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Visual & Performing Arts – K – 6

Vertical Alignment Matrix

New Jersey Core Curriculum Content Standards:

1.1 and 1.2, respectively, articulate required knowledge and skills concerning the elements and principles of the arts, as well as arts history and culture. Together,

the two standards forge a corollary to the NAEP Arts process of creating. Standard 1.1 includes four strands, one for each of the arts disciplines: A. Dance, B. Music,

C. Theatre, and D. Visual Art; standard 1.2 includes a single strand: A. History of the Arts and Culture.

Standard 1.3 is rooted in arts performance and thus stands as a corollary to the NAEP Arts process of performing/interpreting. Like Standard 1.1, standard 1.3 is

made up of four arts- specific strands: A. Dance, B. Music, C. Theatre, and D. Visual Art.

Standard 1.4 addresses two ways students may respond to the arts, including (1) the study of aesthetics and (2) the application of methodologies for critique.

Standard 1.4 provides a corollary to the NAEP Arts process of responding. This standard pertains to all four arts disciplines, and is comprised of two strands related

to the mode of response: A. Aesthetic Responses and B. Critique Methodologies.

Matrix (2014-2015)

Music: Creative Process: Aligns to the NJCCCS for Visual & Performing Arts: Standard 1.1 The Creative Process: All students will demonstrate an understanding of the elements and principles that govern the creation of works of art in dance, music, theatre, and visual art.

Strand Kindergarten Grade 1 Grade 2 Grade 3 Grade 4 Grade 5 Grade 6

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1.1.2.B.2 1. Identify fast and slow tempi. Keep a steady beat, echo, clap and/or play various rhythms. 2. Identify various non-pitched percussion

1.1.2.B.2 1. Identify tempo as gradually speeding up or slowing down steady or unsteady beat. 2. Identify adult female

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Strand Kindergarten Grade 1 Grade 2 Grade 3 Grade 4 Grade 5 Grade 6 instruments (timbre). 3. Identify terraced dynamics. 4. Identify AB form, echo. 5. Identify melodic direction as up or down.

voice/child’s voice, identify various instruments of like register, and describe the differences in metal barred/wood barred instruments. 3. Identify dynamics as loud, soft, medium, and loud. Use dynamics appropriate to the style of the music. 4. Identify the forms of call and response, verse and refrain, ABA. 5. Identify step/leap and same/different patterns in a melody, and identify tonal center and melodic patterns using basic solfeggio. 6. Identify strong beat, short and long notes/rests.

1.1.2.B.2 and

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Strand Kindergarten Grade 1 Grade 2 Grade 3 Grade 4 Grade 5 Grade 6 1.1.2.B.4 1. Demonstrate a syncopated pattern, meter of two, meter of 3, tied notes, fermata, and strong/weak beat. 2. Identify the four musical families and describe the characteristics of each family. 3. Demonstrate terms: piano, forte, and crescendo, decrescendo. 4. Identify forms: AABB, AABB, solo/chorus 5. Demonstrate pitch patterns using expanded solfeggio vocabulary

1.4.8.A.1 1.4.8.A.6 1. Differentiate how “traditional” and non-traditional composers

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Strand Kindergarten Grade 1 Grade 2 Grade 3 Grade 4 Grade 5 Grade 6 employ elements of style to express new ideas in contrasting pieces of memorial music such as An American Elegy by Frank Ticheli and Penderecki’s Auschwitz Oratorium and generate an emotion and observational response to the music. 2. Differentiate ways “traditional” non-traditional music employ elements of style to invoke emotional responses in the listener and apply those elements of style to musical performance. 3. Analyze the basic formal structures and technical proficiency of master artists of a particular instrument in various style with

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Strand Kindergarten Grade 1 Grade 2 Grade 3 Grade 4 Grade 5 Grade 6 a given genre such as jazz or swing and employ similar applications of style to musical performance.

1.1.5.B.1

1.1.5.B.2 1. Identify and sing or play steady beat in duple and compound meter. 2. Read and perform rhythms using dotted-half and whole notes. 3. Classify orchestra instruments into families (brass, strings, woodwinds, percussion) and by pitch range. 4. Identify and sing or play mezzo (mp, mf), pp/ff; accelerando, ritardando; legato/staccato 5. Identify forms: ABACA (rondo);

1.1.5.B.1 1.1.5.B.2 1. Identify and perform steady and off-beat in duple (2/4, ¾, 4/4) and compound meter *6/8) 2. Read and perform; syncopated rhythms, dotted eight note/sixteenth noes rhythms. 3. Identify vocal ranges; soprano, alto, tenor, bass 4. Compare and contrast instrumentation from diverse cultures. 5. Identify and perform sudden changes (subito); allegro, moderato, adagio,

1.1.5.B.1 1.1.5.B.2 1. Identify and perform steady beat and off-beat in duple, compound and cut-time meter. Read and perform dotted quarter-note/eighth note/ eight rest. 2. Identify tone qualities produced by symphony orchestra, concert band, Son Jarocho (Mexican), Gamelan (Indonesian), marching band, dance band, military band, rock band, synthesized sounds, electric guitar, a capella

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Strand Kindergarten Grade 1 Grade 2 Grade 3 Grade 4 Grade 5 Grade 6 D.C. al fine (ABA); first and second endings; D.S. al fine. 6. Identify, read, and sing melodic patterns using “sol,-la,-do-re-mi-so-la.” Identify G-Clef; name letter names of lines and spaces. 7. Identify and sing home tone; Compare and contrast unison with choral harmony.

accelerando, ritardando, presto, andante 6. Identify introduction, interlude, coda, D.C. al fine (ABA); first and second endings. 7. Identify, read, and sing: melodic patterns using “Sol,-La,-Do-Re-Mi-Fa-So-La-Do’ including upward/downward melodic intervals by skip, step and leap.

singing. 3. Identify allegretto, lento, fermata 4. Identify motive, ballad, 12-bar blues, theme/variations, march, overture, finale and movement. 5. Identify, read and sing melodic patterns using solfege syllables of the diatonic scale and si in harmonic minor in higher and lower octaves, whole and half steps. 6. Derive and ID Bb (fa in key of F, F# (ti) in the Key of G. 7. Identify, construct, notate and perform I, IV, and V7 chords. 8. Identify accents, pizzicato, slurs, phrasing.

1.1.8.B.1 1.1.8.B.2 1. Identify and

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Strand Kindergarten Grade 1 Grade 2 Grade 3 Grade 4 Grade 5 Grade 6 demonstrate the differences in rhythms various musical forms utilized in different cultures and historical eras. 2. Identify the differences of melody between different styles and genres of music. 3. Analyze the form of symphonies and program music from the Romantic Period. 4. Describe how tempo is employed in marches from various styles and cultures (e.g. funeral, circus, military, British, German, Italian, etc.) 5. Identify specific rhythms in dance music from different cultures and historical eras (e.g. clave, rhumba, cha-cha,

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Strand Kindergarten Grade 1 Grade 2 Grade 3 Grade 4 Grade 5 Grade 6 rondeau, pavane, etc.) 6. Identify and analyze the differences of melody between folk music forms. 7. Analyze how harmony evolved from the Classical Period to the Romantic Period.

Music: Performing: Aligns to the NJCCCS for Visual & Performing Arts: Standard 1.3 Performing: All students will synthesize skills, media, methods, and technologies that are appropriate to creating, performing, and/or presenting works of art in dance, music, theatre, and visual art.

Strand Kindergarten Grade 1 Grade 2 Grade 3 Grade 4 Grade 5 Grade 6

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1.3.2.B.3 1. Sing from basic notation in the treble clef with consideration of pitch, rhythm, dynamics and tempo. 2. Play a steady beat with dynamics (i.e., loud and soft) on an Orff instrument using a single mallet. 3. Perform an ostinato using an unpitched percussion instrument with or without mallet.

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4. On a single percussion instrument use proper playing techniques to create different dynamics. 5. Demonstrate the proper way to play instruments that are scraped, struck and shaken either using orff instruments or using ordinary items from around the classroom or home (e.g. cereal boxes, canisters, plastic tubs). 1.3.2.B.2 1. Perform on pitch, and echo songs with the teacher as the leader and the class/soloist as the echo 2. Perform songs in proper head voice within the range of C4 – C5. 3. Perform songs using proper posture in sitting and standing positions. 4. Perform songs using proper breathing techniques for phrasing and tone

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production. 5. Perform songs using proper vocal techniques to vary dynamic levels.

1.3.2.B.1 1.3.2.B.2 1. Read and perform combinations of quarter notes, two eights and quarter rests by clapping and counting aloud. 2. Read, sing or play various combinations of do-mi-sol-la from a two to five line staff using quarter note and/or two eighth notes rhythms. 3. Using do-sol, read and perform an ostinato on a pitched barred instrument using quarter notes and/or two eight notes and/or quarter rests. 4. Clap or play on an unpitched percussion

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instrument a steady beat at various tempi as indicated on a two to five line staff or in response to images that indicate a particular speed (e.g., rabbit/tortoise) 5. Read and perform dynamics of f and p (forte and piano) through singing and playing of various rhythm instruments.

1.3.2.B.1 1.3.2.B.3 1. Clap, sing or play simple melodies, on pitch, from basic notation in the treble clef, with consideration of pitch, rhythm, dynamics, and tempo and following the director’s cues. 2. Perform an ostinato on Orff

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instruments or equivalent homemade rhythm instruments using quarter, two eighth notes and quarter rests. 3. Using a neutral syllable or solfeggio, sing or play an improvised simple melody on do-mi-sol-la with rhythms of quarter, two eight notes and quarter rests. 4. Using the pentatonic scale, improvise a melody using a combination of quarter, two eighth notes and quarter rests on barred instruments to create expressive ideas. 5. Improvise rhythms accompanied by a written rhythmic ostinato on rhythm

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instruments, instruments created from objects in the environment, or with vocal sounds using selected notes an/or scales to create expressive ideas.

1.3.2.B.1, 1.3.2.B.3, 1.3.2.B.6 1. Perform combinations of quarter, two eighths, half, tied, dotted half, whole notes, quarter rests and syncopated rhythms by clapping and counting aloud. 2. Read, sing/play various combinations of do-re-mi-sol-la, high do, low sol, low la from a five line staff using quarter, two eighth, half, tied, dotted half, whole notes, syncopated

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rhythms and quarter rests. 3. On pitched barred instruments, read/perform melodies or ostinatos using do-re-mi-sol-la, high do, low sol, low la. 4. Perform a different movement, use different percussion instruments or dynamics for each different section in AB, ABA, verse and refrain or rondo. 5. Sight read a rhythmic ostinato using combinations of quarter, two eighths, half notes, quarter rests and syncopated rhythms, on percussion instruments or with a counting system.

1.3.2.B.2, 1.3.2.B.4,

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1.3.2.B.5, 1.3.2.B.6 1.3.2.B.7 1. Perform songs or rounds, alone or with others using proper vocal placement and breathing techniques in the range of C4 – D5. Demonstrate proper posture and breathing techniques used to smoothly connect the registers, producing a uniform vocal tone quality. 2. Conduct a two beat pattern while others sing. The conducting pattern should reflect forte and/or piano or tempo. Create and perform other movements to reflect phrasing or emotions in the song. 3. Using call and response,

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improvise the rhythm in the response while keeping the melodic pattern used in the call. 4. Sing or play simple melodies in AB and ABA forms independently and in groups, and sight-read rhythmic and music notation up to and including eighth notes and rests in a major scale. 5. Vocally improvise a melody on a neutral syllable using the pentatonic scale. Start and end the melody on the home tone and improvise over an ostinato of do-sol. 6. Sing the neutral syllable “oo” horizontally then vertically using proper posture and breathing for

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different types of songs (e.g., lullaby, pop music, etc.).

1.3.5.B.1, 1.3.5.B.2, 1.3.5.B.3, 1.3.5.B.4 1. On pitched barred instruments or recorder, perform melodies in duple and triple meter, notated in treble clef, using note values from 8th-note to whole note/rest, pitches in pentatonic and diatonic scales, and dynamic changes. 2. Read and sing melodies using note values from 8th-note to whole note/rest, and pitches in and pitches in pentatonic and diatonic scales. 3. Sing rounds/canons, partner songs,

1.3.B.5.1 1.3.5.B.2 1.3.5.B.3 1.3.5.B.4 1. On pitched barred instruments or recorder play two part pieces in duple and triple meter notated in treble clef using note values from 16th note to whole note/rest, including dotted rhythms; and pitches in diatonic scales and dynamic changes. 2. Read and sing melodies using note values from 16th-note to whole note/rest, including dotted rhythms; and pitches in diatonic scales; and dynamic and tempo changes.

1.3.5.B.1 1.3.5.B.2 1.3.5.B.3 1.3.5.B.4 1. On pitched barred instruments and/or recorder perform three-part pieces in duple and triple meter notated in treble and bass clef using note values from 16th note to whole note/rest including syncopations and pitches in diatonic scales w/chromatic additions and dynamic and tempo changes. 2. Read and sing melodies using note values from 16th note to whole note/rest including syncopations and pitches in diatonic scales w/chromatic additions, dynamic and tempo changes. 3. Sing two part songs, descants, harmonies in parallel thirds or other harmonies using correct posture, vocal placement and

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and call and response, using correct posture, vocal placement, and breathing technique. 4. Improvise vocaleses in call-and-response form to a given vocal prompt; compose and perform an 8-bar melody for barred instrument or recorder, using a variety of note values and pentatonic pitches.

3. Sing rounds/canons, partner songs, and two-part songs, using correct posture, vocal placement, and breathing technique. 4. Improvise a vocal melody n call and response form to a given instrumental prompt; compose, notate, and perform an 8-bar melody for barred instrument or recorder, using a variety of note values and pentatonic pitches over an ostinato.

breathing technique. 4. Improvise a vocal melody over a given harmonic progression (blues, I/IV/V7 fold song, etc.); compose notate and perform a two-section piece (AB, ABA, etc.) for barred instrument or recorder using a variety of note values and pentatonic pitches over a bass melody.

1.3.5.B.2 1.3.5.B.3 1. Perform songs, rounds, and partner songs alone and with others, using proper vocal placement and proper posture

1.3.5.B.2 1.3.5.B.3 1. Perform unison songs, rounds, partner songs and descants alone and with others using proper vocal placement

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and breathing techniques to produce a uniform vocal tone quality in the range of A4-D5. 2. Improvise a vocal melody on a pentatonic scale over an ostinato of do-sol, ending on the home tone. 3. Improvise a melody on a pentatonic scale over an ostinato of do-sol played either on a barred instrument or recorder and end on the home tone. 4. Compose and score a four-bar melody in C major, 4/4/ time, resolving to the home tone while using note values as small as the 8th note.

and breathing techniques in the range of A4-D5 (making allowances for emerging cambiata voices). Demonstrate proper posture and breathing techniques to produce a uniform vocal tone quality and respond to expressive cues from a conductor. 2 .Improvise a vocal melody on a diatonic scale over a given harmonic progression using I-V7, and ending on the home tone using either solfege or a neutral syllable. 3. Improvise a melody on a diatonic scale over a given harmonic progression using I-V7 ending on the home tone played on barred

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instruments or recorder. 4. Compose and score two 4-bar melodies in F major and G major using note values as small as the 8th note in ¾ and/or 4/4 time and resolving to the home tone, using traditional instruments and/or computer programs.

1.3.5.B.2 1.3.5.B.1 1.3.5.B.3 1.3.5.B.4 1. Perform unison songs, descants and harmonizing parts in 3rds, alone and with others, using proper vocal placement and breathing techniques in the range of A4-F5 (making allowances for emerging cambiata voices). Sing accurately in octaves. Demonstrate proper posture and breathing techniques to produce a uniform vocal tone quality and respond to

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expressive cues from a conductor. 2. Sing choral music from complex notation in unison and two-parts, reading from choral octavos using treble and bass clef, mixed meter and compound meter. 3. Improvise a melody on a barred instrument, recorder or non-traditional instrument using a diatonic scale played over a given harmonic progression using I-IV-V7 and ending on the home tone. 4. Compose and score an 88-bar melody in either a major or minor key using note and rest values as small as the 16th note played in ¾ or 4/4 time and resolving to the home tone. 5. Describe how and demonstrate how the use of an antecedent/consequent phrase relationship and dynamic markings are used to achieve unity and variety, tension and release and balance in musical

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composition. 1.3.8.B.2

1.3.8.B.4 1. Sing folk songs from various Western cultures with and without endemic instrumentation using appropriate expressive elements. 2. Sing a variety of cultural and genre-specific vocally appropriate one, two and/or three part songs using appropriate expressive elements. 3. Improvise on a rhythmic and/or melodic motif for eight counts with the voice and/or a musical instrument. 1. Perform music of various cultural genres by singing and/or playing traditional and non-traditional

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instruments. 2. Play or sing music of varied genres, cultures and musical traditions, using complex notation. Perform (independently and in groups) with expressive qualities appropriate to the genre. 3. Improvise and perform a rhythmic motif that demonstrates “call and response” in a drum circle.

Aesthetic Responses and Critique Methodologies: aligns to NJCCCS for Visual & Performing Arts: Standard 1.4 Aesthetic Responses & Critique Methodologies

All students will demonstrate and apply an understanding of arts philosophies, judgment, and analysis to works of art in dance, music, theatre, and visual art.

Strand Kindergarten Grade 1 Grade 2 Grade 3 Grade 4 Grade 5 Grade 6

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1.4.2.A.3 1. Create a story to accompany a piece of program music

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(e.g., The Hall of the Mountain King by Edvard Grieg). The story should reflect the mood of the music, how and what instruments are used, tempo and other musical elements.

1.4.2.A.2 1. Demonstrate an understanding of the similarities and differences of children’s singing games from different continents (e.g., North America, the African continent) by comparing and contrasting the melody, rhythm, tempo, etc. in representative examples of culturally-based music. 2. Create a short song that tells a story which include the elements of music (e.g., dynamics, tempo, melodic direction, instrumentation) found in a piece (or a section of a piece) of program music. 3. List the musical elements (e.g., dynamics, meter, melody, etc.) found in performances of seasonal songs (e.g., Halloween, winter, patriotic) and use

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them to make objective assessments of the appropriateness/effectiveness of the elements in conveying the intent of the song. 4. Critique the performance by the class or of a recording of a call and response song that allows the response to be created by the singer. Discuss the application and appropriateness of the musical elements employed in the song (e.g., melody, rhythm, dynamics and lyrics). 5. Describe two musical elements (e.g., tempo, rhythm, dynamics etc) that correspond to the theme of a selected piece of music (i.e, The Little Train of the Caipira by Villa-Lobos).

1.4.2.A.1 1.4.2.A.2 1.4.2.A.3 1.4.2.A.4 1.4.2.B.1 1.4.2.B.2 1. Listen to instrumental pieces that are based on familiar melodies (e.g., Mahler Symphony #1, Movement 3; Mozart Variations on “Ah, vous

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dirais-je Maman”). Sing the melodies in their original forms. Discuss the origin of the original melodies and how they were used in the instrumental versions. 2. Compare/contrast two distinct interpretations of a piece of music (e.g., the Danse de la Fee Dragee from the Nutcracker, versions by Tchaikovsky and Ellington). Post a list comparing the two versions. 3. Create a story to a piece of music that has contrasting dynamics or heavy accents (e.g., Haydn Symphony #94, Movement 2; Russian Sailor’s Dance by Gliere). Use movement with the story to

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reflect the dynamics and accents as well as other musical elements. 4. Choose elements found in nature (e.g., snow, rain and thunder, wind). List the characteristics of the elements and how music can reflect the sound and/or feelings produced by these elements. Create and perform a short piece of music using metal and/or wood barred instruments, non-pitched percussion instruments, or homemade instruments to musically depict the chosen elements. 5. Describe the difference between two contrasting articulations (e.g.

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plucked vs. bowed, tongued vs. slurred) and discuss how they affect the theme of the music (e.g., The Seasons, Winter, Movement 2 by Vivaldi). 6. Critique an audio or video recording of a performance by the class/ school performing ensemble. Listen for all areas of performance (e.g., pitch. Diction, breath support, proper vocal placement, vowel formation, posture, following the director, interpretation) and identify which areas were successful, which were in need of improvement. Use the principles of positive critique to improve.

1.4.5.A.3

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1.4.5.A.3 1.4.5.B.2 1.4.5.B.5 1. Demonstrate how art communicates personal and social values and is inspired by imagination and frame of reference by titling an original scored or improvised piece of music and explaining its relevance. 2. Demonstrate ways art communicates ideas about personal and social values and is inspired by imagination and frame of reference through discussion in response to three music compositions with common musical or extra-musical themes (e.g. music

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compositions having three string quartets or three pieces in rondo form; vs. music with common subject matters such as Handel’s Water music, Debussy’s La Mer or the Octopus’ Garden by the Beatles, etc.). Discuss how the composers’ personal lives and historical contexts are reflected in the music. 3. Use music-specific rubrics and holistic scoring guides to objectively self-evaluate live or recorded solo performances, improvisations and/or compositions. 4. Compare and contrast music compositions based on similar themes (e.g., Ellington’s

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Dance of the Floreadores & Tchaikovsky’s Waltz of the Flowers) and distinguish ways individuals may disagree about the relative merits and effectiveness of the music.

1.4.5.A.1 1.4.5.A.3 1.4.5.A.3 1.4.5.B.5 1. Teacher chooses three disparate genres of music (baroque, be-bop, traditional Japanese); students use a graphic organizer to describe the melodic, rhythmic, texture, timbral, and other characteristics of each genre. 3. Document the personal and historical contexts of a

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genre of music in two diverse time periods. Describe these influences referencing the composer’s personal, social and political influences in written, graphic, multi-media or other formats. 4. Assess the musical elements used in three different recordings of the same song (e.g. Santa Claus is Coming to Town by different artists). Develop a rubric to compare the arrangements in orchestration, tempo, key, etc. 5. Devise criteria for evaluating performances and compositions of self and others (e.g., rubrics, checklists, holistic scoring

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charts). 6. Explain personal reactions to musical works based on developed criteria.

1.4.5.A.1 1.4.5.A.2 1.4.5.A.3 1.4.5.B.1 1.4.5.B.2 1.4.5.B.3 1.4.5.B.4 1.4.5.B.5 1. Categorize a series of 8-10 pieces into different styles (e.g. jazz, classical, romantic, folk, patriotic, popular music, etc. using graphic organizers, manipulatives or other tools. 2. Identify/analyze the structure of various musical forms (e.g. verse/refrain, chorus format, sonata, etc.)

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from varied cultures, time periods or musical genres. 3. Demonstrate an understanding of how music reflects the ideas of a composer and/or performer based on the historical, cultural, and personal characteristics of each musician. Make connections to the pieces when warranted. 4. Describe what constitutes a quality vocal performance (e.g. posture, breath support, intonation, diction, vowel placement, etc.) and interpretive elements (e.g. dynamics, phrasing, emotion, etc.) and apply these attributes to performance. 5. Use a graphic

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organize or other tool to show common performance traits (e.g., technical fluency, rhythmic accuracy, intonation, etc.) in generally accepted great performances of music. Choose performances in three different styles (e.g. YoYo Ma’s recording of a Bach Cello Suite, John Coltrane’s Giant Steps, Ravi Shankar in a traditional Hindustani sitar raga). 6. Evaluate a student group performance on three criteria using a student created vocabulary list (e.g. interpretation, articulation, technique, intonation). 7. Describe three

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ways that individuals can agree or disagree about the merits of a musical performance based on technical and interpretive perspectives, the composer and his/her intent and if the intent was realized.

1.4.8.A.1 1.4.8.A.6 1. Differentiate how “traditional” and non-traditional composers employ elements of style to express new ideas in contrasting pieces of memorial music such as An American Elegy by Frank Ticheli and Penderecki’s Auschwitz Oratorium and generate an

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emotion and observational response to the music. 2. Differentiate ways “traditional” non-traditional music employ elements of style to invoke emotional responses in the listener and apply those elements of style to musical performance.

3. Analyze the basic formal

structures and technical

proficiency of master artists of

a particular instrument in various style with a given

genre such as jazz or swing and employ

similar applications of style to musical performance.

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History of the Arts and Culture aligns to NJCCCS Visual & Performing Arts: Standard 1.2 History of the Arts and Culture: All students will understand the role,

development, and influence of the arts throughout history and across cultures.

Strand Kindergarten Grade 1 Grade 2 Grade 3 Grade 4 Grade 5 Grade 6

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1.2.2.A.1 1. Identify the characteristics of singing games from two distinct cultures (e.g., London Bridge is Falling Down – England, Perna, Perna, I Melissa – Greece). Perform these singing games and compare/contrast tempo, movements, the feeling the game evokes, etc. 2.Identify the characteristics of two or more contrasting holiday songs (e.g., Christmas/Hannukah). Sing the songs and discuss how they reflect the feeling of the holiday.

.

1.2.2.A.1 1.2.2.A.3 1. Identify the common theme of children’s

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songs from different countries (e.g., songs about learning the alphabet/ how to count/ naming colors, animals, singing games). 2. Identify the characteristics of patriotic music from different countries (e.g., This is My Country, Something to Sing About – Canada). Listen to recordings/sing the pieces. Compare/contrast musical elements, the purpose of the selections and why the songs can be considered patriotic.

1.2.2.A.1 1.2.2.A.2 1. Identify the similarities and differences in celebratory music from different world cultures (e.g., holidays,

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birthdays, victories, coronations etc.). Listen to two or more pieces and describe what elements are used to create the air of celebration.

2. Identify how dance music was influenced by the time period (e.g., Minuet from Don

Giovanni by Mozart, The Twist

by Chubby Checker). Listen to the pieces and

discuss the instrumentation,

the style of clothing, standard of living and other cultural influences

of the time in which the pieces

were written. 1.2.5.A.3

1. Research a significant musician from each of the following genres: classical, jazz, popular.

2. Analyze the

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importance of the musicians above, using appropriate

terminology. 1.2.5.A.1

1.2.5.A.2 1.2.5.A.3 1. Identify musical works that have relevance to a particular historical social movement (e.g. We Shall Overcome and its importance to the civil rights movement). 2. Analyze how different instruments are used in various musical styles and cultures (e.g. the use of the violin in classical, bluegrass and jazz styles). 3. Create a timeline of important musicians in a variety of musical styles. Include biographical information, representative

1.2.5.A.1 1.2.5.A.2 1.2.5.A.3 1. Compare and contrast the function of music from various and distinct historical periods (e.g., music from the Revolutionary War with music from the Civil War). 2. Compare and contrast how rhythm, melody, and harmony are utilized in a variety of genres and cultures (e.g. European classical music, jazz, Hindustani, West African, Rock, etc.) 3. Identify major characteristics of

Baroque, Classical,

Romantic, and early modern

music as

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works, and important historical events occurring in the lives of the musicians

impacted by famous

composers representative of

their era.

1.2.8.A.3 1. Analyze how Elvis Presley impacted the societal norms and popular music of the 1950s. 2. Identify the cultural components of selected repertoire in concerts, recordings and performance music of diverse cultures and historical eras.