Curriculum for Secondary General Music Class Emily Kinnunen, Tara Foley, Matt Johnson, Emily Rodeck, Tim

Malone

1. Age Level: 8th Grade

2. Big Question: How do artists express their reactions to world events? 3. Course Description People are constantly protesting something, from war to civil injustice. People are also constantly created new art. Through this course, students will explore how people oppressed throughout history have reacted through artistic outlets. Students will ultimately create their own protest responses. 4. Course Summative Assessment Students will form groups of 3-5 and compose songs in protest of cutting funding for the arts in public schools. Students will compose in a style of one of the units discussed with the use of classroom instruments. These songs will be presented at school board meetings and sent to state government offices responsible for educational funding. 5. Course Learning Goals (National Standards) NS 1 - Students will be able to sing accurately when singing their compositions about various protest songs. NS 2 - Students will be able to play instruments accurately and independently when performing protest songs, either of their own creation or as covers of pre-existing songs. NS 3 - Students will be able to read and notate sheet music given about protest songs and dictate rhythms within protest songs.

NS 4 - Students will be able to improvise short melodies based on protest songs discussed in class. NS 5 - Students will be able to compose a protest song based on requirements for individual units within the course. NS 6 - Students will be able to analyze, discuss, and describe how lyrics and music interplay in protest music. NS 7 - Students will be able to understand the relationships between various artistic mediums and music within protest music. NS 8 - Students will be able to understand and explain the affects historical events have on music of that time period. NS 9 - Students will be able to create a rubric to critique fellow students compositions based on a protest topic. 6. Units 1. Protest Music of the American Revolution 2. Protest Music of the Holocaust 3. Vietnam War Era Protest Literature 4. Protest Music of Cold War Russia 5. Apartheid in South Africa

Unit 1: Protest Music of the American Revolution by Emily Kinnunen

1. Unit 1 Description: This unit will cover how music was used as a form of protest during the American Revolution. Both the British and American forms of protest music will be discussed throughout the unit as well. Also, musical forms and importance of lyrics will be discussed. 2. Unit 1 Objectives: 1. Students will create and perform a composition based on colonial melodies with lyrics influenced by the emotions of the American Colonists During the American Revolution. The melody will be composed in the Dorian mode and with asymmetrical rhythms. (NS 1, 2, 5) 2. Students will display their ability to notate music through identifying the general rhythmic structure of Colonial tunes. (NS 3) 3. Through listening to many recordings, improvise on respective instruments in a style that is similar to the songs sung during the American Revolution. (NS 4) 4. Students will discuss the vocal technique of colonial singers compared to operatic singers. (NS 6) 5. Students will determine the origin of revolutionary songs used by listening to type of scales used, instrumentation, and lyrics. Students will also determine what type of dance and/or march is associated with certain melodies. (NS 6) 6. After listening to a piece, students will determine the meter and prominent rhythms of the song. (NS 6)

7.

Students will make connections between artistic depictions of life in the colonies and Great Britain during the revolution (paintings, sketches, etc.) and the lyrics and style of music of the colonies and British soldiers. (NS 7)

8.

Students will discuss the impact of life during the American Revolution when analyzing the altered lyrics of various colonial songs. (NS 8)

9.

Students will create a rubric to evaluate the musical performances of fellow students of their own interpretations and performances of colonial music. (NS 9)

3. Materials: a. Classroom instruments Orff instruments, keyboards, guitars, drums, and various instruments from the students (orchestra and band instruments) b. Texts: i. American Revolutionary War Songs to Cultivate the Sensations of Freedom by Arthur F. Schrader ii. Liberty! The American Revolution by PBS c. Audio (CDs): i. Music of the AMERICAN REVOLUTION - The Sounds of Ancient Fifes and Drums performed by the Nathan Hale Ancient Fifes and Drums ii. Music of the American Revolution: The Birth of Liberty performed by various artists iii. American Revolutionary War Songs to Cultivate the Sensations of Freedom sung by Arthur R. Schrader

iv. Revolution: Songs of the Revolutionary War produced by John Mock

d. Visuals: i. Internet: 1. National Park Services Online Museum for the American Revolution <http://www.nps.gov/museum/exhibits/revwar/guco/gucomusic.htm l> 2. Revolutionary War Music <http://revolutionarywarantiques.com/Revolutionary-War-Music> 3. US Historys Songs of the Revolution <http://www.ushistory.org/carpentershall/edu/songs.htm> ii. DVD: none iii. Film: 1. Episode 5 from the Liberty! PBS series iv. Art: 1. "Nathan Hale" by Don Troiani 2. Libertys Exiles: American Loyalists in the Revolutionary World by Maya Jasanoff 3. Battle of Bunker Hill by Percy Moran 4. Various Political Cartoons from throughout the Revolutionary War

4. In-Class Activities a. Students will perform a traditional colonial march/song. Students will use the figured bass to create an accompaniment line using classroom instruments and a vocalist. (NS 1, 2, 5) b. Students will dictate the rhythm heard throughout songs of the American Revolution and create songs based on these rhythms. (NS 3, 5) c. Students will listen to multiple tracks from Songs of the Lodz Ghetto and determine the mode and scales used in the colonial songs (NS 6) d. Students will discuss the importance of the lyrics within the colonial songs within the major cities of the colonies seen throughout newspapers of the colonists during the American Revolution. (NS 8) e. Students will form groups of 3-4 to create a composition based on artistic depictions of life in the colonies (paintings, sketches, etc.) and the lyrics and style of music of the American Revolution. (NS 7) f. Students will listen to many recordings and improvise on respective instruments in a style that is similar to the songs sung during the American Revolution within the colonies. (NS 4) 5. Formal Assessment a. Students will turn in a portfolio containing all their compositions, dictations, and notes from lectures. The notebook will be graded on completeness.

b. Students will create a rubric to evaluate the musical performances of fellow students of their own interpretations and performances of colonial music. (NS 9)

Unit 2: Protest Music of the Holocaust by Tara Foley

1. Unit 2 Description: This unit will cover how music was used as a form of protest during

the Holocaust, particularly in the ghettos and concentration camps. Musical forms and importance of lyrics will be discussed.

2. Unit 2 Objectives:

a. Students will create and perform a composition based on a Jewish folk melody with lyrics influenced by the emotions of Holocaust victims. The melody will be composed in the Dorian mode and with asymmetrical rhythms. (NS 1, 2, 5) b. Students will display their ability to notate music through identifying the general rhythmic structure of Jewish folk songs. (NS 3) c. Through listening to many recordings, improvise on respective instruments in a style that is similar to the folk songs sung in the ghettos. (NS 4) d. Students will discuss the vocal technique of folk singers compared to operatic singers. (NS 6) e. Students will determine the origin of folk songs used by listening to type of scale used instrumentation, and language. Students will determine what type of dance is associated with certain folk melodies. (NS 6) f. After listening to a piece, students will determine the meter and prominent rhythms of the song. (NS 6)

g. Students will make connections between artistic depictions of life in the ghettos and concentration camps (paintings, sketches, photographs, etc.) and the lyrics and style of music of the ghettos and concentration camps. (NS 7) h. Students will discuss the impact of life during the Holocaust when analyzing the altered lyrics of various folk songs. (NS 8) i. Students will create a rubric to evaluate the musical performances of fellow students of their own interpretations and performances of folk music. (NS 9)

3. Materials a. Classroom instruments i. Orff instruments, keyboards, guitars, drums, and various instruments from the students (orchestra and band instruments) b. Texts: None c. Audio (CDs):
i. ii.

Brave Old World. Song of the Lodz Ghetto. Rec. 14 June 2005. Winter & Winter, 2005. CD. "Tsi Darf Es Azoy Zayn? Does It Have to Be This Way?" Heartstrings. Music of the Holocaust. Yad Vashem, 2012. Web. 23 Apr. 2012. <http://www1.yadvashem.org/yv/en/exhibitions/music/vilna_tsi_darf.asp> d. Visuals:

i. ii. iii. iv.

Internet: none DVD: none Film: none Art:

1. "A Holocaust Art Exhibit." Modern American Poetry. Department

of English, University of Illinois at Urbana-Champaign. Web. 23 Apr. 2012. <http://www.english.illinois.edu/maps/holocaust/art.htm>. 4. In-Class Activities a. Students will perform a traditional ghetto folk song. Students will use the figured bass to create an accompaniment line using classroom instruments and a vocalist. (NS 1, 2, 5) b. Students will dictate a rhythm of many common Jewish folk songs and create songs based on these rhythms. (NS 3, 5)
c. Students will listen to multiple tracks from Songs of the Lodz Ghetto and determine

the mode and scales used in the folk songs (NS 6) d. Students will discuss the importance of the lyrics within the altered folk songs within the concentration camps and ghettos of the Jewish people during the Holocaust. (NS 8) e. Students will form groups of 3-4 to create a composition based on artistic depictions of life in the ghettos and concentration camps (paintings, sketches, photographs, etc.) and the lyrics and style of music of the ghettos and concentration camps. (NS 7)
f.

Students will listen to many recordings and improvise on respective instruments in a style that is similar to the folk songs sung in the ghettos. (NS 4)

5. Formal Assessment

a. Students will turn in a notebook containing all their compositions, dictations, and notes from lectures. The notebook will be graded on completeness, b. Students will create a rubric to evaluate the musical performances of fellow students of their own interpretations and performances of folk music. (NS 9)

Betty Segal. "Tsi Darf Es Azoy Zayn?" Rec. 1946. 1946. Tsi Darf Es Azoy Zayn? Does It Have to Be This Way? Yad Vashem. Web. 24 Apr. 2012. <http://www1.yadvashem.org/yv/en/exhibitions/music/vilna_tsi_darf.asp>.

Unit 3: Vietnam War Era Protest Literature by Matt Johnson 1. Unit 3 Description: This unit will cover the art and history of protest songs during the Vietnam War Era (1960s and early 1970s). Protest songs and videos will be used. 2. Unit 3 Objectives:
a. Students will be able to analyze and identify the underlying meanings and

themes in Vietnam War protest music. (NS 5,6,8,9)

b. Students will be able to examine different types of popular musical instruments

used in the Vietnam Era (NS 9)

c. Students will be able to compose their own protest song about current and on-going

events using popular instruments used in the Vietnam Era (NS 1,2,4,5)
d. Students will be able to make variations and parodies of Vietnam protest songs.

(NS 3) e. Students will be able to explore the history and culture of the 1960s in the United States.

3. Materials:
a. Classroom Instruments:

i. Acoustic Guitar/Bass, Electric Guitar/Bass, Drum Set, Harmonica, Orff Instruments and Tambourine. (Required Instruments) b. Texts: i. Books: 1. Battle Notes: Music of the Vietnam War by Lee Andressen.

ii. Internet: 1. Lyrics for White Boots Marching in a Yellow Land by Phil Ochs and Give Peace a Chance by John Lennon
c. Audio (CDs):

i. In Country: Folk Songs of Americans in the Vietnam War By Various Artists. d. Videos: i. Internet: None ii. DVD: 1. Full Metal Jacket (1987)
2. Good Morning Vietnam (1987)

3. Platoon (1986) 4. Apocalypse Now (1979). 4. Student Projects:

a. Students will engage in conversation styled lectures that cover the history and art of

music in the Vietnam War Era (NS 5, 6, 7, 8, 9)

b. Students will work in groups and compose/perform 2 protest songs. One has to use

required instruments and write appropriate lyrical context of the Vietnam War, the other can use any instrument and can have any appropriate lyrical content of Current Events. (NS: 1, 2, 3, 4, 5) (A,V, K)
c. Students will explore and study the genre of protest music in the Vietnam Era. (NS

6, 7, 8, 9) (A)

d. Students will engage in short listening exams that only contain music from the

Vietnam Era. (NS 6) (A)

e. Students will perform a series of war protest songs that were popular in the 1960s.

(A, V, K) 5. Formal Assessment:

a. Students will write a 3-5-page paper describing the difference in genre (Rhythm,

Style, Instruments, Lyrics) and culture from the Vietnam War to other Eras like WWII, Cold War, and American Revolution. Etc. Students will also individually compose their own protest song using only vocals and an acoustic guitar. (NS 1, 2, 4, 5, 6, 8, 9). (A, V)

Unit 4: Protest Music of Cold War Russia by Emily Rodeck

1. Unit 4 Description: This unit will focus primarily on songs written by Russian composers

protesting the Soviet regime. It will explore different musical genres, such as protest in the classical genre, the singer-songwriter genre, and others. For contrast, a few examples of Western songs protesting the same conflict will be presented in order to examine the difficulty of musical expression under oppressive regulation.
2. Unit 4 Objectives:

a. The students will experience singing a bardic protest song in the original Russian (pronunciation assisted by either a native speaker or listening to original recordings or both). (NS 1, NS 9) b. The students will become more familiar with improvisation techniques through practice, imitating the style of the Russian bards and focusing on the minor mode. (NS 1, NS 2, NS 3) c. The students will study and understand the connections between historical events and the compositional and performance techniques used in Russian music of the mid-twentieth century. (NS 6, NS 7, NS 9) d. The students, in small groups, will compose a short piece in a singer-songwriter style, focusing on the fitting of the text of a poem to a musical composition. (NS 4, NS 5, NS 6)
e. The students will analyze music written in a classical style, becoming more familiar

with some of the chordal progressions, which are commonly found in classical Russian music. (NS 5, NS 6)

f. The students, in small groups, will compose a short piece in a classical style, focusing on communicating emotion without words to assist in the communication. (NS 4, NS 5, NS 6) g. The students will perform their group compositions for the class. While they do this, their peers will write short responses to an open-ended rubric (including questions about form, harmony, melody, and the emotional aspect of the compositions performed). (NS 1, NS 2, NS 7) 3. Materials a. Classroom Instruments: i. Typical classroom instruments (barred instruments, basic percussion, piano) b. Texts:
i. MacDonald, Ian. "Music under Soviet Rule: Witnesses for TheDefence."

Southern Illinois University Edwardsville. Southern Illinois University. Web. 21 Apr. 2012. <http://www.siue.edu/~aho/musov/witness/wit.html>. c. Audio (CDs):
i. Mariss Jansons. Shostakovich: The Complete Symphonies. Symphony No.

7. EMI Classics. CD.

ii. Yuliy Kim. Yuliy KimThe Best Songs. CD.

d. Visuals:
i. Internet: 1. YouTube videos/recordings of bards singing their pieces:

2. "THE PAPER SOLDIER Bulat Okudzhava." YouTube. YouTube,

25 Aug. 2008. Web. 23 Apr. 2012. <http://www.youtube.com/watch?v=eRwTmKxVKxg>.

ii. DVD: none iii. Film: none iv. Art: 1. "Gulag: Soviet Forced Labor Camps and the Struggle for Freedom."

Gulag: Many Days, Many Lives. George Mason University. Web. 23 Apr. 2012. <http://gulaghistory.org/nps/onlineexhibit/stalin/crimes.php>.
2. "Life in Soviet Russia: Private Moments." English Russia. 8 Feb.

2008. Web. 21 Apr. 2012. <http://englishrussia.com/2008/02/04/life-in-soviet-russia-privatemoments/>. 4. In-Class Activities: a. The class will choose a protest song by one of the bards discussed in lectures and perform this song vocally. (NS 1)
b. The students will engage in improvisation activities based in the common

modalities of Russian folk and singer-songwriter music. These improvisational compositions can be played on any typical barred instrument, a piano, or they can be sung on any syllables or words. (NS 1, 2, 3)

c. Students will read short accounts of Shostakovichs anti-Soviet musical expression

and discuss its appearance in the pieces presented (for instance, Symphony No. 7). (NS 6, 9)
d. The students, divided into groups, will compose a short piece (perhaps 16 measures

or so), which places the text of a chosen poem in the mode and rhythmic style of the singer-songwriters (or bards). (NS 4, 5, 8)
e. Given a written excerpt, the students will analyze music by Shostakovich, paying

attention to the typical traditions of Russian classical music discussed in lectures, becoming familiar with some typical chordal paradigms. (NS 5, 6)
f. Linking the concepts of pseudo-programmatic classical music expressing emotion

with composition, the students will experiment with writing a short piece of music to express a powerful emotion of their choice without lyrics. (NS 4, 5, 6)
g. The students will perform their group composition for the class, while their peers

write short responses to a pre-written rubric concerning the groups performance. (NS 1, 2, 7)
5. Formal Assessment:

a. At the end of the unit, the students will turn in a collection (in a folder, binder, or other easy form) of their compositions, analysis projects, and notes from the units discussions.
b. When the students perform their group compositions, they will be evaluated by

their peers and their instructor.

Unit 5: Apartheid in South Africa by Tim Malone

1. Unit 5 Description: This unit will cover how music was used as a form of inspiration and

bonding among the workers in South Africa, and how its meaning and prevalence have evolved with the historical events in the past fifty years. 2. Unit 5 Objectives: a. Students will display their ability to notate music through identifying the rhythmic structure of Shosholoza. (NS 3) b. Students will create and perform a composition based on the rhythmic and melodic style of traditional South African folk songs while incorporating lyrics that reflect the historical significance of Apartheid. (NS 1, 2, 5) c. After listening to a piece, students will determine tonality, meter, and a vague sense of tempo. (NS 6) d. By listening to multiple examples of traditional South African folk songs, students will improvise on respective, traditional instruments in a similar style. (NS 4) e. Students will discuss the historical significance and impact of life during the period of Apartheid when analyzing the translations of lyrics of songs. (NS 8) f. Students will discuss and draw connections between the physical labor and separation imposed by Apartheid and the music of the songs sung. (NS 7) g. Students will create a rubric to evaluate their fellow students musical performances. (NS 9) 3. Materials
a. Classroom instruments:

i. A variety of traditional South African drums

b. Texts:

i. Translations of lyrics
c. Audio (CDs):

i. Shosholoza (performed solo and in choir form)

d. Visuals:

i. Staff/melody drawn on the board ii. Lyric sheets

iii.

4. In-Class Activities a. Students will create and perform a traditional South African song on the topic of Apartheid. Students will create and realize their own vocal harmonies. (NS 1, 2, 5) b. Students will discuss the importance and relevance of the lyrics of each traditional folk song. (NS 8) c. By listening to multiple examples of traditional South African folk songs, students will improvise on respective, traditional instruments in a similar style. (NS 4) d. Students will listen to and dictate rhythms used in common South African folk songs, then create new rhythms using those as a basis. (NS 3, 5)

e.

Students will form small groups and listen to an account of Nelson Mandelas time in prison and his view of the future for South Africa, then create a composition based on this account. (NS 7)

5. Formal Assessment a. Students will create a rubric to evaluate their fellow students musical performances of both cover and original music. (NS 9) b. Students will keep and turn in a portfolio containing their compositions, notes from lecture, dictations, and other miscellaneous materials. Notebooks will be graded on effort, completeness, and how well the topic was grasped.