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Objective Ten:
Demonstrate ability to design and implement standards - based reading lessons.
"Give a man a fish and he will eat for a day. Teach a man to fish and he will eat for a lifetime"
~ Chinese Proverb ~
Throughout the semester, I had numerous opportunities to develop, plan, and teach a variety of music lessons. All the lessons I taught involved reading of music or journal articles and were formed around standards and benchmarks for the high school level. Below are several different lessons I instructed this semester.
Program Project:
I selected numerous works from American composers and created a concert program titled, "America Then and Now." Once I selected the music, I was able to decide on standards that I could teach using this music. Following this paragraph, please find the program selections, program notes, standards, and reflection.
Program Selection
Fanfare for the Common Man - A. Copland
Brass Choir
Candide Suite - Leonard Bernstein, Arr. Grundman
Shanendoah - F. Ticheli
The Dream Catcher - W. Francis McBeth
Symphonic Band
Program Notes
Aaron Copland was born November 14, 1900 in New York City. He began studying music with his sister, and at age 16 studied with Rubin Goldmark in Manhattan, NY. Under Goldmark, Copland learned counterpoint and the fundamentals of composition. This fanfare was composed in response to a solicitation from Eugene Goosens, conductor of the Cincinnati Symphony Orchestra, for a musical tribute honoring those engaged in World War II. The piece was premiered in 1942.
Leonard Bernstein joined America August 25, 1918 in the town of Lawrence, Massachusetts. Some of his greatest works were the classic film score for On the Waterfront, musical theater classic West Side Story (1957) and the operetta Candide. In 1953, Bernstein was asked to take Voltaire's Candide to the musical theater. Over the next two years, Bernstein worked to make his music fit the acquisitions in the play. In 1956, the musical was ready to be premiered in Boston.
Frank Ticheli, an all – American as well, was raised in Monroe, Louisiana. Currently, he is the professor of composition at the University of South Carolina. Known around the globe for his concert band pieces, he has guest conducted concerts at Carnegie Hall, numerous American universities, and festivals around the world. Ticheli wrote Shenandoah as a commissioned work in memory of Johnathan Cosentino. The song is titled after the folk song from the Senedo Indians of Virginia Valley. The term Shenandoah means “Daughter of the Moon.” The complete melody is never fully stated, but lies embedded deep inside the piece. The work was copyrighted in 1999 and debuted shortly there after.
W. Francis McBeth came into the world March 9, 1933 and grew up in Ropesville, Texas. He earned degrees from Hardin-Simmons University, University of Texas and the Eastman School of Music. McBeth has performed in Germany, France, Italy, England, Scotland and Iceland. Completed in 1995, The Dream Catcher allows all students to explore everyday handyman tools as percussion instruments. The percussion section also performs unusual effects to enhance the Indian thematic material.
Standards and Benchmarks
Below is a list of the state required standards and benchmarks. I hope to accomplish all of or parts of them throughout the preparation and performance of America Then & Now. Underneath each standard I described each activity my students will do to attain these standards.
Performance Standard 3: Perform an appropriate part in large and small ensembles, demonstrating well – developed ensemble skills.
The students involved in the brass choir and percussion section will fulfill this requirement upon the performance of Fanfare for the Common Man and by performing in the following selections in the concert. The woodwinds will achieve the large ensemble standard with the selected pieces of the concert. The small ensemble section of this requirement will be met at the arrival of the spring concert when they perform an opening selection, during the concert.
Performance Standard Number 6: Sight read, accurately and expressively, music with a moderate level of difficulty.
All students participating in the band will achieve this standard when we first read each piece of music. Each piece contains intonation and rhythmically challenging moments for each section. As well as having their own fundamental technique as the main focus. The Ticheli piece is the most expressive for the mourning soul, the students will need to improve their intonation and sustain their air through the long tones and phrases that are presented in this piece. Copland’s piece is expressive in the majestic, prideful, common person characteristic. The students will have to completely change character from the Ticheli piece and play very pompous, deep, and majestic.
Analyzing in Context 2: Analyze aural examples of a varied repertoire of music, representing dierse genres and cultures, by describing the uses of elements of music and expressive devices.
The students will be required to write an analytical essay comparing and contrasting either Copland or Bernstein to Ticheli or McBeth. Requirements of the essay will include topics like form and style of the piece, how and if the form assisted the piece to success considering the culture and political issues happening at the time the piece was premiered. How the elements (dynamics, form, style, tempo markings, and expressiveness) have changed from the 1940’s to current, and whether the students think they have been misinterpreted today or if they really have changed. They must support all their claims with reliable information.
Analyzing in Context 3: Identify and explain compositional devices and techniques and their purposes giving examples of other works that make similar uses of these devices and techniques.
In this lesson, the students will be asked to rely on prior knowledge from previous pieces the band has played. As a bell ringer activity, I will choose one compositional device such as cadences and ask the students to find a certain cadence in the one of the pieces. We will discuss how the composer arrived at the cadence and moved on from the cadence, and why we think the composer that a cadence was necessary. Then, I will ask the students to think about other pieces they have played or heard on the radio and if they ever hear cadences in that music. They will answer the same questions that they did for the piece they are currently playing.
Analyzing in Context 5: Make informed, critical evaluations of the quality and effectiveness of performances, compositions, arrangements and improvisations applying specific criteria.
After the performance, I plan to have the students write a reflection paper on how they perceived the performance, what they thought about each piece, and to give one suggestion they think would improve their sections music in the composition, as well as one suggestion to improve the composition as a whole. If the students can not think of an improvement, I will have them explain what made their part and the composition so perfect.
Analyzing in Context 6: Evaluate a performance, composition, arrangement, or improvisation by comparing it to similar or exemplary models.
While rehearsing these pieces, once a week we will listen to a performance of one of the selections. This will also be acting as a bell ringer activity. After the performance the students will have five minutes to write an evaluation of the performance, composition, arrangement, or improvisation by comparing it to one example or method they learned or heard earlier.
Arts in Context 1: Classify by genre or style and by historical period or culture unfamiliar but representative aural examples of music and explain the reasoning behind their classifications.
This standard will be met through the analysis paper the students will write in Analyzing in Context 2.
Arts in Context 2: Identify sources of American music genres, trace the evolution of those genres, and cite well known musicians associated with them.
When the band studies the conductors/composers Leonard Bernstein and Aaron Copland, they will be required to make a detailed time -line of the symphony, chamber, solo, or show music that one of the composers wrote in groups of 4. In the time - line, they will need to include the professional musicians or ensembles that performed these pieces, and how the composers came in contact with these groups. They will be required to take an in – depth look at the music and explain 2 – 4 developments of the music in the genres they choose. A final presentation will be required of each group the day after the concert.
Connecting to other Arts, other Disciplines, and Life 4: Identify various roles that musicians perform, cite representative individuals who have functioned in each role, and describe their activities and achievements.
During the first day of class, I will hold a discussion with the students titled, “Who are Musicians.” I will place four different categories on the board such as military members, composers, family members, and inventors. I will ask the students to make lists of the musicians they know that fall into these categories. After a few moments, I will ask them to give me some examples. We will continue to discuss specific roles, hardships, and achievements they experienced in their categories. As the year unfolds and we get into music, we will add the composers and professional ensembles we listen to, to each group. At the end of the year, the students will be asked to pick one of the names off the collaborative board and write a paper on the individual’s function in the role, and describe their activities and achievements.
Reflection
When I began working on this project I brainstormed different techniques to start this project. I had many ideas, but I took the last approach, then formed and followed a plan of action. I choose to find create a theme for a program I would like to design. Afterwards, I searched different music libraries for honorable and desirable composers and their music. After several hours of sifting through music, I selected four challenging pieces and created a logical order to perform them during a concert. Now it was time for the most challenging part. I had to apply the state standards to my program and develop lessons to teach the standards to complete comprehension to my students.
Once I found and read the standards, I found it fairly easy to apply to my program. I selected almost half the standards in each area to fit into the program. However, creating activities for the students to learn these standards took more imagination than I desired. Slowly, I produced lessons, projects, and papers the students will write throughout the marking period in the class. While I created the lessons, I became a little stressed trying to figure out how I was going to teach all these lessons as well as prepare the music for the concert. Now that the plan is done, I have a vision of how every activity will fall into place. Some will take place over the course of the semester in class, and others will be designed to work on as homework outside of class. However, something still did not feel right and that is when I realized, I never had homework or extra activities to do for band besides play my instrument. Could it be that I really missed the education of music in my only music class in high school? I am completely distraught; I thought I knew everything I was supposed to know.
I have a new goal, to teach students music and not just how to play a composition. I want my students not only to be able to play music, but to be educated and knowledgeable about the styles, genres, and expressive characteristics of music. They should be able to play their instrument, but they also need to have the history and relevance of music brought into their education as well. Students need to know where, when, and how the music was composed before they can play it effectively. I believe the program I generated in this project will accomplish that goal.
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Three Level Reading Guide Project
This project allowed me to design a reading guide worksheet. This worksheet would assist students with their assigned reading of Aaron Copland. The questions ranged from literal, interpretive, and applied. I had to do a draft for my peers and then a final draft taking their advice and making changes. I have provided the final version and a reflection of this project. This worksheet will allow the students to accomplish all or some of the ARTS IN CONTEXT standards.
1. Identify various roles that musicians perform, cite representative individuals, who have functioned in each role, and describe their activities and achievements.
2. Identify sources of American music genres, trace the evolution of those genres, and cite well known musicians associated with them.
Guided Reading:
Berger, Arthur. Aaron Copland. New York: Oxford University Press, 1953.
Name: __________________________________
Class: ___________________________________
Directions: As you are reading the excerpt on Aaron Copland, answer the questions using complete sentences, or following the instructions given at the question.
1. Please circle the correct answer. What country did the Copland’s move from when they came to the United States?
Russia China France Germany
2. How was music defined or heard in the Copland home?
3. On page 4, what does Copland mean when he says, “Music as an art?”
4. Copland started training for his professional music career when he was thirteen. Think about your life, would you be able to start a professional career now? If yes, what would your occupation be? If no, why not?
5. On page five, what does the author mean when he uses the words: proverbial correspondence?
6. Please circle an answer. Who is Rubin Goldmark?
School Teacher Cousin Music Theory Teacher Piano Teacher
7. Page five, the author states, “The fact that the music was in some sense forbidden only increased it attractiveness.” What definition does the author use for the word forbidden?
8. Fill in the blank. Copland _____________________ around his eighteenth birthday and this allowed him to devote all his efforts to music.
9. Please list all the people Copland studied with through 1921.
1. __________________________
2. __________________________
3. __________________________
4. __________________________
5. __________________________
10. What country is Fontainebleau located?
11. Copland saved money to pay for schooling in Fontainebleau. Please list the titles of his two jobs?
1. ________________________________
2._________________________________
12. At this time in history, why was it such a big deal for Copland to study with the woman professor, Nadia Boulanger? Why do you think Copland overlooked these ideals and studied with her anyways?
13. Please circle the correct answer. What city was the international proving ground for all the newest tendencies in music?
Paris Rome Bombay St. Petersburg
14. During Copland’s stay in France he wrote numerous pieces. (Page 9)
a.) Who was he studying with at this time?
b.) Please make a list of the titles of the pieces, and name the ensemble they were composed for.
Title Ensemble
1. ___________________________ _____________________________
2. ____________________________ ______________________________
3. _____________________________ ______________________________
4. _____________________________ ______________________________
c.) How many motets did he compose at this time?
15. What is the name of the ballet Copland wrote? How many acts was it? Why did he choose to write a ballet and not a symphony?
16. February 1922, Copland’s music was heard for the first time at a public concert. What song was played, what society hosted it, and who intervened the process?
17. If you had a choice to compose a symphony or a ballet, which would you choose and why? Would the piece derive from a particular event in your life? What would you title it? About how many minutes do you think it will be?
Reflection
The guided reading activity made me really stretch my mind as to how I could make a reading with questions relevant to the music my students will be playing. When I began the project I brainstormed for about an hour and a half for a topic or lesson. Many questions entered my mind. How would I get my students excited about reading and answering questions when they really want to play music? What type of reading would be suitable for an activity like this? How can I make this relevant in my classroom? I thought about the projects we have done and will be doing in this class, and an idea struck me. I could make a guided reading lesson based on one of the composers I will have my band study for the program project I created.
I went to the library and began researching articles and books on the composers I had in my program. I found the most information on Aaron Copland. I had to decide what I would like my students to read, why I want them to read it, and also consider whether or not the students would be interested in the reading I selected. Upon consideration, I choose a biographical selection of Copland during the beginning stages of his promising career. I read the article twice and then began thinking about questions I could ask the students to actively engage them. Eventually, I worked my way through the reading and developed sixteen questions. I had a few applied, and a majority of literal and interpretive questions. I had a hard time wording the questions to make them count towards a specific style of question, as well as be understandable to the student. It was a weird moment because I knew what I wanted to say, but I did not know how to phrase it so anyone that read the paper would understand it.
Finally, I finished the first draft of the reading guide. I went to class and had an even clearer vision of how this project was to take shape. When I revisited my questions, I noticed all the questions were complete sentence, long answer questions. So I reworded, and formatted the questions to make the activity more bearable to for the struggling learner and any student in general. I remembered how I felt when I received reading guides like this. I would stress out because it would take me so long to write each answer. The revisions were made and I decided that the guide was fit for public consumption. It was now time to hand my work to my peers and let them struggle through it.
I had a very uneasy feeling when I went to class today. I do not know the reason, but I feared the comments that the peers had waiting for me. These feelings settled quickly as we began the activity within our groups. Unfortunately, half the group was missing and I did not receive their feedback on my assignment before I had to make revisions. However, Kathryn and Megan gave great feedback, and I was able to make numerous revisions to my draft. The first thing I revised on my guide was the point system. I took everything that had to deal with points off the paper. When we discussed this in class, the girls said they felt pressured and it made them get really stressed to get the correct answer. The reason I had the points is because I like to know exactly how the teacher is going to grade me on assignments, but I realized I could cover that in a class syllabus/handbook or even when I hand out the assignment. I modified the directions too. Fixing the few grammatical errors, and taking out the statement about the point value of the assignment. My next step in the revision process involved me reading through each question, reflecting on comments made during class and how I felt about the question, and altering the question if I saw fit.
We discussed quite a few questions on my reading guide, and after several minutes of debate on each question, I made difficult decisions. Two or three questions changed on my study guide. I completely rephrased question fourteen. After the discussion, I realized that the way I asked the question confused the students. I worded it specifically for what I want my students to learn, as well as, have them understand the question. Then, I added a part “c” to the question so I could still make sure they know how many motets Copland wrote. I altered question twelve in order to get the students thinking of the role of women in this time, and why it was such a big deal for Copland to not only study with Nadia, but also pay money for the lessons she taught him. I changed question seven from a multiple choice question to an open complete sentence answer. I felt like I was giving the students too much. I decided I want the students to think about this and develop an understanding of author’s statement on their own. The girls commented on question ten, saying it was hard for them to find. I understand this question could require prior knowledge, but if you continue reading the selection it states that Fontainebleau is located in France. If for some reason the students can not find the answer in the reading, they will have a chance to become more familiar with different research tactics and geography.
I am really happy that this class gave me the opportunity to create an enhanced reading guide. I know it will be a valuable resource for my classroom. If I do not get to use it in my band class, hopefully I will use it in a music appreciation class. The most valuable activity in this entire project was the peer evaluations. I enjoyed reading and participating in their assignments, but it also gave me a couple new ideas to keep in mind for this project or others. I liked how Martha, Megan, and Kathryn identified the type of question they were asking. It allowed me to shift my train of thought and in some cases it was easier for me to answer the questions. From now on, when I create assignments, I may do them, thinking from a learner’s point of view, and be able to make the necessary changes before I ask my students to do the work.
Conclusion and Other Projects
The sight reading lesson that I used for the section in objective three, and the remedial lesson, which was used in the second and third objectives were also both developed and used as a standards - based reading lessons. I formed all the lessons I taught off of the standards to make all my classes essential to the students. I want them to feel like they are in my class learning for a reason, and having fun. Another reason I create my lesson plans from standards is to defend myself with any person that tries to challenge my teaching objectives. For example, if a student or parent tries to tell me I am not teaching worthwhile information, I can show them my lesson plans and standards, and explain that they are required to be met each year within the class. I believe standards were formed for the simple reason of getting all the students in the state to achieve at a relatively close academic level.
"You
cannot teach a person anything; you can only help him find it within himself.
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~Galileo~
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