Unit Plan Overview

Unit: Hava Nagila 4th grade Spring concert

Stage 1- Desired Results
Connections to Context:
Students will learn the folk song of
Hava Nagila and the Jewish traditions
that customarily surround it. They
will spend time acclimating to the
new language of Hebrew and
identifying its similarities and
differences with their other two
languages of Spanish and English.
They will learn about two Jewish
celebrations and why these
celebrations are important to the
Jewish people. As they dance and
sing this traditional folk song, they
will be encouraged to consider what
it is like to live in this culture, and
how it compares to their own
personal culture.
(How does this fit with students
experiences, the school goals, and the
larger societal issues?)

Established Goals
ART.M.I.3.1 Use developmentally
appropriate singing voice, sing melodies
accurately, and physically demonstrate
macro and micro beat.
ART.M.I.3.4 Sing melodies with
confidence in a large group.
ART.M.I.3.9 Use a system to read quarter
notes and rests, eighth notes, half notes,
and whole notes.
ART.M.II.3.6 Add vocal, instrumental, and
physical responses to a selection

Transfer
Students will be able to independently use their learning to
Lesson 1
Recognize the language of the song Hava Nagila
Speak with clarity the lyrics of the first section of the song
Accurately sing the notes of the first section
Report a few facts about Israeli culture (such as what happens in Jewish celebrations
Exhibit proper singing technique and posture
Lesson 2
Sing with accuracy the pitches and words in the second section of Hava Nagila
Count and clap the rhythm of a more difficult rhythmic measure of the section
Identify basic melodic direction by tracing the direction of the notes with their hands
Reach higher notes by using more breath support and lifting the soft palate
Sing with confidence one section (either the first or the second) while I sing the opposite part at the same time
Lesson 3
Sing the melody confidently with only a few mistakes
Identify melodic direction with familiarity (as they did this in the last class)
Keep a steady rhythm/ostinato when playing a bass line on the xylophone
Compose a one measure ostinato with a group
Perform/clap the ostinato composed for the other students in the class
Lesson 4
Recall and sing the three sections of Hava Nagila
Sing one section independently while I (or another group of students) sings another section
Move to the dance steps of the first and second section of the song
Keep time with the macro beat of the song
Identify the context in which Hava Nagila was written and is celebrated
Lesson 5
Sing the entire melody of Hava Nagila with few mistakes
Project with a healthy singing voice and will listen to their voices so that they match pitch with the group
Identify main definitions and ideas associated with Hava Nagila
Perform the entire dance to Hava Nagila, with more confidence in the steps of the first section
Play an ostinato pattern on the xylophone that they composed in earlier classes while others dance and sing
(What kinds of long-term independent accomplishments are desired?)

Meaning

Based on Wiggins and McTighe (2011) The Understanding by Design Guide to Creating High-Quality Units and Van Brummelen (2002) Steppingstones to
Curriculum

presented in 3rd grade.

ART.M.IV.3.2 Describe how elements of
music are used in examples from world
cultures, using music performed and
presented in 3rd grade.

(What content standards and programor mission-related goal(s) will the unit
address?
What habits of mind and crossdisciplinary goal(s)- for example 21st
century skills, core competencies- will
this unit address?
Include source and identifying number)

UNDERSTANDINGS
Students will understand that
The meaning of the lyrics in Israeli
Historical significance of both pieces in their
traditional folk background
Habits of singing with correct posture and
sound
(What specifically do you want students to
understand?
What inferences should they make?)

ESSENTIAL QUESTIONS
Students will keep considering
What cultural values are shown in this piece?
What would it be like to live in this culture and
participate in those activities?
How are these cultures like mine? How are they
different?
How can I convey the meaning of the
piece/lyrics to an audience that speaks a
different language?

(What thought-provoking questions will foster inquiry,

meaning- making and transfer?)

Acquisition of Knowledge, Skill and Values/Commitments/Dispositions

Students will know
Students will be skilled at
Students will exhibit
A basic background of pitch
Singing with pitch accuracy
An openness to learning
and rhythm notation
and matching with the group
about the traditions and folk
songs of another culture
Experience from past
Singing the correct rhythm
Effort to sing independently
concerts and the correct
and following the conductor
performance behavior
at a steady pace
or in a small group
Classroom expectations and
Taking into consideration the A willingness to appreciate
respectful behavior
performance notation in the
the music of a different time
music
and
applying
it
to
and culture
How to work on music
rehearsal
A willingness to memorize
independently or in a small
Singing in a second
group
the music
language with correct diction Engagement in dancing and
(What facts and basic concepts
and pronunciation
instrumental performance
should students know and be
activities
able to recall?)

Evaluative Criteria
A rubric will be used to evaluate
students performance and progress.
(see rubric in Lesson 3 and 5)

(What discrete skills and processes

should students be able to use?)

(What values and commitments and

attitudes should students acquire or
wrestle with?)

Stage 2- Evidence
Students will show their learning by
PERFORMANCE TASK(S):
Singing with correct posture and technique
Unifying their voice to a group setting
Notating rhythms and performing composed rhythms in groups
Memorizing Hebrew lyrics and the melody

Based on Wiggins and McTighe (2011) The Understanding by Design Guide to Creating High-Quality Units and Van Brummelen (2002) Steppingstones to
Curriculum

(What criteria will be used in each

assessment to evaluate attainment of
the desired results?)
(Regardless of the format of the
assessment, what qualities are most
important?)
Students should extend a willingness to
listen to their own voice and sing with
the group
They should also extend courtesy and
respect when watching others perform
and when dancing in large groups

Memorizing dance steps and performing them with accuracy

(How will students demonstrate their understanding- meaning-making and transfer- through complex
performance?)

OTHER EVIDENCE:
An engaged attitude (asking questions, singing with personal connection to the meaning of the
words)
Outward physical singing posture and mouth shape is correct
Worksheets with a composed rhythm written on it
(What other evidence will you collect to determine whether Stage 1 goals were achieved?

Based on Wiggins and McTighe (2011) The Understanding by Design Guide to Creating High-Quality Units and Van Brummelen (2002) Steppingstones to
Curriculum

Stage 3- Learning Plan

(What pre-assessments will you use to check students prior knowledge, skill levels, and potential misconceptions?)

see below
Learning Events
Student success at transfer, meaning, and acquisition depends upon their
participation in these learning events
Day 1: Small rhythm breakdown, Partner 1A and 1B sections, background
information
Day 2: Review of 1A and 1B, new partner 1C, introduce dance
Day 3: Review 1A-1C, new 2A and 2B section, 1st and 2nd section of dance
Day 4: Review 1A-2B, new 2C, 1st through 3rd section of dance
Day 5: Entire dance, Entire song
Lesson 1

Pre-assessment (for learning):

The rhythm exercise will gauge how much the students have retained from
the previous rhythm unit and will test how they incorporate a new note/rest
into their understanding of notation

Progress Monitoring

(How will you monitor students

progress toward acquisition,
meaning, and transfer during
lesson events?)
I will be using rubrics to monitor
progress throughout the unit in 3
areas: vocal
understanding/development,
rhythmic notation, and
ability/memory to dance the
correct steps. I will also be
monitoring correct posture and
vowel position and doing informal
assessments throughout each
class. I will check for memorization
through small group assessment.

Formative (for learning):

While repeating the phrases of the first section, I will assess where each
students singing abilities are and how they are pronouncing the text. I will
listen for ability to match pitch, understanding of the text, and correct
production of sound.

Formative (as learning):

I will start to sing less and listen more for each row of students as they sing the full
first section of the piece. I will look for their memorization of the melody and their
intonation as they appropriate the tricky intervals in the phrases.
Summative- N/A
Lesson 2
Pre-assessment (for learning):

I will play the first part of the first section (1A) of Hava Nagila on the piano
without the words on the screen. I will ask the students if they remember the
words to this part, and then we will sing it together. Then I will see if the
students know the words and notes to the second part by giving them the
first measure by playing and singing and seeing if they can finish the rest of
it on their own.
Formative (for learning):

As students repeat the phrases back to me (both diction and with notes) I
will look for pure vowel shape and facial engagement. I will also check to see
that each student is singing with correct posture and breath support and is
listening to their voice.

(How will students monitor

their own progress toward
acquisition, meaning, and
transfer?)

Students will give feedback to each

other after xylophone rhythm
performances. They will also be
verbally reminded if it doesnt sound
like they are matching pitch and will be
using techniques to listen to their own
voice while they sing.

(What are potential rough spots

and student misunderstandings?)

Students may have difficultly

learning another language or
connecting with traditions that
might be very different from
their own. I will encourage them
to learn each piece bit by bit
and to try to place themselves
in anothers shoes.

Based on Wiggins and McTighe (2011) The Understanding by Design Guide to Creating High-Quality Units and Van Brummelen (2002) Steppingstones to
Curriculum

Formative (as learning):

I will listen to see if students are hitting the high note at the end of the
second part. If some of them are struggling, I will try to incorporate body
movements or vocalieses (such as sighs) to help them adjust their voice. I
will then listen for improvement and see if they sound more unified after the
vocalieses/helpful motions. I will also be watching the directions of their
hands to see if they understand the concept of melodic direction.
Summative: N/A
Lesson 3
Pre-assessment (for learning):

I will ask the students what they remember about the second section, and
what they should remember to do on the high notes (expand their hands,
gather more breath support). I will ask them what the words mean, and what
the context of the song is.
Formative (for learning):

At the end of the lesson I will ask them to explain what an ostinato is and
how they just composed it. This will review their skills in composition and
how their composition fits into Hava Nagila.

(How will students get the

feedback they need?)
I will daily give feedback about how
they are doing on the piece and
what they can do to improve. I will
continually add on new folk
song/musical information to
reviewed information at the start of
each class. I will ask them
questions each class are paying
attention and participating. I will
also take informal assessments on
memorization and may issue a
verbal reminder to correct posture
encourage them to match pitch if
necessary.

Formative (as learning):

Students will perform their composed rhythm in front of the class. I will
watch to see if they are keeping in time with their group and if they are
following the notation correctly.
Summative: N/A
Lesson 4
Pre-assessment (for learning):

I will ask students if they know anything about Israeli cultural celebrations. I
will also check to see how much of the melody they have memorized
Formative (for learning):

I will watch students to see who is having more trouble with the dance steps
than others. I will come beside them and demonstrate for them as needed
until they get the concepts of which directions they need to go.
Formative (as learning):

I will ask students to dance without me to see if they can do the steps on
their own.
Summative ::::::
Lesson 5
Pre-assessment (for learning):

Students are matching definitions about aspects of the folk song with key
terms on the board.
Formative (for learning):

I will watch to see who may still have trouble with the grapevine step and try
to help them coordinate their feet.
Formative (as learning):

Students will be dancing the last part of the dance steps while I watch to see
Based on Wiggins and McTighe (2011) The Understanding by Design Guide to Creating High-Quality Units and Van Brummelen (2002) Steppingstones to
Curriculum

if they can do it without my help.

Summative (of learning):
I will grade for improvement by using a rubric when students are playing the
xylophone. I will check to see if they are following the pace of the rest of the
groups and if they are able to play the correct rhythm as an ostinato. I will
also be checking their reflection assignments to see what they have learned
about the Jewish celebration traditions and the context of Hava Nagila.
Dances, physical movement, and call-and-response will be participatory
activities in which the students will need to engage in order to do well on the
piece and quiz.
The memorization will be participation based
Small groupings of information will be given to the students each class and
will be accumulated over the weeks of class, in which questions for review
and for new information will be asked each time

Based on Wiggins and McTighe (2011) The Understanding by Design Guide to Creating High-Quality Units and Van Brummelen (2002) Steppingstones to
Curriculum