Full Year Curriculum - Music 512
Full Year Curriculum - Music 512
T
Full-Year Curriculum
igh School Wind Ensemble
H
Table of Contents
ourse Description………………………………………………………………………………...2
C
Program Goals…………………………………………………………………………………….2
Course Goals………………………………………………………………………………………2
Course Objectives…………………………………………………………………………………3
Scope and Sequence……………………………………………………………………………….4
Performance #1: Fall………………………………………………………………………………5
Performance #2: Winter…………………………………………………………………………...8
Performance #3: Festival………………………………………………………………………...12
Performance #4: Spring………………………………………………………………………….15
2
Course Description
ind Ensemble is the top auditioned group withinthe music program. The wind
W
ensemble performs four concerts each year - three public performances and one festival
performance. This course is designed to explore literature from a variety of social, cultural, and
historical backgrounds, and providing students with the appropriate knowledge and rhetoric to
identify and describe these musical experiences. Students within this course will advance
musical techniques and be given opportunities to put these techniques into practice. Throughout
this course, all students are given an equal opportunity for success and provided with the
necessary tools to become the most effective musician possible.
Program Goals
● tudents will have skills in performing on their instrument.
S
● Students will have skills in reading and writing music.
● Students will develop an understanding of fundamental music theory concepts.
● Students will have skills in listening, describing, analyzing, and detecting errors in music,
with the ability and willingness to correct applicable errors.
● Students will demonstrate an ability and willingness to take critique and advance their
musical aptitude using these critiques.
● Students will discover real-world social, cultural, and historical connections based on the
content covered throughout the program.
● Students will develop the ability to self and peer-assess.
● Students will examine music as it relates to other art forms and curricular disciplines.
● Students will develop an understanding of proper rehearsal and concert etiquette.
Course Goals
S
● tudents will strive to perform all ensemble music with excellence.
● Students will read a variety of music and develop a deeper understanding of
compositional techniques incorporating these pieces of music.
● Students will have skills in sight-reading music.
● Students will identify and describe theoretical concepts of music, such as melody,
countermelody, harmony, form, texture, and chordal structures.
● Students will develop awareness as an ensemble member to diagnose and correct errors.
● Students will use critiques to advance their musicianship in individual practice.
● Students will discover how music historically influences societies and cultures.
● Students will evaluate personal and peer performances to strengthen their self-assessment
abilities and develop the ability to provide constructive feedback to others.
● Students will examine the music performed to examine cross-curricular connections.
3
Course Objectives
● B y the end of the course, students will demonstrate proper instrument and musical
technique while performing with no fundamental mistakes present.
● By the end of the course, students will demonstrate the ability to perform with
age-appropriate tone during rehearsals and performances at least 95% of the time.
● By the end of the course, students will be able to use the compositional techniques
incorporated in the pieces they are performing to be able to perform and compose using
these techniques with correct rhetoric and logic.
● By the end of the course, students will be able to examine music from various social and
cultural backgrounds and describe these connections using proper rhetoric and logic.
● By the end of the course, students will be able to perform a piece of music from sight
with fewer than 5 mistakes in rhythm and note accuracy.
● By the end of the course, students will be able to identify fundamental music theory
concepts, such as melody, countermelody, harmony, and form, in each piece they are
performing using correct rhetoric and logic.
● By the end of the course, students will be able to diagnose ensemble and individual errors
and provide appropriate strategies to correct these errors using correct rhetoric and logic.
● By the end of the course, students will be able to demonstrate an ability to use critiques to
advance their musicianship within individual practice by creating a practice journal to
record progress.
● By the end of the course, students will be able to examine music from historical, cultural,
and societal points of view within each piece they perform and describe these
connections using correct rhetoric and logic.
● By the end of the course, students will be able to critique personal and peer performances
and provide constructive feedback to promote musical growth with the use of peer and
self-assessment rubrics using correct rhetoric and logic.
● By the end of the course, students will be able to demonstrate an understanding of how
music relates to other arts and curricular subjects by drawing at least one connection from
each piece they perform.
4
Rhythm Choose Joy Sparkling Lights Albanian Dance frica: Ceremony, Song,
A
and Ritual
Harmony Blue Ridge Rhapsody Sparkling Lights English Folksong Suite El Camino Real
usical
M
Elements Texture March-Bou-Shu Dreidel Dance Declaration Overture frica: Ceremony, Song,
A
and Ritual
Timbre I rish Tune from Dreidel Dance Albanian Dance frica: Ceremony, Song,
A
County Derry and Ritual
Form Blue Ridge Rhapsody Greensleeves English Folksong Suite Little Fugue in G Minor
Musical Expression I rish Tune from Greensleeves English Folksong Suite An American Elegy
County Derry
Styles/Genres pener/Fanfare
O anfare
F verture
O rimitive Folk Music
P
Rhapsody Theme and Variations Folksong Suite Fugue
Folksong Secular Chorale Dance Ballad
March Medley Latin Dance
Historical Periods 2 1st Century 2 1st Century 2 0th Century 2 1st Century
Baroque 20th Century 21st Century Baroque
Musical 20th Century 14th Century 20th Century
Topics
Cultures merican
A merican
A nglish
E frican
A
Irish English American American
Japanese Traditional Judaism Eastern European Spanish
(Albanian)
Performance Selections:
● “Choose Joy” by Randall Standridge
● “Blue Ridge Rhapsody” by John Kinyon
● “Irish Tune from County Derry” by Percy Grainger
● “March-Bou-Shu” by Satoshi Yagisawa
Skills/Elements Addressed:
● “Choose Joy”
○ Rhythm
● “Blue Ridge Rhapsody”
○ Harmony and Form
● “Irish Tune from County Derry”
○ Melody, Timbre, and Musical Expression
● “March-Bou-Shu”
○ Texture
● “March-Bou-Shu”
○ Style/Genre: March
○ Historical Period: 21st Century
○ Culture: Japanese
○ National Standard:MU:Pr4.3.E.IIa:Demonstrate howunderstanding thestyle,
genre, andcontextof a variedrepertoireof musicinfluences prepared and
improvisedperformancesas well as performers’technicalskillto connect with
the audience.
e xplore the various timbres of their instruments, specifically at the more climactic
moments of the piece. The listener may hear bright, piercing sounds coming from
brass instruments in these impactful moments. Grainger also presents a wide
variety of dynamics (and lack thereof), allowing students to experiment with
musical expression throughout the composition.
“March-Bou-Shu”
●
○ Many students do not have the opportunity to explore diverse musical cultures to
a vast extent. However, this piece will provide students with that incredible
opportunity. The textures presented throughout this piece are unique to the
Japanese culture, and throughout their performance, students will be able to
explore how the different musical elements are morphed together to create these
unique textures. While the piece maintains the typical form of a march, it is not
composed simply of a melody with a countermelody and a harmonic figure to
support. There are a wide variety of musical events occurring at the same time
throughout many moments in this piece.
Performance Selections:
● “Sparkling Lights” by Matt Conaway
● “Dreidel Dance” by Robert Thurston
● “Greensleeves” arr. by Alfred Reed
● “A Holiday Celebration” by Larry MacTaggart
Skills/Elements Addressed:
● “Sparkling Lights”
○ Rhythm and Harmony
● “Dreidel Dance”
○ Texture and Timbre
● “Greensleeves”
○ Form and Musical Expression
● “A Holiday Celebration”
○ Melody
● “Greensleeves”
○ Alfred Reed’s arrangement of Greensleeves provides a unique musical experience
for all members of the ensemble. Students will be provided the opportunity to
engage in conversations about form and musical expression. With soloist and
section presentations of the melody, students will be able to develop individual
and ensemble expression on a deeper basis, gaining a deeper understanding of
balance and blend within musical expression. This piece presents many instances
where students are able to experiment with their musical expression and
understanding of the piece. Additionally, as it is composed in a simple binary
(AB) form, students will have the opportunity to further their knowledge of basic
musical forms and begin to draw connections between a multitude of simple
forms.
● “A Holiday Celebration”
○ This piece is a medley of several well-known holiday pieces. Since it is a medley
of pieces students will likely already be familiar with, it provides them with the
opportunity to develop a better understanding of melody and how melodic figures
are passed around. Nearly all instrument sections have an opportunity to play the
melody at some point throughout this composition, which will allow them to
explore melodic musicality and passing these figures to other sections. The
composition also has rapid style changes throughout the presentation of the
various melodies, which will strengthen students’ abilities to switch styles and
become more mature musicians.
● Assessment
○ Tool: Rubric
○ Rationale:
■ Students will receive a rubric prior to beginning the construction of their
dreidels. This is to give them a reminder of the expectations for
completing this activity. This rubric can act as a guide for students to
showcase what the expectations are in order to receive full points, and it
will be a helpful tool to give students written instructions and reminders.
○ Tool: Checklist
○ Rationale:
■ As students complete their exit tickets, the teacher will complete a
checklist for each student to ensure they are meeting the requirements,
which is to write down at least three facts about the traditions of
Hanukkah based on the material covered in class. This checklist will serve
to see if students are completing the objectives, as well as to give students
a written list of what they are to accomplish.
12
Performance Selections:
● “Declaration Overture” by Claude T. Smith
● “English Folksong Suite” by Ralph Vaughan Williams
● “Albanian Dance” by Shelley Hanson
Skills/Elements Addressed:
● “Declaration Overture”
○ Melody and Texture
● “English Folksong Suite”
○ Harmony, Form, and Musical Expression
● “Albanian Dance”
○ Rhythm and Timbre
traditional of this dance culture. The combination of this time signature and these
rhythmic patterns may be difficult for students, but will allow in deep exploration
of the culture’s dance traditions in which this music is rooted in. Additionally, as
the piece develops, various instruments explore different timbres in the harmonic
lines, such as trombone glissandi and horn rips. While these, played at a
reasonable volume, do not necessarily create unique timbres, the dynamic level
and intensity in which the composer writes these figures allows for these
instruments to explore timbres of different qualities.
Performance Selections:
● “Africa: Ceremony, Song, and Ritual” by Robert W. Smith
● “Little Fugue in G Minor” by J.S. Bach, arranged by L. Cailliet
● “An American Elegy” by Frank Ticheli
● “El Camino Real” by Alfred Reed
Skills/Elements Addressed:
● “Africa: Ceremony, Song, and Ritual”
○ Rhythm, Texture, and Timbre
● “Little Fugue in G Minor”
○ Melody and Form
● “An American Elegy”
○ Musical Expression
● “El Camino Real”
○ Harmony
ake connections between the format of fugues and other pieces, and deduct
m
comparisons and contrasts to help better inform their musical decisions.
“An American Elegy”
●
○ While this piece is not incredibly technically difficult, it presents musical
challenges that will encourage students to become more mature musicians. This
piece balances the others on this program very nicely, as the others are more
technical in nature, and this one presents musically expressive dialogue between
the ensemble. The context of this piece allows itself to be moving in nature, but
the musical content presented also allows students to make meaningful musical
decisions. Students will be able to develop active listening as a functioning
member of the ensemble to make decisions about musical expressiveness based
on the compositional techniques and what they hear.
● “El Camino Real”
○ This piece uses chord progressions that are common to numerous generations of
Spanish flamenco guitarists. These unique harmonic progressions have long
captivated individuals throughout the world, and are what we now associate with
traditional Spanish music. Listening to this music is one thing, while
understanding the context of these harmonies within a composition is another.
Students will need to develop a deeper understanding of the context of these
harmonies to effectively perform this piece of music, as well as how these
harmonies are used to support important melodic figures.