Erin Dixon  

Course Proposal  
MUED 372 
Secondary General Music 

Experiencing Music: Live and in Song 

Highschool, grades 9-12 

Description:  

This course will focus on building and developing student’s resources of 

lifelong music engagement. Rooted in the surrounding live music culture 

of Richmond, students will have opportunities to engage with local 

musicians, venues, and individual performing experiences. Students will 

begin the course exploring what music means to both them and their 

peers, finding music where they least expect it, and critically considering 

what it means to create and share music. From an expressive perspective, 

students will also experiment with and develop tools for songwriting aimed 

towards performing. Live music culture is shaping to be so incredibly 

universal that students must have experiences writing songs both 

acoustically and electronically. Students will also have hands-on 

experience with planning and implementing their own live music show 

either within the school or at a venue selected from a list of pre-approved 

Erin Dixon  
Course Proposal  
MUED 372 
Secondary General Music 

locations (due to safety regulations). This being the final project, learners 

will also further develop an understanding of everything that happens 

behind the scenes of live performances including production and 

marketing. Other projects include interviewing a local musician, 

songwriting, arranging, study groups, and frequent in-class performances 

and discussion about the culture that surrounds live music.   

Rationale​: 

There is no doubt that we live within a community that not only 

encourages, but fully the supports the local musician’s engagement with 

all that embodies live music. From the Dominion center, to the National, 

Emilio’s, or the home of the Jazz festival you can find your favorite styles 

of music within a 20-minute drive ​live and in song​. These musicians have 

an abundance of experience writing songs and performing them at their 

own gigs that they usually secure themselves. But what about every other 

musician who has passed through our school’s path without the tools 

necessary to continue engaging with performing their own music 

throughout their communities due to a higher abundance of ensembles? 

Though ensembles definitely serve to create musical meaning in other 

ways, a study conducted by Dr. Virginia Davis at the University of Texas Rio 

Grande Valley concluded that of the 670 responses generated, [general] 

Erin Dixon  
Course Proposal  
MUED 372 
Secondary General Music 

music was found to be the most meaningful to students (Davis, 2009). 

Conclusions within this very study suggests that students are enrolling in 

secondary general music courses, just like this one, because they are 

seeking to become more actively engaged in music throughout their daily 

lives. Through this course students will have an abundance of hands-on 

experiencing creating and performing their own songs in informal 

settings. Experience performing is crucial as it enhancing increases the 

student’s state of flow, supplying them with a stronger, more well-rounded 

experience that will encourage them to continue engaging with music in 

the future (Wrigley and Emmerson, 2011 pg. 302). In order to supply students 

with the abundance of resources to do so, skills and knowledges in 

songwriting both acoustically and technologically should be prioritized. 

John Kratus of Michigan State University discusses why songwriting helps 

in advancing student’s reconnection of social, emotional, or psychological 

needs with musical experiences that ground them to individuality and 

meaning (Kratus, 2016). This course, would offer an abundance of 

experiences for students to continue to create and perform meaningful 

works so right in their own backyard and wherever life may take them.   

Expected impact on students:  

Erin Dixon  
Course Proposal  
MUED 372 
Secondary General Music 

Our unique location of Richmond, Virginia offers an abundance of 

opportunity to work, play and engage with our own culture of live music. 

This course will focus on VA Standards of Learning HG. 2, 3, 5, 7, 11 and HGI. 

3, 6, 19 students will develop skills of songwriting, using Ableton software, 

Garageband software, finding music where they least expect, and 

performance. By the end of the course students will know what music 

means to them, what music means to other people, the role music has 

played within our society, what goes into the planning and preparation of 

live music events, and how to develop a criteria for evaluating different 

styles and cultures of live music performance ​Please see the learning 

design below for a step-by-step expected impact on students​. Following 

the completion of this course students will not only know of and 

understand theoretical, historal, and aesthetical concepts of music, but, 

will also know how to continue exploring their own personal engagement 

with this concepts throughout their future to create lifelong musicking. 

Expected Community Impact:  

One of the many aspects of this course that make it so excited is it’s focus 

on creating and sharing music with the community specifically. Not only 

will students the opportunity to hear from working musicians throughout 

the year, students will also engage and learn from local musicians 
Erin Dixon  
Course Proposal  
MUED 372 
Secondary General Music 

one-on-one through an interview assignment. This will give them the 

chance to hear what it’s like to work and create music within a community 

that they can engage with as well. Throughout the course, students will 

discuss the role that music plays within society both from a broad, 

national or international perspective and one that applies to their own 

community. Then, students will have the unique challenge of 

implementing these findings and conclusions into their own live music 

performance. Learners will plan, implement, and perform at a music event 

of their own creation at a venue within the Richmond community. This 

impact will hopefully effect student’s of our high school in the future as it 

will simply give them a few tools, resources, or locations to turn to when 

they continue engaging in music throughout their community. Engaging 

with music in the community is extremely important for our students as it 

not only encourages collaborative music creation and sharing, but, 

fosters community development and personal growth (Koopman, 2007 pg.. 

153). The act of performing itself is incredibly fulfilling and will give 

students lifelong ideas of how they can continue engaging with music 

individually and within their community even if they aren’t choosing to do 

so professionally or plan to pursue other goals and ambitions. 

Project outline  
 Erin Dixon  
Course Proposal  
MUED 372 
Secondary General Music 

Project Name: Experiencing Music: Live and Song 

Stage 1 Desired Results 

Standards:   Goals:  
   
Primary:  I can find music in unexpected places and 
HG.5 The student will investigate  explain what elements make it music. 
characteristics of musical sounds by 1.   
employing elements of music, including 
I can define what music means to me as well as 
melody, rhythm, harmony, form, and 
texture; 2. employing technology to explore 
how this definition has shaped and continues to 
musical sounds; and 3. listening to and  shape society. 
describing traditional and nontraditional   
sound sources.  I can create my own music using both 
  acoustic/vernacular instruments and 
HG.7 The student will investigate the role of  technological instruments as well as notate and 
music in society by 1. comparing and  record them both individually and in a small 
contrasting the development of music in 
group. 
diverse cultures throughout history; 2. 
examining various opportunities to 
 
experience music in the community; and 3.  I can record and create music on technology 
describing the role of technology and  software such as Garageband, Ableton, or 
social media in the development of music.  another of my choice that has been approved.   
   
HG.3 The student will perform a varied  I can perform both a cover 
repertoire of music, including 1. singing  version/arrangement and my own music in both 
with increased vocal proficiency; 2. 
informal and formal settings.   
recognizing and demonstrating proper 
instrumental technique; and 3. playing 
 
instrumental music representative of  I can organize and implement my own live music 
diverse styles, forms, and cultures.  event from knowledge of production, marketing, 
  and engagement with the live music culture 
HG.2 The student will compose and  surrounding Richmond.   
arrange music within specified guidelines   
by 1. incorporating appropriate voicings  I can develop questions to guide the criteria of 
and ranges; and 2. using a variety of 
analyzing and receiving response of my own 
sound, notational, and technological 
sources. 
musical works.  
   
HG.11 The student will investigate aesthetic  I can engage in performing live in whichever 
concepts related to music by 1. explaining  community I chose to reside to continue and 
how the context of a musical work’s  further develop my exploration with creating 
creation may influence its meaning and  lifelong music.   
value; 2. analyzing and justifying personal   
responses to works of music; 3. examining 
and applying aesthetic criteria for 
 Erin Dixon  
Course Proposal  
MUED 372 
Secondary General Music 

determining the quality of a musical work; 

and 4. explaining the value of music to the 
community and to society. 
 
Secondary: 
HGI.3 The student will identify, read, and 
perform music in simple meters ( 2/4,3/4 
4/4,6/8). 
 
HGI.6 The student will use music 
composition as a means of expression by 1. 
composing a four-measure 
rhythmic-melodic variation; and 2. notating 
the composition in standard notation, 
using contemporary technology. 
 
HGI.19 The student will investigate 
aesthetic concepts related to music by 1. 
proposing a definition of music and 
supporting that definition; 2. identifying 
reasons for preferences among works of 
music, using music terminology; 3. 
identifying ways in which music evokes 
sensory, emotional, and intellectual 
responses, including ways in which music 
can be persuasive; 4. describing aesthetic 
criteria used for determining the quality of 
a work of music or importance of a musical 
style; and 5. explaining the value of musical 
performance to the school community 

Generative (Essential) Questions:  

 
What is necessary of a musician in order to organize, implement, and perform their own 
live music show? 
 
What is music, what does it consist of, and how can you find or create it? 
 
What is life like for musicians? 
 
How can you express both individual and societal meaning and transfer it into song? 
 
How can you continue engaging with and performing music throughout your community 
even if you don’t consider yourself an “active” musician? 
 

Stage 2 - Evidence 
 Erin Dixon  
Course Proposal  
MUED 372 
Secondary General Music 

HG.5​: I can create a piece of music either live or on a recording software (Garageband, 
other of student’s choice) that specifically focuses on 3 of the 5 elements of music listed 
and includes both traditional sounds and non-traditional sounds captured in or around 
the city of Richmond. 
Developing​: I can create a piece of music on a recording software that specifically 
focuses on 1 of the elements of music and include only non-traditional sounds captured 
in or around the city of Richmond. 
Exceeding​: I can create a piece of music both live and on a recording software that 
focuses on all 5 of the elements of music and include both traditional and nontraditional 
sounds captured in or around the city of Richmond and in another setting of the 
student’s choice. 
 
HG.7​: I can share how the culture of live music has developed in America and 2 other 
diverse cultures throughout history via 2 forms of media by discussing the role music 
plays in my life, my peer’s lives, and the life of a local musician. 
Developing​: I can share how the culture of live music has developed in America and 1 
other diverse culture throughout history via 1 form by discussing the role music plays in 
both my life and the life of a local musician. 
Exceeding​: I can share how the culture of live music has developed in America and 3 
other diverse cultures throughout history via 3 forms of media by discussing the role 
music plays in my life, my peer’s life, the life of a local musician, and my family’s OR 
teacher’s life. 
 
HG.3​: I can perform an original song using a pre-recorded track that includes singing and at least 
2 other instruments/sounds that is representative of a style of my choice AND perform a song 
using 2 different instruments that is representative of a style I struggle with. 
Developing​: I can perform an original or cover song using a pre-recorded track that includes 1 
other instrument/sound that is representative of a style of my choice. 
Exceeding​: I can perform an original song using a pre-recorded track that includes singing, 
rapping, and at least 3 other instruments/sounds that is representative of both a style of my 
choosing and a style I struggle with. 
 
HG. 2​: I can compose and perform both an original work and arranged work each incorporating 
the voice and at least 2 other voicings/instruments/sounds (1 must be technology based) and 
notate them via notation of my choice. 
Developing​: I can compose and perform either an original work or arranged work incorporating 
the voice and at least 1 other voice/instrument/sound and notate it via notation of my choice. 
Exceeding​: I can compose and perform both an original work and arranged work each 
incorporating the voice at least 4 other voicings/instruments/sounds (2 must be technology 
based) and notae them via notation of my choice and notation of my teacher’s choice. 
 
HG.11​: I can create either a survey or another feedback option for patrons that attend my live 
show that includes what influenced the creation of the music performed, the value it could 
potentially have on society, and questions that will analyze patron’s responses to my performance 
including 6 of the criteria developed in class within small groups. 
Developing​: I can create a survey for patrons that attend my live show that includes what 
 Erin Dixon  
Course Proposal  
MUED 372 
Secondary General Music 

influenced the creation or arrangement of music performed and questions that analyze patron’s 
responses to my performance including 4 of the criteria developed in class within small groups. 
Exceeding​: I can can create both a survey and another feedback option for patrons that attend 
my live show that includes what influenced the creation of the music performed, the value it could 
potentially have on society, and questions that will analyze patron’s responses to my performance 
including all 10 of the criteria developed in class within small groups. 
 
HGI.3:​ I can create and perform my own music in duple and triple simple meters. 
Developing​: I can create and perform my own music in either a duple or triple simple meter. 
Exceeding​: I can create and perform my own music in duple and triple simple meters as well as a 
meter of my choice that is considered compound.   
 
HGI.6:​ I can use a contemporary technology of my choice (Garageband, Finale, etc) to record and 
notate 3 four-measure rhythmic-melodic variations using only buzzwords given by the teacher 
(s/a banana, coin, etc.). 
Developing:​ I can I can use a contemporary technology of my choice to notate 1 four-measure 
rhythmic-melodic variation using only a buzzword given by the teacher. 
Exceeding​: I can use 2 different contemporary technologies to record and notate 3 eight-measure 
rhythmic-melodic variations using only facial expressions given by the teacher (raising of 
eyebrows, a smile, etc.).  
 
HGI.19​: I can define what music means to me and to the development of society using at least 6 of 
given music terminologies and identify specific responses/meanings to 5 musical examples. 
Developing​: I can can define what music means to me or to the general public using at least 3 of 
the given terminologies and identify specific responses/potential meanings to 3 musical examples. 
Exceeding​: I can define what music means to me and to the development of society using at least 
10 of the given music terminologies and identify specific responses/meanings to 8 musical 
examples, 3 of which must be songs of my or my peer’s own creation. 
 

Stage 3 – Learning Plan 

Project P: Primary Project -- Plan (in a small group of 4-5) and perform (both individually 
and one final group song) both cover songs and songs of your own creation at your own 
live music event. 
 
Unit 1 (1st nine weeks)​: What is music? ​HG. 5 and HGI. 19 
 
In this unit students will explore traditional and non-traditional definitions and 
applications of music. Questions considered during this unit include: what is music, what 
does music consist of, how can you find music, where do you find music, and how do you 
create music? To explore music in these critical yet unconventional realms students will 
engage in their first major project of the course: Project A. Following the completion of 
this project students will listen and observe other forms of music from many different 
styles and genres. Students will discuss what music means to them and the potential 
meaning it may haven on others. From a societal standpoint, students will also engage in 
learning structured around how the meaning of music has changed throughout society 
 Erin Dixon  
Course Proposal  
MUED 372 
Secondary General Music 

(Nationalism, Pride, etc). Students will then have the opportunity to share their own input 
on potential societal outcomes or change throughout completing Project B.  
 
Project A: Soundscape ​(Evidence: HG.5) 
 
Students will engage in the creation of a Soundscape. To be completed either 
individually or in small groups, students will create a piece of music either live or on a 
recording software that focuses on 3 of the following: melody, rhythm, harmony, form, or 
texture. This soundscape should include both traditional and non-traditional “sounds” 
captured in or around the city of Richmond. Students will have the opportunity to 
present their final projects to each other. A discussion will follow structured around 
student’s findings throughout the experience.   
 
Project B: Meaningful Music​ (Evidence: HGI.19) 
 
Students will first define what music means to them. Then after listening to 5 musical 
examples, they will define and provide explanation to societal meaning using music 
terminologies that they created themselves. Examples of these potential norms include 
but aren’t limited to: timeframes, styles, critical events, composer lifestyle, etc. Following 
this experience, students will have the chance to share their thoughts together to 
continue developing ideas of music’s universal and transformational components.  
 
Unit 2 (2nd and 3rd nine weeks)​: How is music? ​HGI.3, HGI.6, HG. 2, and HG.7 
 
In this unit students will begin planning for their primary project and begin developing 
their own songs to perform at the final event. In addition, students will also look at the 
role of live music specifically within society. This unit will begin with students interviewing 
a local musician (Project C). Then students will have numerous opportunities to compose 
and arrange their own tracks. Beginning with smaller chunks (Project D) then growing 
towards the performance of a fully-fleshed original track (Project E). Finally, as students 
continue preparation for the primary project (there is some overlap here) students will 
explore how the culture of live music has developed in America and continue discussing 
the role music plays on their lives and the lives of other people (Project F). 
 
Project C: Interview ​(Essential questions 1 and 3) 
 
In this project students will explore what life is like for real, working, local musicians. 
Students will have the opportunity to choose a local musician from a supplied list to 
reach out to and plan an online interview either in class or on their own time. If the 
musician is unavailable, students will also have the option of partaking in an email 
interview. Through this assignment students should focus on the life of the musician, as 
well as what is necessary to organize, implement, and perform in their own shows. 
Following the interview, students will reflect on their experiences, discuss and share 
 Erin Dixon  
Course Proposal  
MUED 372 
Secondary General Music 

findings with fellow classmates, and begin the early stages of the primary project.  
 
Project D: Variations ​(Evidence: HGI. 3 and HGI. 6) 
 
To begin student’s development and exploration of songwriting, students will begin with 
composing short variations using only buzzwords of inspiration. This project will take 
place over the period of a few classes in order for students to have the experience of 
creating, receiving feedback, polishing, and polishing again when necessary. In addition, 
when given these buzzwords, students will also have limitations of meter as to fit needs 
expressed in the evidence and technology/notation software to begin growing familiarity 
with these necessary tools.   
 
Project E-2 parts: Arranged and Original song ​(Evidence HG. 2) 
 
After students have written and polished 3 short variations students will begin working 
on their original song to be performed at their live music event. Students must follow the 
guidelines of voicing at the beginning stages of this project but as more feedback is 
given, they will have more opportunity to polish voicings as they chose for the 
performance. There will be two due dates for this project the first being and 
arrangement or cover and the second being an original work.   
 
Project F: Live Culture Research ​(Evidence HG.7) 
 
To continue exploration of the meaning music has personally and throughout society, 
students will explore the importance that live performance of music within cultures. 
Students will specifically observe and research the culture of live music in America 
(picking a minimum of two styles to focus on) and will also pick two other cultures to 
compare and contrast. When researching these cultures, students will keep in mind 
diversity and will reflect upon this concept throughout the stages of this project. Finally, 
students will also share how life music has impacted their lives. 
 
Unit 3 (Last nine weeks)​: Experiencing music: live and in song ​HG. 3, HG.11 and 
continuation of previous standards… 
 
In this final stage of the course, students will finally have the opportunity to implement 
and perform at their own live music event (Project P). Before doing so, however, students 
will have the opportunity to write another original work that is representative of a style or 
element that they struggle with as to improve gaps in this area of their musicianship 
(Project G). Before the day have the event, students will have created a survey or some 
other feedback options for audience members that attend their show (Project H). When 
completing this last portion of the course, student’s will think back to the beginning of 
the year and re-define what music is as well as the meaning it has on society and the 
engagement of live culture. Finally, we will discuss and share how we each plan to keep 
 Erin Dixon  
Course Proposal  
MUED 372 
Secondary General Music 

music alive in our lives even if we are not planning to “pursue” music or have other 
ambitions.   
 
Project G: Gaps ​(Evidence HG.3) 
 
This project will allow students to create and experience music specifically outside of 
their comfort zones. Students will share with each other where they feel the weakest 
points of musicianship lie. Then, they will create an original work either individually or 
collaboratively that not only incorporates their weak spot but also includes the use of the 
singing voice. Student’s will add their own work to an existing pre-recorded track of their 
own work, a peer’s work, or another source within public domain supplied by the teacher. 
 
Project H: Keep it Alive ​(Evidence HG.11) 
 
Learners will first develop a criteria of how they’d like to evaluate and receive feedback 
on their live show. Criteria may potentially include overall effect, tone quality, 
appreciation of songs selected, etc. In their Project P groups students will then develop a 
survey or another form of feedback to supply to audience members who attend their 
performance. Following the completion of each groups performance, students will 
discuss what their feedback concluded. Then, reflecting on the tools they have 
developed throughout this course, they will share how they plan to keep live music 
performance and music alone alive within their own lives even if they aren’t formally 
enrolled in a music course or plan to actively pursue music in the future (essential 
question 5). 
 
 
Budget and Materials: $2,500 

Proposed Budget 

Item Name   Use   Cost  Quantity  Overall Cost 

    (per unit) 

Ableton Live:  Projects A, D, E, and G: For recording,  $270  2  $540 

Standard  producing, and publishing personal 
creations. Will be checked out (specific MACs) 
on a case-by-case basis. 

Focursite 2i2  Projects A, C, D, E, G, and P: Will be used  $300  4  $1200 

Recording  anytime students are recording anything to 
Bundle  receive a professional sound outside of 
Ableton or Garageband. Will be checked out 
on a case-by-case basis. 
 Erin Dixon  
Course Proposal  
MUED 372 
Secondary General Music 

Marantz  Class set for students to use when working  $40  16  $640 
Headphones  individually inside of class.  

Student Gas  To reimburse students travel expenses for  $120  n/a  $120 
Reimbursemen Project A 
t 

Total Cost  $2,500 

 

References: 

● Davis, V. W. (2009). The meaning of music education to middle school 

​ ulletin of the Council for Research in Music 

general music students. B

Education​, 61-77. 

● Koopman, C. (2007). Community music as music education: On the 

educational potential of community music. ​International Journal of 

Music Education​, ​25​(2), 151-163. 

● Kratus, J. (2016). Songwriting: A new direction for secondary music 

education. ​Music Educators Journal​, ​102​(3), 60-65. 

● Wrigley, W.J., Emmerson, S.B. (2011). The experience of the flow state in 

live music performance. ​Society for Education, Music and 

​ 1​(3), 292-305. 
Psychology Research​, 4