics and expression in a wider pitch range
new vocabulary pitches or fewer) of appropriate pitch range • sing from signs and traditional notation • sing more complex songs with increasing accuracy, including:
• sing in unison simple songs of an appropriate pitch range in • use singing to explore concepts such as pitch, rhythm, tempo, • increase their song repertoire to include simple partner songs singing notes of increased intervals; singing accurate note
their entirety and from memory. duration, timbre and dynamic contrasts and continue to develop the ability to sing in harmony lengths; being aware of dynamics and tempo; using appropriate
• experience an expanding repertoire of songs and share these songs • sing with others, developing ensemble skills and an awareness singing style
and their own compositions with others of audience • sing from traditional notation
• sing from signs and non-traditional notation • sing songs from a variety of times and cultures. • sing songs from a variety of times and cultures
• sing songs from a variety of times and cultures. • sing with others, using ensemble skills and develop an
awareness of audience.
Performing: • explore body sounds and a variety of untuned and tuned • use a variety of instruments with care and control • develop control of sounds on a widening range of instruments • play a wide range of instruments with increasing accuracy in
playing percussion instruments in order to develop fine motor control • have a good understanding of melodic direction (motion) • continue to perform rhythmic and melodic patterns of increasing solo and ensemble performances
instruments • develop an ability to maintain a steady beat through non-locomotor • perform rhythmic and melodic patterns, by rote and from non- length on a variety of classroom instruments, and in different • perform complex rhythmic and melodic patterns in different
and locomotor activities, using body sounds and playing traditional notation, while maintaining a steady beat metres of two, three and four, by rote and/or traditional notation simple and compound metres
instruments • play in metres of two, three and four • play melodic patterns of increasing difficulty (from pentatonic • perform expressively to show tempo, dynamics, texture, style
• develop an ability to start and stop together • respond to directions from a conductor. to diatonic) and articulation
• use classroom instruments with developing care and control. • perform with others and develop an awareness of ensemble and • play music using non-traditional or traditional notation
audience • respond to directions from a conductor.
• respond to directions from a conductor.
Creating and • explore and make choices about sound • make choices about sounds and organize them in a way that uses • choose and arrange sounds to create a specific mood or feeling • create music in response to a range of stimuli
Composing • create sound effects to complement a story, rhyme, picture or basic indications of expression such as tempo, mood, dynamics, • explore, create, select, combine and organize sounds • continue to explore, create, select and organize sounds in simple
song texture and timbre • explore and organize sounds into simple musical forms such as musical forms
• make use of music as another language for expression and • organize sounds into simple musical phrases using the devices strophic, binary or ternary • purposefully organize sounds in simple musical forms including
communication of ideas. of repetition and contrast • perform compositions using classroom instruments and other rondo
• use call and response for vocal, instrumental and movement sound sources • use devices of motif and sequence in composition
improvisation • use musical notation to record and communicate ideas. • perform compositions using classroom instruments and other
• use experience and imagination to create personal compositions sound sources
using the pentatonic scale as a guide • use a variety of textures in compositions
• interpret and use visual symbols to represent sounds. • use detailed notation to record and communicate ideas.
Notation • work as a group and follow directions given by hand signals, • identify and use non-traditional notation to represent and record • identify and use non-traditional and traditional notation to • use non-traditional and traditional notation to represent and
signs and/or non-traditional notation sound events represent and record sound events and simple songs record sound events and songs
• recognize that sound can be recorded using notation or signs. • become familiar with the basics of traditional, melodic and • use traditional and/or folk song material to learn appropriate • use traditional and/or folk song material to learn appropriate
rhythmic notation melodic content melodic content
• begin to recognize that the position of a note on the staff is • use notation to practise and perform a piece of music • use notation to practise and perform a piece of music
related to its pitch by using simple tunes • read and notate using basic rhythm values of quarter note, eighth • read and notate using basic rhythm values of quarter note, eighth
• be introduced to the concept of duration of notes in traditional note and quarter rest note, half note and whole note; quarter, half and whole rests
notation • begin to read and notate using rhythm values of whole note and • begin to read and notate using rhythm values of sixteenth note
• begin to read and notate using basic rhythm values of quarter note, half note, whole and half rests • begin to read and notate using dotted rhythms in compound
eighth note and quarter rest. • begin to read and notate using dotted rhythms in simple metres. metres.
Listening and • respond to contrasts in musical elements • respond to contrasts in musical elements • develop an understanding of musical elements such as the • continue to distinguish and describe musical elements such as
appreciation • listen with growing attention • begin to use appropriate vocabulary to distinguish and describe difference between steady beat and rhythm, and awareness of rhythmic patterns, melodic patterns and form
• begin to develop an awareness and appreciation of music from musical elements metre • continue to distinguish a range of instrumental sounds, including
other cultures. • identify motion in simple songs • develop an understanding of form in music orchestral, non-orchestral, non-western and multi-ethnic
• distinguish and describe how musical elements affect mood in a • continue to describe musical elements using appropriate musical • describe music using appropriate vocabulary, giving reasons for
piece vocabulary, giving reasons for preferences preferences
• identify the sound sources of a number of classroom instruments • identify the sounds and names of an increasing number of • continue to develop an awareness and appreciation of music
and familiar orchestra instruments by name and by their orchestral instruments: orchestral, non-orchestral, non-western and multi- from different sources and cultures; its uses and associations.
families ethnic
• begin to distinguish and describe form • develop an awareness and appreciation of music from different
• develop an awareness and appreciation of music from different sources and cultures; its uses and associations.
sources and cultures and be aware of some of its uses and
associations, for example, in celebrations, entertainment
• respond to different music, giving reasons for preferences.

Subject: music Age range: 3–5 years Page 1 of 4
Overall expectations
Music is the study and exploration of sound and the expressive use of musical elements through the singing of songs and the playing of instruments. Children will join together in musical
activities, using their voices and simple instruments to develop concepts about sound and musical awareness. They will participate both individually and in groups in games, songs, and creative
movement activities. Children will develop musical ideas in composition using musical notation. They will begin to develop an awareness and appreciation of music from different cultures.
Children will have the opportunity to identify and reflect upon “big ideas” by making connections between the questions asked and the concepts that drive the inquiry. They will become aware
of the relevance these concepts have to all of their learning.
For the purpose of this scope and sequence, the strands have been grouped as follows (adapted from Fig 12 Making the PYP happen): performing: singing, performing: playing instruments,
creating and composing, notation and listening and appreciation.
*See glossary for explanation of italicized terms.
Content What do we want children to learn? How best will children How will we know what Notes for teachers
learn? children have learned?
Specific expectations Sample questions Sample activities Sample assessments Resources and comments
The specific expectations may be Questions that address the key All activities encompass some, or Assessments should be directly Teachers should find ways to
addressed in any order or concepts (Fig 5 Making the PYP many, of the specific expectations related to the specific ensure EAL learners understand
combination. happen) challenge learners and and transdisciplinary skills expectations. Children should be tasks and expectations.
promote genuine understanding. (Fig 14 Making the PYP happen). given the opportunity to
Sample questions can be linked demonstrate their understanding
to a key concept. Some examples in a variety of ways.
are noted below in bold.
Performing: singing Children will:

Children sing a repertoire of Movement exploration
songs to display confidence, • explore vocal sounds, use How does this song make you Children demonstrate different Children can demonstrate the Encourage the use of language
expression and an awareness the voice to imitate sounds feel? perspective pitch levels with their body, pitch levels of vocal sounds through singing and songs.
of musical elements such as and communicate feelings, through stationary and they hear, with their hands or Having children perform for
pitch and rhythm. Singing develop language and How many different ways can locomotor activities. through their body movement. one another will encourage
lies at the heart of the music speech through new you use your voice? them to memorize songs and
curriculum as the voice is the vocabulary Children can explore voice will increase confidence in
most immediately available sounds, for example, singing, language.
instrument for all children whispering, chanting and
regardless of their age or humming. See also Physical Education
ability. scope and sequence
(movement to music).
Vocal exploration
Can you make the same sound Children echo the teacher’s Children echo the teacher’s
as …? voice and imitate environmental voice and are able to imitate
and familiar sounds. the high and low sounds they
How would you describe the hear in the environment.
sound?
Children begin to use their Children are able to express a
What noises would you hear voice to portray moods or mood or feeling through their
in this picture? form feelings. voice: a sad character in a
book; how they feel on their
birthday; the way a spooky
story makes them feel.
Children use their voices to Children produce pitch Children often confuse
imitate movement of sound variations with their voices as loudness with pitch levels.
following a visual or they follow a raised hand
manipulative representation. (high sound) or a low hand
Children use a range of props (low sound).
such as puppets, pictures,
scarves, balls and beanie
babies, to imitate the noises
they could make.
• sing in unison simple songs What kinds of things can we The teacher encourages the Children can participate in Teachers should sing in the
of an appropriate pitch do to help us sing? reflection children to focus on singing exercises to develop their children’s pitch range.
range in their entirety and by participating in warm-up, singing techniques. They are Appropriate pitch for children
from memory. breathing, relaxation and able to discuss why they need tends to be a small, low range
posture exercises. to warm up or relax when and may feel uncomfortable
singing. for the teacher.
Singing games
Children participate in action Children can join in the Some children find the use of
songs, nursery rhymes and singing and the movement, puppets builds their
unison singing with movement and can use props, including confidence as the attention is
and props. Children may also puppets, at appropriate times on the puppet rather than the
use puppets to sing. The in the songs. They begin to child who is singing. The
singing games develop to sing solo in short excerpts, same happens in singing
include unison singing with developing their confidence. games, where the children
short solo singing excerpts. have an opportunity to sing
Children can control the pitch solo excerpts.
and tempo of their own
singing.
Song books
Children sing songs from Children sing songs by
picture and singing books. following the pictures and
simple text in songbooks.
PYP curriculum documents: music © IBO 2004

9.15
Subject: music Age range 3–5 years Page 2 of 4
Performing: playing
instruments Children will:
Children play musical pieces Movement exploration
using a range of instruments to • explore body sounds and a How many different sounds Children explore different Children can produce a range The unit of inquiry “What can
demonstrate style, expression, variety of untuned and can we make with our hands ways of making sounds with of different sounds using body I use this for?” in the Sample
and an understanding of tuned percussion instruments and bodies? their hands and other body parts including hands, fingers, programme of inquiry 2003
melodic direction, tempo and in order to develop fine parts. feet, mouth etc. and the PYP planners in The
dynamics. They perform solo motor control PYP in the Early Childhood
and as part of an ensemble for Children explore the difference Years (3–5 years) have many
an audience, and follow in sound production through opportunities to include
directions from a conductor. locomotor activities. They music.
move to the temporal or
textural quality of the music
(legato = smooth movements;
staccato = jerky or quick
movements; slow tempo =
slow movements).
What sounds can you make Children use a variety of The teacher should direct
with this instrument? everyday objects (yogurt children’s attention to the
function containers, string, elastic different sounds and tonal
bands, cereal boxes, drinking qualities of the materials.
Can you make a long sound, a straws etc) to experiment with,
short sound, a loud sound, a creating instruments that can
soft sound, a high sound, a be blown, beaten or shaken.
low sound etc?
Sound exploration
How do we play this Children explore different Children observe the correct The teacher should model
instrument properly? ways to produce sound in a method of playing and using the correct ways to play
responsibility variety of percussion the instruments. They can and use an instrument, after
instruments. They may choose copy the model the teacher the children have had an
How do we hold the beater to bang a drum with their has demonstrated. Children opportunity to explore its
correctly? hands, their fingers or a can hold and control sounds.
drumstick. They may choose instruments or beaters. They
What is this instrument made to bang, shake or slide a can concentrate when playing.
of? form tambourine to create a variety
of sounds.
What makes instruments
sound different?
Locomotor and non-

locomotor movements
• develop an ability to How can you show the beat Children practise different Children can maintain a See also Physical Education
maintain a steady beat with a part of your body? ways to play the beat using steady beat through their body scope and sequence
through non-locomotor and body sounds such as clapping, movements—both by travelling (movement to music).
locomotor activities, using What ways can you move stamping feet or slapping and by making sounds.
body sounds and playing around showing the beat? thighs. They follow the beat
instruments by marching, hopping,
How else can you move to the skipping, walking and jumping
beat of the music? change around the room in time to the
music.
Children practise playing the

beat on different instruments.
Children copy rhythmic
patterns.
• develop an ability to start Children learn when to start Children can start and stop
and stop together and stop playing by following playing in response to a
hand gestures, oral commands, conductor. They can act as
signs and musical prompts such conductors in musical
as an introduction, chord, activities.
cymbal clash etc.
• use classroom instruments How do we play this Individually or in small Establish rules and routines
with developing care and instrument? function groups, children practise for the use of musical
control. using classroom instruments instruments by discussing
How can we hold the (with adult guidance initially). how to use them correctly and
instrument to use it? how to store them.

9.16
Creating and composing Children will:

Children use their imagination Soundscapes
and musical experience to • explore and make choices Which of these instruments Children use sounds to Children control instruments
organize sounds into various about sound could you use to make the describe events such as a and give meaning to the
forms that communicate sound of a storm? connection storm. sound they create.
specific ideas or moods.
How can you calm a storm?
Sound stories
• create sound effects to How can you make the sound Children use sound effects in Children can take a story or Build up a selection of picture
complement a story, of … (the wind, a police siren, stories, rhymes, pictures and rhyme they are familiar with books for children to illustrate
rhyme, picture or song a bird, the sea)? songs. As they become more and introduce sound effects the story with sound.
confident, they begin to select (voice/body/instrumental
sounds to recreate stories, sound) at appropriate times. A classic use of music to tell a
without relying on the text. As they develop the skill of story is Peter and the Wolf by
selecting sound effects, they Prokofiev.
rely less and less upon the
text.
• make use of music as Can you play a happy day? The unit of inquiry “Everyone
another language for has a story to tell” in the
expression and Can you make the sound of a Sample programme of inquiry
communication of ideas. stormy sea? 2003 and the PYP planners in
The PYP in the Early
If you were feeling sad, what Childhood Years (3–5 years)
would it sound like? have many opportunities to
connection include music.
Notation Children will:

Children use non-traditional Visual prompts
and traditional notation to • work as a group and follow What does my hand show Children follow simple visual Visual prompts may include
record their compositions. directions given by hand you? function prompts, for example, making puppets, manipulatives,
signals, signs and/or non- a ticking sound on a woodblock pictures, signs, etc.
traditional notation when the teacher holds up a
picture of a clock.
The teacher holds up a picture

of an instrument and different
groups in the class play their
instrument when “their” picture
is held up. These pictures can
later be replaced with symbols.
Children follow pitch direction On a given signal, such as a

from a variety of cues, such as hand movement or picture
hand signals. being held up, children can sing
(or play) a higher or lower note.
Recording sounds
• recognize that sound can be What does this … mean to you Children collaborate on a Children can work as a group,
recorded using notation or (symbol, icon, body level and variety of suitable methods to sharing their ideas of how to
signs. gesture)? record sounds. They practise record sounds. They follow
using these meaningful the teacher’s representations
How can we write down the representations by following and understand there are a
sound to play another time? the teacher’s pictorial variety of methods of
function representation. recording.
Children then go on to create Children record sounds using

and perform their individual the method they feel most
representations. comfortable with and use their
representation to perform a
short composition.

9.17
Listening and appreciation Children will:

Children are given the
opportunity to identify and • respond to contrasts in What is this song about? Children discover what the Children can explain how a
describe various musical musical elements song is about by discussing song makes them feel.
elements such as rhythmic How does this song make you the feelings and moods the
patterns, melodic patterns and feel? causation song evokes.
form. They distinguish between
a range of instrumental sounds When does the music get Children use their body to Children can show the contrasts
and respond to different styles louder (or softer)? show contrast in the song, (high–low, loud–quiet, quick–
of music, as well as to music either by travelling (running slow, harsh–gentle, long–short
from different times and and walking) or by moving sounds) they are able to hear in
cultures. body parts (waving arms and the songs through their
stamping feet). movements. Children can move
in time with the music.
• listen with growing What must you do to be a The class discusses what it Children can contribute to the
attention good listener? responsibility means to be a good listener discussion about what makes
and why it is important to a good listener. They are able
listen carefully. The teacher to spot the characteristics of a
demonstrates good listening good listener in the teacher’s
techniques and poor listening demonstrations. They
techniques and the children concentrate and are attentive
comment on the differences when listening.
they can observe.
• begin to develop an Where do you think this Children are introduced to a Children participate in group The unit of inquiry “Who am
awareness and appreciation music comes from? wide range of musical styles discussions about the sounds I?” in the Sample programme
of music from other cultures. that originate from different and styles of music they hear, of inquiry 2003 and the PYP
Where would you listen to countries and cultures. They and about their likes and planners in The PYP in the
this music? connection discuss the common sounds dislikes. Early Childhood Years (3–5
they can hear within the years) have many opportunities
What kinds of things do you music and any differences Children may begin to identify to include music.
hear in this music? form they notice. similarities and differences
between pieces of music that A wide range of listening
Who do you think is originate in Europe and Asia material introduced from an
performing this music? (comparing and contrasting early age helps children to
the two continents and the understand that there is a huge
countries within them). diversity of musical styles.

9.18
Music is the study and exploration of sound and the expressive use of musical elements through the singing of songs and the playing of instruments. Students will gain an awareness and appreciation
of music in all its forms from a range of times, places and cultures. Students will sing and play a variety of songs and pieces with an awareness of beat. Students will have the opportunity to
experiment with sounds in composition tasks and to make expressive use of musical elements such as pitch and rhythm. They will use notation to develop musical ideas. They will develop an
awareness and appreciation of music from different cultures and be able to describe and compare sounds using simple appropriate musical vocabulary.
Students will have the opportunity to identify and reflect upon “big ideas” by making connections between the questions asked and the concepts that drive the inquiry. They will become aware
Content What do we want students to learn? How best will students How will we know what Notes for teachers
learn? students have learned?
combination. happen) challenge learners and and transdisciplinary skills expectations. Students should be tasks and expectations.
Performing: singing Students will:

Students sing a repertoire of
songs to display confidence, • display vocal control in What should we do to be The teacher guides students Students can follow the Encourage the use of language
expression and an awareness singing through participation ready to sing this song? through exercises to practise instructions from the teacher through singing and songs.
of musical elements such as in a variety of rounds, folk techniques including stretching, regarding posture and Having students perform for one
pitch and rhythm. Singing lies songs and pentatonic songs What makes a song a folk relaxation, posture, enunciation, breathing etc. They recognize another will encourage them to
at the heart of the music (to include songs of five song? form pitching, breathing, listening the value of participating in memorize songs and will
curriculum as the voice is the pitches or fewer) of and vocal warm-ups. warm-up and relaxation increase confidence in language.
most immediately available appropriate pitch range Why do folk songs usually exercises to improve the
instrument for all students change over time? causation, quality of their singing. Every time students perform,
regardless of their age or change solo or as an ensemble, in the
ability. Students sing with enthusiasm classroom or in a formal
Can this song be sung as a Students discuss how a round and confidence. They can concert for parents and the
round? works and recognize how control the pitch of their community, that activity can
texture is affected. voices, the tempo of their be used as an assessment tool
singing and are aware of to determine how well the
texture. students have learned.
Appropriate pitch for students

tends to be a small, low range
and may feel uncomfortable
for the teacher.
Singing games
The teacher introduces singing Students participate in a The unit of inquiry “Let’s
games such as “Doggie, variety of singing games such play” in the Sample programme
doggie”. The students sit in a as singing in a circle, solo of inquiry 2003 has many
circle. “Doggie” has a bone singing, songs from literature, opportunities to include music.
and sits in the centre with songs with manipulatives,
eyes closed. All the students solo singing guessing games. Provide a range of props,
sing a song while one student including bean bags, balls,
from the circle quietly takes puppets, stick puppets, finger
the bone and returns to their puppets, small manipulatives
space. “Doggie” sings solo such as keys, wands, hats etc.
asking who has the bone. The
student with the bone sings Many solo singing experiences
back solo. “Doggie” must try can be found in different games
to guess who is singing. and by using song books.
Vocal exploration
• use singing to explore How does the song change Students imitate environmental Students can imitate sounds
concepts such as pitch, when you sing: in a high- and familiar sounds. They they hear in their environment.
rhythm, tempo, duration, pitched voice, in a low-pitched create voice sounds and They use these sounds to create
timbre and dynamic voice, loud, soft, fast and slow? rhythms, creating effects and effects and moods in songs.
contrasts change mood in songs.
Students control their voices
How can you tell who is Students echo melodic and use their imagination to
singing this song if your eyes patterns and song phrases. recreate and imitate
are closed? environmental and familiar
Students develop an sounds. They echo melodic
Which way sounds best and awareness and control of patterns and song phrases that
why? perspective long–short, high–low sounds the teacher models.
and are able to control the
volume of their voices. Students can control the length,
the pitch and the volume of the
notes they are singing. They
become aware of long and
short, high and low, and the
volume of sounds in their own
and their classmates’ singing.

9.19
Performing: singing (cont.) Students will:

Class singing
• experience an expanding Who would sing this kind of Students participate in unison Students join in unison Students should be given
repertoire of songs and song? singing as part of a group; singing. They recognize and opportunities to sing songs
share these songs and their singing as a round; solo-chorus sing rounds; they sing short from a variety of categories,
own compositions with Where do you think this song singing. solo pieces. for example, alphabetical,
others came from? counting and cumulative
Students use dynamic contrasts Students sing expressively. songs; nursery rhymes and
to portray feeling and mood, folk songs; singing games;
style and appropriate voice spiritual or religious songs;
timbre. modern, pop or funny songs.
Students work as a group and Students can perform their

prepare to sing a song from chosen piece to a familiar
their own composition or a audience.
song from their repertoire.
Using non-traditional
notation
• sing from signs and non- Are there any phrases that are Students begin reading songs Students can sing simple In reading and writing
traditional notation the same? connection using graphics, signs and non- songs using symbols, signs notation, students will progress
traditional notation leading to and graphic notation to guide from graphic, pictorial systems
What does this sign/symbol rhythmic or solfège notation. them. (non-traditional notation)
tell us to sing? function through solfatonic (using
solfège syllables written above
How do we know if we stick notation) then
should sing in a fast or slow melodic/rhythmic (absolute
(high or low, loud or soft) pitch names written above
voice? reflection rhythmic stick notation) to
traditional notation on a staff.
The teacher gives the students Students use a variety of art Ta or stick notation for a
a range of different art media to depict and notate quarter note (one sound on
materials to notate the songs songs. They depict the parts one beat) is one vertical
they know and hear. of the songs that they feel Popsicle stick. Ti-ti or two-
require notation. beamed eighth notes (two
Students write rhythms using sounds on one beat) are two
Popsicle sticks. vertical Popsicle sticks with
one horizontal stick across the
top. A rest or one beat of
silence is three Popsicle sticks
configured in the shape of a Z.
The British terminology may

be more familiar to some
teachers:
• quarter note = crotchet
• eighth note = quaver.
Students reproduce sounds Students can follow a visual Students may use various art
following a visual or or manipulative representation media: art paper, paints,
manipulative representation. and can reproduce the crayons, markers and Popsicle
The teacher records these associated sounds. They can sticks.
songs using a tape recorder listen to a recording of their
and the students listen to the own sounds and begin to
recordings and follow the match them to the
representations. representations.
• sing songs from a variety Why do you think people Students sing from a variety Students sing a variety of The unit of inquiry “Just
of times and cultures. sang this song? causation of ethnic, multicultural and songs from different historical imagine” in the Sample
historical songbooks. They and cultural sources. They can programme of inquiry 2003
From what time in history do also use associated literature research associated history has many opportunities to
you think this song came? and storybooks. and literature in the library. include music.
Why?
Useful resources for this age
range include CD recordings;
a variety of illustrated song
books; story books.

9.20
Performing: playing
instruments Students will:
Students play musical pieces
using a range of instruments to • use a variety of instruments How can you play different Students are given a range of Students can recognize the Establish good working habits
demonstrate style, expression, with care and control instruments in a similar way? instruments to explore. They material an instrument is for handling instruments and
and an understanding of consider the materials they are made from, talk about its size, adopt routines for setting out
melodic direction, tempo and How does the size of the made from, their size, shape its shape, and explore the and putting instruments away.
dynamics. They perform solo instrument relate to the pitch and the sound possibilities variety of sounds produced by
and as part of an ensemble for of the instrument? connection they have. The teacher focuses blowing, beating, shaking,
an audience, and follow the students’ attention on the plucking and so on.
directions from a conductor. How many different ways are element that produces the
you able to play this sound: the vibration of string, Students can identify the
instrument? skin, the instrument itself. sounds the instruments make
Students start to identify tonal by their timbre and pitch to
How many different sounds and pitch qualities in those begin to classify them.
can you create with your instruments.
hands? Feet? Tongue?
Students explore unusual Students explore sound

ways to produce sounds with possibilities in instruments
an instrument or with body and body percussion.
parts. Students sit in a circle.
The teacher passes instruments
around and asks each student
to produce a different sound.
Using everyday objects, Students can explain how Supply yogurt containers,
students create their own their instrument works. string, elastic bands, cereal
instruments that can be boxes, drinking straws etc for
blown, beaten or shaken. students to experiment with.
How can we look after this The teacher discusses and Students observe how to
instrument? responsibility demonstrates the correct way hold and play a variety of
to play and use instruments. instruments as the teacher
demonstrates how they are
played. They attempt to play
the instruments in the same
way.
Students play “Start!” and Students can keep an

“Stop!” games by following instrument silent as a skill for
the teacher’s hand signals. class performance.
• have a good understanding What kinds of words would Following a visual

of melodic direction you use to describe how this representation, students
(motion) melody moves? form demonstrate the direction of
pitches using an instrument.
Can you show, with an
instrument, how these pitches
move?
• perform rhythmic and What can you tell me about Students echo rhythmic Students can echo rhythmic For this age range, use
melodic patterns, by rote the rhythm of this pattern? patterns. patterns modelled by the keyboards, slide whistles and
and from non-traditional teacher or classmates. tuned percussion instruments
notation, while maintaining (glockenspiels, xylophones,
a steady beat What can you tell me about Students echo melodic Students can echo melodic metalophones, chime bars).
the melody of this pattern? patterns. They practise simple patterns modelled by the
melodic patterns. teacher. They practise simple
melodic patterns.
How do you know when Using tuned percussion Students can play rising and
sounds move upwards or instruments, students play falling pitches using tuned
downwards? reflection sliding sounds, rising and percussion instruments. They
falling successive pitches can introduce them into songs
(using a 3–5 note scale). and instrumental pieces.
Students can show with their

bodies rising and falling
scales and different pitches.
Students read high and low Students can read non-

sounds and rhythm patterns traditional notation to
from non-traditional notation. recognize high and low notes
and simple rhythm patterns.

9.21
Content What do we want students to learn? How best will students How will we know what Notes for teacher
Performing: playing
instruments (cont.) Students will:
• play in metres of two, three How can you show, with your Students use body sounds to Students can use body sounds At this age range, students
and four body, the difference between produce strong and weak beats (stamping feet, clapping would normally demonstrate
a strong beat and a weak beat? through non-locomotor and hands) to play strong and metres on unpitched
locomotor activities. For weak beats. percussion instruments.
How can you show the example, to demonstrate a
difference with an instrument? metre of three, students may
create a pattern of “step, clap,
How many different ways can clap” or “clap, step, step”. This
you show beats in twos, understanding could then be
threes and fours with your transferred to unpitched
body or an instrument? percussion instruments such as
a hand drum. For example,
beat one on the membrane
then beat two and three on the
rim.
Students identify and play the Students can identify the beat
strong beats in rhymes and in well-known nursery
nursery rhymes. rhymes and songs. They can
also identify the strong beats.
Students create sound patterns Students can demonstrate

to show beats in twos, threes sound patterns that contain
and fours. two, three and four beats.
• respond to directions from What is the conductor telling Students respond to gestures, Students can respond to
a conductor. us? signs and symbols as part of gestures from a conductor, the
organized music making. teacher or other students.
Creating and composing Students will:

Students use their imagination Sound exploration
and musical experience to • make choices about sounds Which instruments would Students experiment with vocal Student compositions and
organize sounds into various and organize them in a way you use to describe this … sounds and/or instruments to written work in the content
forms that communicate that uses basic indications (soundscape, picture, feeling, create pieces with different area of composing could be
specific ideas or moods. of expression such as situation)? moods, dynamics or texture. added to the individual
tempo, mood, dynamics, They then create atmosphere, student portfolio.
texture and timbre Which instrument sounds journeys or descriptions
warm? Which instrument through sound.
sounds cold?
How have you expressed this Individually, and in groups, For this age range, use
in your music? students select sounds, unpitched classroom percussion
organize them and compose a instruments; Orff pitched
piece to represent a picture. percussion instruments;
They make decisions on the classroom wind instruments
best instruments to perform such as soprano recorder
the composition and the best (block flute).
ways to play the instruments.
Students recreate stories Students choose and organize

through sound and produce a variety of sounds to create
sounds to accompany and illustrate stories. They
different events in a song. suggest characters, tensions,
and events in the story through
the use of a variety of musical
elements.
Students can create

soundscapes and sound
stories, organizing sound
material effectively.
Creative movement
Students create movements
with different body parts to
demonstrate basic musical
expressions in a piece of music.
Students use elements such as

tempo, dynamics and texture
to illustrate different characters
in a song, a rhythm, and a
chorus of a song.

9.22
Creating and composing

(cont.) Students will:
Organizing sound
• organize sounds into Where does the phrase begin Students create short pieces Students can create a short
simple musical phrases and end? showing the effective use of piece of music following
using the devices of basic musical elements: a two- parameters proposed by the
repetition and contrast What parts of the phrases are note piece; a piece that grows teacher.
the same/different? quieter towards the end; a
connection four-beat rhythmic pattern etc.
Students write simple Students are aware of

compositions of ternary form structural organization in their
(ABA), using repetition and compositions.
contrast in phrasing.
Students write compositions,

using non-traditional and
traditional notation in a
variety of media to represent
sounds.
Teacher and students improvise

the call and response device
by clapping matching
rhythmic patterns.
Students make up their own Students can compose simple

words to fit the rhythmic lyrics to fit the rhythmic
patterns of a traditional song. patterns of a traditional song
They recreate the structure of they are familiar with. They
a familiar song using body add body sounds or instruments
sounds or instruments. to the song.
Students can organize sounds

within a given structure.
Through discussion, students Students contribute to a

focus their attention on how a discussion on how musical
phrase expresses a musical ideas can be expressed.
idea.
• use call and response for How would you describe my Teacher and students improvise Students are able to respond The teacher should specify the
vocal, instrumental and call? the call and response device by to the teacher’s call by singing rhythmic content to be used in
movement improvisation singing greetings, instructions a greeting or instruction. As improvisation (ta, ti-ti, rest).
How does it start and how and dialogues. they become more confident
does it end? with the technique, they start
Students improvise movement to make the call as well as the
to a variety of sound sources. response.
They improvise vocally with
individuals and groups.
How can you tell how long The teacher helps the students Students can use vocal sounds
my call is? discover length through body or unpitched instruments to
percussion, movement and improvise patterns of defined
Do you think the length of discussion. length.
your answer was right?
The teacher defines an eight-
beat pattern length and the
students make a visual
representation of eight beats
for reference.

9.23

• use experience and How did you use the pitches Students use barred Orff Students compare the Students use barred percussion
imagination to create differently in your composition pitched percussion for outcomes and evaluate their instruments, for example,
personal compositions compared with your improvising melodic phrases own compositions. xylophones and chime bars,
using the pentatonic scale classmates? given a defined rhythmic with bars removed to create
as a guide phrase length. the pentatonic scale. The
pentatonic scale ensures that
Students use barred percussion any note the student chooses
to create personal compositions. to start or end on will sound
correct. However, there may
be some music that students
know and want to introduce
into their compositions that
cannot be reproduced using a
pentatonic scale, for example,
“Twinkle Twinkle Little Star”.
As a result, some students may
find this task frustrating and
the teacher should ensure other
composing tasks include non-
western scales and the notes
between semi-tones as well.
The teacher will lead the

students through the process
by determining the parameters
for the composition, helping
students to establish the
phrase length, the number of
phrases, the use of repetition
and contrast, and musical
expression.
• interpret and use visual What do these symbols tell Teacher and students explore Students can design symbols Provide a variety of art and
symbols to represent you about the sound? graphic notation. Students and grids to record the sounds physical media for students to
sounds. design symbols and grids to they wish to include in their write non-traditional and
Can you draw this sound? represent their compositions. compositions. They use the traditional notation of
They exchange their sound symbols to perform their melodic and/or rhythmic
Are there any sounds you representations and perform compositions to the group. patterns.
can’t draw? from them.
How do you think this Students create a composition Students organize sound See also Visual arts scope and
abstract pictorial in groups or make their own events associated with visual sequence.
representation would sound? sound interpretation of an representations. They are able
abstract visual pattern. to explain the structure of
their piece. They discuss and
Students use non-traditional compare the different
and traditional notation to outcomes.
write down their individual
compositions.
Students produce pictorial Students draw or paint in

responses to the music they response to a piece of music
hear. they listen to. They include
elements such as pitch,
dynamics and duration in
their artwork.
Notation Students will:

Students use non-traditional
and traditional notation to • identify and use non- What kind of symbols can we Students notate a short sound Students can work Notation work does not need
record their compositions. traditional notation to use to represent these sounds? event such as a song fragment, cooperatively to share their to be introduced as an activity
represent and record sound form, function or a phrase from a rhyme or ideas and methods for in its own right but as a means
events poem, using non-traditional recording sounds. to store composition ideas and
notation. Students collaborate consolidate understanding of
on methods to record sound Students can use meaningful musical features such as pitch
events. abstract symbols to represent and rhythm.
sounds.
Examples of students’ individual
work in notating and depicting
songs, sound experiences,
artwork etc could be included
in their music portfolios.
Provide students with a wide

variety of art materials for the
notation of songs, poems etc.
9.24
Notation (cont.) Students will:
• become familiar with the How do we relate our music Students listen to a familiar Students listen carefully to a At this stage teachers are still
basics of traditional, symbols to musical notes? song or rhyme and create a familiar song or nursery encouraging students to
melodic and rhythmic method of recording what rhyme and make a simple develop their own symbols to
notation How do we relate our rhythm they hear. They then compare representation of the sounds. notate compositions. They
symbols to note values? their own meaningful They compare this with should also be exposed to
connection representation with the song’s traditional notation and look simple traditional notation.
traditional notation. for any similarities and
differences. There is a parallel here with
students’ language and
Students show an awareness literacy development.
of pitch notation and rhythmic Students do not learn to read
notation. and write until they have been
speaking for some time.
Consequently, students should
not be taught to read and write
traditional notation until after
an extensive period of playing,
experimenting with,
composing and listening to
music. Once they have been
exposed to traditional
notation, they should be
aware that it is only one
method of recording music,
and musical activities that do
not require any notation
should be continued.
Students use felt notations to Felt staff boards and felt notes
show note values. are appropriate for this age
range.
Students take a musical Examples of non-traditional

pattern in non-traditional and traditional notation can
notation and rewrite it using be included in student
traditional notation. portfolios.
• begin to recognize that the Where will you put the note The teacher uses staff Useful resources include
position of a note on the on the staff? Why? manipulatives to demonstrate white boards and dry markers,
staff is related to its pitch pitch placement. Students use staff boards.
by using simple tunes individual felt staffs, with felt
note heads to show pitches.
Students write simple melodies

using note heads on felt staffs.
• be introduced to the How do you know how long Students make a visual or See also Mathematics scope
concept of duration of this sound will last? manipulative representation of and sequence. Students might
notes in traditional traditional note values. use a pie chart, pattern blocks,
notation Cuisenaire rods or fraction
Students use Popsicle sticks to pieces.
write rhythmic patterns of
four beats in length. Students There are a variety of
practise tracing and writing supplementary materials
rhythmic notation. available from published
music schemes, as well as
teacher-generated materials
for use in specific pedagogical
programmes such as Kodaly
and Orff.
• begin to read and notate Students read and practise Students complete exercises
using basic rhythm values notating existing songs. in notation in their journals.
of quarter note, eighth note
and quarter rest.

9.25
Listening and appreciation Students will:

Students are given the
opportunity to identify and • respond to contrasts in How can you show how this Students use their body Students move their whole Listening and appreciation
describe various musical musical elements music changes? movements to show contrast body (or body parts) to skills should not necessarily
elements such as rhythmic in musical elements. For respond to the contrasts they be regarded as a separate
patterns, melodic patterns and What kinds of changes did example, they listen to a piece hear in the music. They can activity. They should be used
form. They distinguish you hear in this piece? of music such as The Little also respond to the commands in all aspects of practical
between a range of change Train of the Caipira. The of a conductor. work.
instrumental sounds and teacher encourages students to
respond to different styles of join in the feeling of the train In The Little Train of the
music, as well as to music speeding up and slowing Caipira by Heitor Villa-Lobos,
from different times and down. Students may form a students may be able to identify
cultures. moving train that responds to some of the instruments they
the directions of a conductor hear that have a typically Latin
to keep a steady speed, American sound (guiro, shaker,
accelerate or slow down. tambourine).
Students create graphic Students can demonstrate

representations to demonstrate contrasts in the music they hear
contrasts. using a graphic representation.
Through discussion, students Students can recognize

recognize the parts in a song different parts of the songs
such as verse, chorus or they hear and are able to
phrases. contribute to the discussion
using appropriate vocabulary.
• begin to use appropriate What kinds of things do you Collectively, the class builds Students use appropriate words Students should enter new
vocabulary to distinguish hear in the music? up a vocabulary list of musical to describe pieces of music. vocabulary into their journals.
and describe musical terms to use in discussions.
elements
Magic finger
• identify motion in simple What kinds of motion do you Students use their voices to Students show awareness of
songs hear? produce pitch variations when motion.
the teacher traces melodic
What is the shape of the shapes in the air. Alternatively,
melody when we sing these students trace the contours of
words? a song they listen to in the air.
As an extension activity,
students produce graphic
scores.
• distinguish and describe What kinds of feelings do you The teacher shows students Students use appropriate
how musical elements get from this piece of music? two contrasting pictures. The vocabulary to describe the
affect mood in a piece perspective students relate different aspects music and to record their
of the music to them and ideas and discussions in their
What kinds of things did the explain why. journals.
composer use to make you
feel this way?
How do sounds affect the

mood in this piece?
Does the music fit the title?
“Simon says”
• identify the sound sources Can you identify the Using two percussion Students can distinguish The unit of inquiry “Where is
of a number of classroom instrument(s) being played? instruments, for example, between two percussion air?” in the Sample programme
instruments and familiar maraca and drum, the teacher instruments and respond (or of inquiry 2003 has many
orchestra instruments by How do you describe the plays “Simon says”. On the not) to the command opportunities to include music.
name and by their orchestral instrumental sound? sound of the maraca, the accordingly.
families students follow the instruction. Games and activities can be
From which orchestral family On the sound of the drum they extended by using a variety of
would this sound come? do not. other instruments that become
more similar in sound, to
How is the sound in this Students listen to recordings increase students’ skills in
instrument produced? and mime the actions of the discriminating between them.
instruments they identify.
To which other instrumental Students listen to recordings of
sound would you relate this other students’ productions and
one? identify the instruments used.

9.26
Content What do we want students to learn? How best will students How will we know what Notes for teacher
Listening and appreciation

Which instruments can play Students classify instruments Students can classify a variety Students should have the
rhythm, and why? causation according to their differences of classroom instruments opportunity to hear instruments
and similarities. according to the sounds they that do not belong to orchestral
Which instruments can play produce. families. Include instruments
melody, and why? causation from a variety of countries, for
example, alpine horn, bagpipes,
sitars or didgeridoos.
Recordings used should be

clear and consist of few
instruments.
• begin to distinguish and How can you discover the The teacher helps students Students show an awareness
describe form different phrases or parts in focus their attention on specific of structure.
the melody? melodic/rhythmic elements
and phrases, lyrics etc.
What kinds of pictures or
symbols can we use to show
the form of this melody?
How many times did you hear

the melodic pattern?
Which part of the song is

repeated?
Which words are repeated?
Which part of the piece is

this: beginning, middle or
end? How do you know?
• develop an awareness and What do you think the purpose Students listen attentively to The units of inquiry “What
appreciation of music from of this piece of music is? class performances and are was it like when you were
different sources and able to identify instrumentation, young?” and “Celebrate!” in
cultures and be aware of Where do you think this music structure, melodic contours, the Sample programme of
some of its uses and comes from? use of rhythm etc. They inquiry 2003 have many
associations, for example, in compare or relate these musical opportunities to include music.
celebrations, entertainment Where would you listen to features with the music of
this music? others. The school invites members of
different cultures who can sing
What kinds of things do you Students learn simple singing or play instruments to come
hear in this music? form games and dances from a and show them to the class.
variety of cultures, for example,
Who do you think is singing stone-passing games Teachers should draw upon
performing this music? from Africa. ethnic, multicultural materials
from published music
In class discussions, students Students can recognize songs schemes, as well as a variety
consider different reasons for associated with different of music and extra-curricular
singing and playing music, for occasions. materials from a number of
example, celebration, worship, different sources.
socializing and work.
These kinds of activities and
resources can be integrated into
units from the school’s
programme of inquiry.
• respond to different music, Which piece of music did you

giving reasons for like? Why? perspective
preferences.
Which instruments do you
enjoy hearing?

9.27
Music is the study and exploration of sound and the expressive use of musical elements through the singing of songs and the playing of instruments. Students will gain an awareness and appreciation
of music in all its forms from a range of times, places and cultures. Through singing songs and playing instruments, students will develop the ability to perform accurately and confidently,
making expressive use of musical elements. They will control and develop musical ideas in composition and will use notation as an aid to storing and refining ideas. They will listen with
greater understanding to a range of music from different times and places.

songs to display confidence, • sing with accuracy and What should we do to be The teacher guides students Students evaluate their A range of manipulatives can
expression and an awareness control, focusing awareness ready to sing this song? through a vocal warm-up. posture, breathing, diction and be introduced for vocal warm-
of musical elements such as on the musical elements of They practise stretching, pitching through the use of ups.
pitch and rhythm. Singing lies pitch, rhythm, tempo, Where is the melody the relaxation, breathing, posture, rubrics developed in class.
at the heart of the music duration and dynamics highest in this song? enunciation, pitching and Students should be actively
curriculum as the voice is the reflection listening exercises. involved in learning new
most immediately available songs. The teacher should
instrument for all students Does the melody stay high? Students use visuals to initiate discussion about the
regardless of their age or distinguish between elements song, the lyrics and the style
ability. Does the melody jump about? of musical expression. They of the piece.
use them to apply appropriate
expressions to singing
performances.
Students sing pedagogy songs Students can perform a solo See also Physical education
and repertoire songs, showing piece and can sing in small scope and sequence
contour, musical elements and groups using solo singing (movement to music).
types of expression through games.
their body movements.
• sing from signs and How can you clap the rhythm Students follow visual cues Students can follow notational A variety of media for
traditional notation of the words while you sing from a director, to demonstrate signs while singing a simple representing songs for
the song inside your head? musical elements. song. performance can be introduced,
for example, paper visuals,
Students sing songs from non- Students complete journal graphic notation, a beach ball
traditional notation such as entries of their singing with solfège notation and
graphic solfatonic (rhythms experiences to record their rhythmic patterns.
and solfège notation). understanding.
Students’ journal entries may
be selected for inclusion in
their portfolios.
• increase their song Do these two songs fit Students discuss the effect Students can solo sing a Performance opportunities
repertoire to include simple together to make satisfying when new melodic material is randomly selected simple encourage students to
partner songs and continue harmony? Why? played or sung simultaneously song or song fragment. memorize their parts.
to develop the ability to with the main tune, and how
sing in harmony What must each singer do, the texture changes.
while singing a different part,
to make the song effective? Students sing simple canons Students can hold any of the A variety of canons and
responsibility and partner songs: parts of a partner song. partner songs can be
group/teacher; group/group; introduced, with visuals and
individual/individual. notation to accompany them.

9.29
Performing: singing (cont.) Students will:
• sing with others, developing How would you describe how The teacher leads a discussion Students can develop and Ensemble skills include:
ensemble skills and an group one is singing (loudly, about ensemble skills. Students improve their ensemble skills. • developing inner hearing
awareness of audience softly)? develop their ensemble skills • coordinating group
through modelling and practice. breathing, attack and
articulation
Did we use appropriate tempo Students can apply and adapt • focusing attention on
and dynamics for the mood of their singing technique to suit auditory and visual cues
this song? the demands of a song. • showing control of volume
• keeping a balanced sound
What must each singer do, within the ensemble
while singing the same song • keeping in time
in a group? • listening attentively to others
while singing their own part
• showing an awareness of
how the parts work together
• showing enthusiasm and
confidence when
controlling pitch, dynamics
and phrasing.
• sing songs from a variety Students produce a short play Students sing a variety of See also Drama scope and
of times and cultures. including costumes. They songs from different historical sequence and Social studies
introduce songs to portray and cultural sources. scope and sequence.
styles, times and cultures.
Performing: playing
using a range of instruments to • develop control of sounds How can we produce a Students explore unusual Students can explore sound For this age range, use
demonstrate style, expression, on a widening range of musical sound on this ways of producing sounds. possibilities in a range of recorders, tuned percussion
and an understanding of instruments instrument? function instruments. instruments, guitars, keyboards.
melodic direction, tempo and Students show instrumental
dynamics. They perform solo What are ways of controlling techniques in instruments they Students can hold the
and as part of an ensemble for the sound on this instrument? have created themselves with instruments correctly and
an audience, and follow everyday objects. control the sound produced by
directions from a conductor. the instruments. They handle
Students develop an awareness the instruments with care.
of the techniques of a range of
instruments.
• continue to perform How many things can you tell Students begin to control the Students demonstrate control For this age range, use
rhythmic and melodic us about this pattern or song? tempo of a piece of music by of tempo. They can play more untuned percussion
patterns of increasing length performing steady beats. complex rhythms, keeping in instruments.
on a variety of classroom What do you think may be the They keep in time with a time.
instruments, and in hardest part of this pattern or changing pulse.
different metres of two, song to play, and why?
three and four, by rote Students learn short, simple Students can play ostinati
and/or traditional notation Which instruments would you pieces by ear or using notation. rhythmic or melodic
choose to play this pattern or introductions, interludes and
song, and why? perspective endings in class repertoire by
ear or following notation.
Students improvise rhythmic Students can create rhythmic

responses to fit a given rhythm. patterns.
Students perform for others in Students perform with

class and school presentations. confidence.
• play melodic patterns of How many things can you tell Students improvise melodic Students create effective For this age range, use
increasing difficulty (from us about this melody? patterns using a given set of melodic patterns. keyboards, tuned percussion
pentatonic to diatonic) notes. instruments, recorders.
What can you identify in the
melody? Students reproduce by ear the Students are able to organize
melody of a well-known tune. and reproduce on an
Where are the easiest and instrument, the melody of a
hardest parts, and why? well-known tune.

9.30
Performing: playing
• perform with others and What kinds of things can each Students work together to Students can develop and See the ensemble skills in
develop an awareness of musician in the group do to play in an ensemble and improve their ensemble skills. singing (listed above), which
ensemble and audience make a good performance for develop their skills through They start and stop with are equally important for
all? responsibility modelling and practice. accuracy, hold a part instrumental performance.
independently, show awareness
of other parts and keep a
balanced sound within the
ensemble.
Students demonstrate a
commitment in practice
sessions before a performance.
• respond to directions from Students can use visual and

a conductor. auditory cues to follow
directions from a conductor
(teacher or other students).

Students use their imagination
and musical experience to • choose and arrange sounds What instruments should we Students use stories and create Students organize sound Students should use a variety
organize sounds into various to create a specific mood or use to create the mood or distinctive musical material effectively to recreate mood, of stimuli for composition:
forms that communicate feeling feeling of …? for characters in the story. feeling, atmosphere and stories, paintings, their own
specific ideas or moods. character in stories. imagination, field trips, other
How can we use these Students create sounds to music etc.
instruments to create the accompany a story or poem.
atmosphere? connection
• explore, create, select, Students develop musical Students can improvise using Students should have the
combine and organize ideas through improvisation. a variety of sounds. They then opportunity to work in
sounds develop those explorations groups, pairs and individually.
into a composition.
Students create a piece using Students are able to incorporate

determined parameters. They singing voice and speaking
perform their piece to others, voice in compositions.
and explain the different
sections in their work. They
compare their own work with
other class compositions and
evaluate them.
Students use the rhythm of

words to create rhythmic
patterns in different metres.
Students use the words and

rhythm of a poem to create a
performance piece.
Students use different textures

to compose a piece: the same
material played using different
instruments; two parts that
combine well together;
starting/ending together;
starting/ending one part at a
time.

9.31

• explore and organize sounds How many sections will your Students create effective Students apply their Some examples of musical
into simple musical forms music have? form pieces, making decisions on understanding of structure forms are: “Mary Had a Little
such as strophic, binary or the number of times the piece creating well-balanced, Lamb” (strophic); “Jingle
ternary What ideas are contrasting in should be repeated, with effective and contrasting Bells” (binary); “Old
the music? changes in instrumentation sections of a piece. Macdonald Had a Farm”
(strophic). (ternary).
What elements would you
change in your music? Students create a new version, Students can recognize and
change sung or instrumental, of a use repetition and contrast in
verse-refrain song. They their musical compositions.
Where does one section end discuss differences and They use appropriate musical
and the next one begin? similarities in the sections of vocabulary to describe their
the original song and compare choices.
How many times did you the new version with the
repeat the pattern? form structure of the original song.
• perform compositions Did you make a good choice Students make choices of
using classroom of instruments or sound instruments or sound sources,
instruments and other sources for your piece? and can express their musical
sound sources Why, or why not? reflection ideas effectively.
• use musical notation to What do these symbols tell Students record a piece of Students use notation to The unit of inquiry “Looking
record and communicate you about your ideas? music and perform it with record their compositions. in the mirror” in the Sample
ideas. others. programme of inquiry 2003
has many opportunities to
include music.

and traditional notation to • identify and use non- What kinds of symbols have Students represent sound Students record, describe and The unit of inquiry “Signs and
record their compositions. traditional and traditional been used in this piece? events using symbols along a recreate sequential sound symbols” in the Sample
notation to represent and time line. events using a time line. programme of inquiry 2003
record sound events and How do we relate our music has many opportunities to
simple songs symbols to musical notes? include music.
connection
How can we notate the pitch Using felt notations for note Students can participate in Notation should be used as an
and duration of the sounds values, students take a musical individual and group aid in composition activities
with greater accuracy? pattern in non-traditional comparisons of rhythm to store ideas. Students should
notation and rewrite it using patterns notated both in non- be familiar with writing down
How do we write this sound traditional notation. They traditional and traditional their ideas in a variety of
using traditional notation? discuss the similarities and notation. ways and be encouraged to
form differences as well as their devise their own notations.
ease of use.
How do we relate our rhythm
symbols to note values? Students notate a short sound Students critique the Use visual media such as
function event such as a song fragment notational devices used by the white boards, chalk boards,
or a phrase from a rhyme or groups in the class. felt boards and felt notations,
poem. They can use non- Popsicle sticks, paper, pencils
traditional or traditional and crayons for representing
notation. sounds.
The teacher focuses students’ Students can identify different

attention on how rhythms are note values and represent
used in a simple song: short- them using notation.
short-long, long-short-short,
long-long. They use Morse
code to notate rhythm.

9.32
Notation (cont.) Students will:
• use traditional and/or folk What can you tell me about Students draw curved lines on Students compare their own Use the beginning of these
song material to learn the melody from looking at paper to identify melodic graphic notation of melodic songs: “Jingle Bells”
appropriate melodic content this song? contours in songs. contours in songs with (repetition); “London Bridge
traditional notation. is Falling Down” (steps);
“This Old Man” (leaps).
Students identify general Students can describe melodic
melodic movement in a movement between two notes.
melody: if notes move by
repetition, step or leap.
Students attempt to record Students combine their

simple songs, showing pitch understanding of note values
levels and note values. and pitch levels in notating
simple songs.
• use notation to practise and Students may learn to play a Students can apply the Because music reading using
perform a piece of music musical instrument such as a understanding of different traditional notation should
xylophone or recorder. melodic contours in sight- not be introduced until
reading. students are ready, any class
will include students at
different stages of music
reading and readiness to learn
an instrument.
• read and notate using basic How are these notes different? Students discuss basic rhythm The British terminology may
rhythm values of quarter values. They use non- be more familiar to some
note, eighth note and How would you move to locomotor and locomotor teachers:
quarter rest these different notes? skills to demonstrate note • whole note = semi-breve
causation values and rests. They then • half note = minim
practise clapping beats in • quarter note = crotchet
four-beat metre, double-beat • eighth note = quaver
values and split-beat values. • sixteenth note = semi-
quaver.
Provide manipulative devices

such as carpet tiles, scarves,
beanbags and streamers for
students to make large
movements to different notes.
Students write down rhythmic Working individually or in

patterns in metres of threes groups, students take down
and fours. They read and clap dictation of rhythmic patterns.
the patterns and write down
rhythmic patterns identified
aurally.
• begin to read and notate Students can practise and

using rhythm values of identify longer note values in
whole note and half note, scores and songs.
whole and half rests
• begin to read and notate What does the dot do to the Students practise rhythmic Students practise and take Students can use their
using dotted rhythms in note or rest? function patterns in three-beat metre. down dictation in three-beat individual portfolios to record
simple metres. They discuss the use of a metre, introducing dotted half notations.
dotted half note to represent a notes.
three-beat note value.

9.33

opportunity to identify and • develop an understanding How can you describe the Students chant a rhyme and Students identify and perform
describe various musical of musical elements such as difference between steady clap beats; clap the rhythm of beats and rhythm in musical
elements such as rhythmic the difference between beat and rhythm? words; stamp beat and clap examples. They create ways
patterns, melodic patterns and steady beat and rhythm, rhythm. to move their body according
form. They distinguish and awareness of metre What are some ways you can to the metre of the music.
between a range of move to this metre? Students make a visual
instrumental sounds and representation of beat and
respond to different styles of rhythm.
music, as well as to music
from different times and Students use locomotor skills See also Physical education
cultures. to demonstrate differences in scope and sequence.
metre and form in a piece of
music.
• develop an understanding How would you represent the Students produce a graphic Students can describe and
of form in music form of this piece, through representation of form in a identify form with movement
movement or signs? recorded piece of music. or signs.
Through creative movement,

individually or in groups,
students represent different
sections in a song or recorded
piece of music.
Students show tonal

awareness and can predict the
finishing note in a piece of
music.
• continue to describe musical What musical elements do Through discussion, students Students use appropriate
elements using appropriate you hear in this piece? discover musical elements in a vocabulary to describe
musical vocabulary, giving piece of music and the way musical elements.
reasons for preferences How did the composer use the composer uses them.
these elements?
Was there a section you

enjoyed the most?
perspective
Can you explain why?

reflection
• identify the sounds and What timbre do you hear? Students identify instrumental Students can identify Use stimuli including
names of an increasing timbres in recorded pieces of instruments, and relate them pictures, live instrumental
number of instruments: music. to the style of music in which performances, recordings
orchestral, non-orchestral, they are generally used. such as Britten’s The Young
non-western and multi- Person’s Guide to the
ethnic In what kind of performance Students classify instruments Students make a pictorial Orchestra, and videos.
group would you hear this according to their differences representation of the
instrument? and by their orchestral family. instruments they can hear in a
piece of music.
Students attend live
performances.
• develop an awareness and Where do you think this Students use their previous Students use previous Students can perform music
appreciation of music from music comes from? knowledge to compare two knowledge to describe music. belonging to the culture of the
different sources and short extracts of music of They illustrate style through children newly arrived at the
cultures; its uses and Where would you listen to different styles mentioning pictures, posters, and school. Songs or music could
associations. this music? instrumentation, rhythm and dramatization. also be used in a school-wide
melodic content. performance.
What kinds of things do you Students can reflect upon their
hear in this music? Students design a poster to listening experiences in their
describe musical events along journals.
Who do you think is a time line. They explain how
performing this music? the elements in the design
represent different features in
the music they have heard.

9.34
Music is the study and exploration of sound and the expressive use of musical elements through the singing of songs and the playing of instruments. Students will develop musical ideas in
composition using musical notation. They will gain an awareness and appreciation of music in all its forms from a range of times, places and cultures. Students will experience a wide range of
songs in different languages and from different times, and will perform them with sensitivity and accuracy. They will create their own music and perform it to others using increasingly
sophisticated instruments, and be able to interpret the music of others through the understanding of complex notation. They will continue to develop their understanding of music from different
sources and cultures.

songs to display confidence, • sing songs or voice parts What should we do to be Students run through a vocal Students evaluate their Students should have the
expression and an awareness with increasing control, ready to sing this song? warm-up. They practise posture, breathing, diction and experience of singing ostinati,
of musical elements such as confidence and expression stretching, relaxation, breathing, pitching through the use of partner songs, countermelodies,
pitch and rhythm. Singing lies in a wider pitch range Is this phrase ascending, posture, enunciation, pitching rubrics developed in class. rounds etc.
at the heart of the music descending or staying the and listening exercises.
curriculum as the voice is the same? change Use pictorial representations
most immediately available Students sing songs from rote. of dynamic markings to
instrument for all students Does the song get louder or They use body levels and practise songs in different
regardless of their age or softer, and how do you know? movement to show a range of ways.
ability. pitch and melodic contour.
Students sing solo and in an The teacher assesses vocal

ensemble, in different types of performances in solo and
performances: lessons, choir small group situations.
songs, school production etc.
• sing more complex songs Does the next note move by Students hold long notes Students control pitch, Performance need not be to a
with increasing accuracy, step or by leap? If by leap, by following the conductor’s dynamics and tempo. Their formal audience but can be to
including: singing notes of how much? form gestures in unison singing and singing style is appropriate to peers, another teacher or
increased intervals; singing part singing. They check the the demands of the song. class.
accurate note lengths; being How can you match your pitching of intervals between
aware of dynamics and voice to the style of the two voices. Students demonstrate
tempo; using appropriate music? confidence and enthusiasm
singing style Students focus their attention and a sense of phrasing in
on the melodic content and their singing.
the use of a correct singing
technique.
• sing from traditional Do we get louder or softer at Students sing from scores. Students sing using notation
notation this section and how do you They follow dynamic as a guide. They understand
know? indications. and follow notational signs,
scores and dynamic indications.
What is the value of this note?
Is the tempo of this song Students show control of The student interpretation
appropriate for the mood and tempo and keep in time with a suits the demands of the song,
the words of the piece? changing pulse. They perform reflecting the relationship
reflection a piece in a different tempo between music and lyrics.
and discuss the effects.
How should we sing this song Students discuss the relevance

(lightly, brightly, harshly)? of the lyrics in relation to the
melodic components.
• sing songs from a variety How can you match the style Through class discussions, Students can recognize
of times and cultures of music with your voice? students analyse songs for characteristics of songs that
style characteristics that help help identify their origin.
to identify their time period
and cultural origin.
Students practise appropriate Students sing a variety of

ways of performing songs from songs from different historical
a variety of times and cultures. and cultural sources.
• sing with others, using

ensemble skills and develop
an awareness of audience.

9.35
Performing: playing
using a range of instruments to • play a wide range of What differences do you find Students develop an awareness Students can control sound in
demonstrate style, expression, instruments with increasing between playing an instrument of instrumental techniques a wide range of instruments.
and an understanding of accuracy in solo and solo and in an ensemble? such as the control of sound They can perform individually
melodic direction, tempo and ensemble performances connection and holding the instrument and in ensembles, adopting
dynamics. They perform solo correctly. different roles.
and as part of an ensemble for How can you become more
an audience, and follow accurate as a soloist? Students participate in
directions from a conductor. responsibility mirroring activities as
preparation for playing
Why is a steady beat important instruments.
in an ensemble performance?
causation Students explore sound
qualities and begin to classify
instruments by timbre.
Students play solo melodies Students can perform rhythmic

and instrumental ostinati. and melodic patterns in a
They play and sing in small group or solo. They take
ensembles. part in an ensemble
performance of Orff
arrangements.
• perform complex rhythmic Which musical elements can Students improvise rhythmic Students show fluency in “Twinkle Twinkle Little Star”
and melodic patterns in you see in this piece? form responses fitting the metre. rhythmic improvisations and is an example of a song
different simple and in the performance of rhythmic normally written in simple
compound metres How is a compound metre Students transform the rhythm and melodic patterns. metre. “Humpty Dumpty Sat
different from a simple metre? of simple metre pieces into on a Wall” is an example of a
connection compound metre. song normally written in
compound metre. Try
Students transform the rhythm Students can discuss how they transforming the rhythm of
of compound metre pieces went about changing the metre each song into the other type
into simple metre. from simple to compound and of metre.
from compound to simple.
Students participate in
locomotor and non-locomotor
movements to different metres,
including compound metres.
• perform expressively to What tempo suits this music? Students control the tempo of Students explore dynamics,
show tempo, dynamics, Why? a piece of music and keep in articulation and tempo
texture, style and time with a changing pulse. changes in their study pieces
articulation and/or compositions. They are
Which dynamic changes Students play a piece of music aware of the demands of the
would you perform to make focusing on dynamics music in their performances.
the piece sound more (loud─quiet), and dynamic
interesting? change changes (crescendo and
diminuendo).
What kind of expressive Students are aware of

qualities do you think the articulation by playing legato
composer calls for in this and staccato.
piece?
• play music using non- What does the notation tell Students learn to play simple Students use notation devices Music becomes a significant
traditional or traditional you about the sound? pieces through reading to recall, share, exchange, channel of communication.
notation function notation. recreate or record music. The
teacher will look for evidence
Where do we play the highest Students create a form of that students can interpret a
and lowest notes? form notation to describe the melodic score (non-traditional or
or rhythmic events in a piece traditional notation) to
What kind of non-traditional of music. communicate musical
notation can you create to intentions.
show the difference in pitch? Students respond to visual
And the difference in rhythm? cueing (markings for tempo,
dynamics and articulation)
What aspects of traditional while playing instruments in
notation can you see in non- class. Following visual cueing,
traditional notation? students compare elements of
non-traditional and traditional
notation.

9.36
Performing: playing
• respond to directions from What is the conductor telling Students can follow visual Students respond to gestures
a conductor. us? and auditory cues to respond and directions from a
to directions from a conductor. conductor/teacher or other
students.
How can you make sure your Students practise basic Students are able to play Taking it in turns to conduct
signals as a conductor are conducting patterns. They different roles in ensembles requires students to make
clear? responsibility take it in turns to conduct a (leader/follower). decisions about a piece of
group or the whole class. music and helps to reinforce
their feeling for the metre in
music.

Students use their imagination
and musical experience to • create music in response to What mood have you tried to Students explore sound Stimuli could be verse, drama,
organize sounds into various a range of stimuli create? qualities and make choices special occasions, dance,
forms that communicate about instruments to portray a paintings etc. Teachers have
specific ideas or moods. How do the instruments you mood or theme. suggested the following to
have chosen help to create the encourage students’ imagination
mood? function Students improvise using Students create descriptive and response when listening to
sounds to describe the theme music that reflects the main music, creating a plot for a
or events in a painting. The features in a painting. They performance, or using notation:
teacher extends this activity are able to talk and explain up Dance, by Henri Matisse.
by discussing the stylistic to what extent the theme or Children’s Corner, by Claude
qualities of the painting. events in the painting have Debussy.
been achieved with music. Der Tanz um das Goldene
Students create soundscapes Kalb, by Emil Nolde.
for a cartoon strip or story. The Rite of Spring (Auguries
of Spring), by Igor Stravinsky.
Students organize sound Students explore different Murnau – Aussicht mit
events, create movement and types of artistic language to Eisenbahn und Schloss, by
use puppets to recreate a piece recreate a piece of music Wassily Kandinsky.
of music presented in class. presented in class. Their The Little Train of the Caipira,
They listen and compare how performance shows their by Heitor Villa-Lobos.
elements of style have been ability to listen to music and The Firebird, by Igor
used by the composer and in their understanding of musical Stravinsky.
the classroom. elements. Planets Suite, by Gustav Holst.
Carnival of the Animals, by
Camille Saint-Saëns.
• continue to explore, create, Is there anything you would Students develop improvised The unit of inquiry
select and organize sounds change in your composition? themes into established “Persuasion” in the Sample
in simple musical forms compositions using known programme of inquiry 2003
How would you change your forms (strophic, binary and has many opportunities to
composition, and why? ternary). include music.
change
Students look closely at their The teacher gives a critique of Links to other areas of the
compositions. individual and group curriculum include:
compositions. Other students • language: set music to a
make suggestions about how poem, story, TV or radio
the composition can be advertisement
changed. • social studies: illustrate a
journey; music for different
Students introduce original Students can organize sounds cultures or time periods
sound organizations into purposefully. They make • physical education: create
creative projects linked to choices about the way their music to emphasize different
other subject areas. piece begins, develops and types of movement
ends. • science and technology:
use music to show how
sounds are produced in
different categories of
instruments.

9.37

• purposefully organize How many sections will your Students write simple Students apply their
sounds in simple musical music have? form compositions using rondo understanding of structure in
forms including rondo form. They make choices in the creation of well-balanced,
What ideas are contrasting in instrumentation and contrasting effective and contrasting
the music? timbres to represent different sections of a piece. They
sections of the rondo. consider overall length,
Where does one section end phrasing, melodic contour,
and the next one begin? rhythmic texture and chosen
connection instruments. They can explain
the different sections in their
How do you know the work, compare their work
sections of your rondo are with other class compositions,
well balanced? and evaluate them.
• use devices of motif and In what ways are you using a Students compose a piece of Students arrange a motif to
sequence in composition motif in your composition? music based on a strong create an effective melody.
melodic pattern. They use They make choices on the
How would you arrange the sequences and motives. number of times a motif is
motif to build sequences? repeated, the length of the
Students create a piece where sequence, and the way their
the shape of the melodic piece begins and ends.
pattern is repeated at different
pitch levels. Students listen to CD Beethoven’s opening theme in
recordings and can recognize the first movement of the Fifth
Students make visual how different composers have Symphony starts with a very
representations of motives and used motives and sequences. strong motif that develops into
sequences. a sequence. “Do, Re, Mi”
from The Sound of Music is
also built on sequences.
• perform compositions Students use speaking voices Students can compose an

using classroom and singing voices in their original piece and perform
instruments and other compositions. their composition to an
sound sources audience.
Students use unusual
techniques for playing
instruments in their
compositions.
Through individual choice or Students make an effective

group consensus, students make choice of sound sources or
choices of instrumentation for class instruments to perform
their compositions. their compositions.
• use a variety of textures in How would you describe the A group of students create a Students can differentiate the
compositions texture in your composition? composition, based on the layers of sound in their
organization of layers of sound. compositions. Students make
Which voice or instrument is They use group analysis to visual charts of textural
the most important part? determine and compare textures differences and list their
in compositions. comparisons.
• use detailed notations to Have you made a good choice Students use detailed notations Students can use notation to
record and communicate for the notation of this piece? to represent sound events in record and communicate
ideas. reflection their own composition musical ideas. They discuss
(contrasting shapes, colours). and analyse each other’s
How can you be sure that work.
another person will be able to Students share and perform
understand your notation and composition with others.
play your piece?

9.38

and traditional notation to • use non-traditional and What kinds of symbols have Students make a list of the Students can chart the
record their compositions. traditional notation to been used in this piece? form symbols that are used to comparisons between non-
represent and record sound notate a given piece of music. traditional and traditional
events and songs They compare non-traditional notation.
and traditional notation.
Students use manipulatives Students are able to recreate

such as note value cards and and describe sound events and
rhythm manipulatives to write songs through notation.
and compare various rhythm
values in a song or sound event.
• use traditional and/or folk What can you tell me about Students analyse and discuss Students can identify and
song material to learn the melody from looking at the melodic content of a folk describe specific melodic
appropriate melodic content this song? song. content in scores.
Students describe melodic

contour. They identify highest
and lowest notes, patterns,
repetitions, notes moving by
step or by leap, and rhythm
using appropriate vocabulary.
• use notation to practise and Students sing and play melodic Students perform by reading The unit of inquiry “Learn to
perform a piece of music and rhythmic patterns of notation. They are able to live and live to learn” in the
increasing difficulty by apply their understanding of Sample programme of inquiry
isolating and practising rhythmic combinations and 2003 has many opportunities
specific notations. They go melodic contours when sight- to include music.
on to perform the piece in its reading.
entirety.
• read and notate using basic What is this note? form Students write down rhythmic Students can read and The British terminology may
rhythm values of quarter patterns identified aurally. accurately perform rhythmic be more familiar to some
note, eighth note, half note What is its value and pitch? They read and clap the patterns. patterns from notation. They teachers:
and whole note; quarter, understand the relation between • whole note = semi-breve
half and whole rests How can you tell? reflection Students double/split the the different note values. • half note = minim
rhythm values in the patterns They take down dictation. • quarter note = crotchet
written before and then read • eighth note = quaver
and clap the patterns. • sixteenth note = semi-
quaver.
• begin to read and notate Students identify rhythm values Students improvise rhythmic Teachers may choose to use
using rhythm values of of sixteenth note in scores. patterns introducing the note individual rhythm dictations
sixteenth note values they have practised. to assess whether students
Students introduce rhythm have understood rhythmic
values of sixteenth note in values.
rhythmic improvisations.
• begin to read and notate What does the dot do to the Students identify, chart and
using dotted rhythms in value of the note or rest? compare dotted rhythms in
compound metres. function scores used in class.
Students copy a rhythm from

a score and can read and clap
the rhythm.

9.39

opportunity to identify and • continue to distinguish and What kinds of elements do Students discuss and analyse a Students are able to listen
describe various musical describe musical elements you hear? song or piece of music for attentively and describe
elements such as rhythmic w2, melodic patterns and musical elements. different musical elements in
patterns, melodic patterns and form How are the elements the music they hear.
form. They distinguish combined?
between a range of
instrumental sounds and Do the elements change
respond to different styles of through the course of the piece?
music, as well as to music
from different times and Can you clap back the
cultures. ostinato rhythm?
• continue to distinguish a What kinds of instrumentation Students identify instrumental Students are able to identify a The traditional classification
range of instrumental are used in this piece? timbres in recorded pieces of wider range of instruments, of western musical instruments
sounds, including orchestral, music. relating them to the style of is:
non-orchestral, non-western music in which they are • string instruments
and multi-ethnic How are the instruments used Students identify the use of generally used. • wind instruments
in this piece? texture and articulation. • keyboard instruments
• percussion instruments.
How do you classify these Students identify differences A more complete classification,
instruments? and similarities in shape, including non-western musical
material, timbre and sound instruments, would be:
production of a wide range of • aerophones (based on the
instruments. vibration of air)
• chordophones (stretched
strings)
• idiophones (the instrument
itself)
• membranophones (stretched
skin or membrane)
• electrophones (electrically
generated vibrations).
• describe music using What is the composer trying Students use appropriate
appropriate vocabulary, to convey? vocabulary in descriptions.
giving reasons for
preferences
• continue to develop an Where do you think this Students link the elements of Students use their knowledge to The unit of inquiry “I believe”
awareness and appreciation music comes from? a piece of music to two describe music. They illustrate in the Sample programme of
of music from different different paintings/pictures. style through pictures, posters, inquiry 2003 has many
sources and cultures; its Where would you listen to They give their reasons. graphs and dramatization. opportunities to include music.
uses and associations. this music?
Students use their previous
What kinds of things/ knowledge to compare two
instruments do you hear in pieces of music and describe
this music? instrumentation, rhythm,
melodic content and time
Is what you hear unique to period.
this kind of music?
perspective
Who do you think is

performing this music?
Is this music historical or

contemporary?
Which elements in the music

tell you this? reflection

9.40

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Primary Years Programme

Music scope and sequence

© International Baccalaureate Organization 2004

Organisation du Baccalauréat International

PYP curriculum documents: music © IBO 2004 9.1

What do we want students to learn?

What do teachers need to learn about this topic?

PYP curriculum documents: music © IBO 2004 9.3

How best will students learn?

9.4 PYP curriculum documents: music © IBO 2004

How will we know what students have learned?

* See glossary for explanation of italicized terms.

PYP curriculum documents: music © IBO 2004 9.5

attack The beginning of the sound produced. In ensemble performance, a good

beat Rhythmic pulse or the physical action corresponding to this.

binary When a piece of music is made up of two contrasting sections: A and B,

chorus A group of singers performing a part of a song, as opposed to the soloist;

composition A piece of original work.

compound metre The beat is divided into three.

contrast Musical opposites (fast/slow, loud/soft etc).

crescendo The music increases in loudness.

diminuendo The music becomes gradually softer.

duration The length of different sounds.

dynamics The loudness or quietness of a piece of music.

EAL English as an additional language.

elements The fundamental building blocks of music: pitch, duration, dynamics,

PYP curriculum documents: music © IBO 2004 9.7

ensemble A group of musicians who perform together.

expression The way a piece of music is interpreted.

form The way a piece of music is constructed; structure of a composition. Basic

improvisation Creation, on the spot, as it is being performed.

legato Smooth movement between notes in music. See articulation.

melodic direction The basic motion of successive pitches rising or falling.

melodic pattern A short melodic idea that is repeated throughout a piece.

melody A succession of notes varying in pitch and having a recognizable musical

non-traditional A communicating device in which sound events are represented by means

9.8 PYP curriculum documents: music © IBO 2004

note i) A single sound of a given pitch and duration.

Orff pitched A set of instruments such as xylophones, chime bars, metalophones or

pedagogy songs Simple pentatonic songs that are read.

phrase A group of notes forming a distinct unit or segment of a melody; a

pitch The highness or lowness of a note.

pulse The steady beat throughout a piece of music.

repertoire songs Non-reading songs.

rhythmic patterns A short rhythmic idea that is repeated throughout a piece.

PYP curriculum documents: music © IBO 2004 9.9

scale A progression of single notes upwards or downwards in steps.

sequence Repetition of a musical phrase at a higher or lower pitch.

solfatonic A method intended as an aid to sight-singing in which the steps of a scale

solfège notation A method of recording music using the solfatonic system.

solo A composition for, or performance by, a single performer; passage in a

staccato Short, choppy movement between notes in music. See articulation.

step Two pitches that are next to each other (C–D).

tempo The speed of music.

timbre The tone of a sound, for example, mellow or thin or resonant.

9.10 PYP curriculum documents: music © IBO 2004

Lougheed J. 1997. Signposts to Music. Oxford University Press.

Music schemes include:

Bond J et al. 1995–2000. Share the Music. Macmillan McGraw-Hill.

Music dictionaries include:

Bennett R. 1995. Music Dictionary. Cambridge University Press.

Jacobs A. 1998. The Penguin Dictionary of Music (6th Edition). Penguin.