Mini-Unit in Arts Education

Conceived for use in a Arts Education – Music 9 Classroom Thematically based on Environmental Music and Sounds

Kaylen LeskoEMUS 300

Deidre Baird October 18, 2012

Lesson #1: The Introduction

Grade Level: Grade 9 – Arts Education 9

Time: 40 – 50 minutes

Approach: Critical/Responsive, Cultural/Historical

Components: Responsive/Arts in Society, Responsive/Artistic Heritage

Common Essential Learning: Communication, Critical and Creative Thinking, Independent Learning, Technological Literacy

Description: This is an introductory activity that is meant to motivate and inspire the students to think critically and objectively about music as well as the environment. This is accomplished through listening to a variety of pieces and keeping a listening log.

Materials: A duotang, the listening log handout that follows this lesson plan, looseleaf, pens, a computer with speakers, and internet access.

Outcomes: Indicators:Develop an understanding of various genres and forms in the music they listen to and discuss.

Through identifying pieces of various genres and forms and utilizing them in the listening guide.

Discover how different musicians, including Saskatchewan and Canadian artists and composers interpret similar stimuli and express their ideas.

Students will accomplish this by looking at four different artists (including a Saskatchewan song writer) who have written music focusing on some aspect of the environment and thinking critically about the meaning and intent within the piece.

Investigate ways that tempo, rhythm, melody, harmonic structure, or tonality can be used to express an idea or emotional quality in music.

Completion of this outcome will be realized through the listening guide as the students are asked to discuss musical features and ethos within.

Develop and utilize a growing musical vocabulary.

This will be visible through the students’ ability to include the necessary terms in their listening guide.

Set: It is important to begin the lesson by asking the students about the connection between music and the environment. Answers to highlight and present if no one suggests them are:

That composers and artists for many years have expressed their feelings towards and about the environment and our world, as well as the issues that surround it.

That our environment was our first source of natural sound and in turn rhythm and even music.

1

Development: Begin by distributing a listening log to each student and looking over them as a

class. The sheet is quite straightforward but one term that may be new to students is ethos, which simply put is the character or feeling you experience when listening to a piece of music. Ensure you discuss this term with the class before beginning. With regards to the musical features, those can span any musical aspect including dynamics, rhythm, contrast between sections, etc… This feature is included so students will begin listening critically to music and identifying various aspects which make it unique, while also improving their musical vocabulary.

Once a general understanding of the Listening Log has been achieved, present two different pieces with an environmental or nature focus to the students that are from contrasting genres. A suggestion is to use:

o The Allegro movement from Concerto No. 3 "L'autunno" also known as the "Danza Pastorale" (Autumn) from The Four Seasons by Vivaldi: http://www.youtube.com/watch?v=H7hGiZ579cs

o “Big Yellow Taxi” by Joni Mitchell: http://www.youtube.com/watch?v=94bdMSCdw20

These two songs were chosen because Vivaldi represents the Baroque and Classical realm which the students may not otherwise be exposed to, and Joni Mitchell because she is a talented songwriter from Saskatchewan, which is an important aspect to highlight to the students.

The teacher will work through these two pieces and the listening guide with the students so that if they have any questions they can be asked in the classroom and a universal understanding of the assignment can be understood. Each student should only need one listening guide handout; they can then copy the categories onto a sheet of looseleaf and create their own sheets.

Closure: This is an assignment that the students must take on after school hours as they will be asked to find two more pieces of music that represent an environmental theme in which they can complete listening guides on. The two songs are completely their own choice as long as they focus around an environmental theme and are from different genres from one another. Also, the other three concertos of Vivaldi’s The Four Seasons are unacceptable. The due date for these two additional listening guides is left to the teacher’s discretion. In their responses, the students will be expected to include:

1.) Three different musical vocabulary terms when talking about the musical features2.) An obvious use of critical thinking when talking about the ethos and the intended

meaning of the song3.) As mentioned previously, different genres for the two pieces.

Assessment: For the two pieces completed in class, a simple homework check will be all that is

required to ensure that they actually accomplished their work in class. For the two additional pieces, a homework check would be required as well, but

points will also be awarded for:o Three different musical vocabulary terms when talking about the musical

features (6 marks)

2

o An obvious use of critical thinking when talking about the ethos and the intended meaning of the piece (4 marks)

o Different genres for the two pieces (2 marks) These marks in addition to the two for the homework check of the new pieces and

one for the completion of the in class pieces comes to a total of 15 marks.

3

Arts Education 9 - Listening Log

Title:

Composer or Artist:

Genre of Music:

Ethos:

Two interesting musical features:

Musical aspect of the piece you like the best:

Musical aspect of the piece you like the least:

Intended environmental message or story:

4

Lesson #2: Getting Out Into the Environment

Grade Level: Grade 9 – Arts Education 9

Time: 40 – 50 minutes

Approach: Expressive/Personal Development, Expressive/Arts and Society

Components: Creative/Productive, Critical/Responsive

Common Essential Learning: Critical and Creative Thinking, Independent Learning, Personal and Social Values and Skills

Description: This activity will act as an introduction to the soundscapes project, which will conclude the unit. In this lesson, the students will be asked to begin recognizing how many individual sounds are combined to create the overall sound of a singular location.

Materials: Looseleaf and a pen.

Outcomes: Indicators: Examine how different sounds from the natural and constructed environment can be used by themselves and others for inspiration in creating sound compositions.

Students will accomplish this outcome through their responses in open discussion as well as their ability to take the audio stimuli and create their vocal soundscapes.

Create sound patterns using the voice and a variety of different instruments.

Completion of this outcome will be obvious through their performances of the vocal soundscapes.

Explore and discuss the effects of sound on their daily lives.

This can be realized through the open discussion that takes place in each listening location.

Experiment with the voice by creating and imitating sounds.

This outcome is an integral aspect of the vocal soundscapes created within this lesson, and therefore will be clear at that time.

Set: To begin, the class and teacher in collaboration will choose three different locations around the school that would contain varying sounds. One of the three locations must be somewhere outside in order to gain sounds beyond the building.

Development: Once the three locations are chosen, the class will visit each of them, spending a

few minutes in every place. While in each of these locations, the students will be asked to find their own space

nearby, closing their eyes, taking a deep breath, and listening to the sounds that surround them for at least two, uninterrupted minutes. In this time, the students

5

are to listen to and identify each of the individual sounds they hear and how they combine together to create the overall wash of the environment

Once this time, or more if necessary is complete, the students are to record on their looseleaf what each of those individual sounds are that they identified in the different locations and how they combined together to create the sounds they hear each day.

Closure: Once the entire exercise is complete and the group has returned to our normal

class space. The students will break up into groups of four or five, depending on the class size, and in only five minutes, re-create the sounds heard in one of the locations we visited using only their voices. This activity is meant to be quick and not involve a large amount of thinking apart from how they can vocalize the different sounds.

Each group will then present their vocalized environments and the rest of the class will guess which of the three locations is being re-created.

Assessment: This lesson is not based upon a set-marking scheme, and rather a grade is only allotted for whether or not the student was attentive and participating throughout the activities.

6

Lesson #3: Creating Your Own Soundscape – Introduction and Work Period

Grade Level: Grade 9 – Arts Education 9

Time Required: 40 – 50 minutes

Approach: Expressive/Personal Development, Expressive/Arts in Society

Components: Creative/Productive, Critical/Responsive, Cultural/Historical

Common Essential Learning: Communication, Critical and Creative Thinking, Numeracy, Personal and Social Values and Skills, Technological Literacy

Description: This soundscapes activity is the composition aspect of the unit. Here, students will have the opportunity to re-create the sounds of an environment of their own choosing using whatever materials they deem necessary.

Materials: Whatever instruments/materials the students choose to use in order to create their soundscapes, looseleaf, pens, computers, internet access, and speakers

Outcomes: Indicators:Examine how different sounds from the natural and constructed environment can be used for inspiration in creating sound compositions.

This is achieved as the entire activity hinges on this ability, to re-create sounds from the environment, either natural or constructed.

Transform ideas and feelings into musical thought through their sound compositions.

Completion of this is realized through the students’ ability to successfully compose a soundscape that is based on a specific environment as this acts as the “idea”.

Incorporate and increase their knowledge of the elements of music and principles of composition into their sound explorations.

This outcome is an essential feature in the creation of the soundscapes as students are to include musical elements into their work.

Represent their sound explorations with invented and traditional notation.

Although traditional notation is not required here, invented notation is, as the students must record their soundscape composition rather than improvising each time.

Set: This lesson will begin with a discussion about the previous class where the students re-created the sounds they heard in certain locations using only their voices. What did they enjoy, learn, dislike, struggle with, etc… The teacher will then explain to the students that through that short exercise they created the very simplest forms of a soundscape, which is the recreation of sounds heard in an environment.

7

Development: The students will then be asked to get back into their same groups from the day

before and begin creating their own soundscapes for whatever environment they want within the world. These environments can have a specific event occurring within such as a tall tree falling in a forest, or can be an ordinary day in a chosen location such as an afternoon at the seashore. To create their soundscapes, students can utilize whatever, and as many instruments as they deem necessary, including their voice, as long as each participant has created a sound throughout. The students will also be required to include a few different musical features which will be written on the board so that they can reference back to them:

o An obvious shift of dynamics in some fashion. For example, the rush of wind or the arrival of a bus at its stop which both have an obvious crescendo and decrescendo.

o A variety of entrances, exits, and internal rhythms from each part. For example, if it is a zoo that is being re-created, the sound of a small child cheering, a tiger roaring, and a monkey calling should not all happen simultaneously.

o A clear pace within the composition, that is, that all the sounds do not swell quickly at once, and then the performance is done within 10 seconds. The sounds should occur gradually and spaced out as they would in nature. Your performance should be anywhere from 30 seconds to a minute long.

o One sheet must be handed in by the group, outlining the environment or location they chose, as well as how each of these above musical elements is incorporated in the soundscape. It is encouraged that the groups clearly plan their presentations, writing out the order of the sounds and how they will combine together, interweaving and overlapping with one another. This should be included on the sheet as well. Improvisation in the presentation is not acceptable.

Once this criterion has been outlined, the students can begin creating. If they need inspiration for their chosen environment or location, they can use computers and search Youtube to hear examples of these specific places or events.

Closure: This lesson is purely a work and planning period for the performances, which will come in the next class. The teacher may consider opening his/her classroom up before the performance date so the groups can come and practice if they do not have another location available to them. Before the class ends, discuss the attached rubric so each student understands exactly how they will be graded and can rehearse accordingly. No other closure is necessary apart from highlighting those times in which students can come practice if they wish to do so, and that in the next class they will have a few more minutes to plan and run through their performances, before the presentations begin.

Assessment: There is no set assessment for this lesson as it is just a work and planning period. Their participation in this class in terms of ability to work cohesively and productively in a group will affect their overall grade for the project though, which is included on the rubric.

8

9

Lesson #4 – Creating Your Own Soundscapes - Performances

Grade Level: Grade 9 – Arts Education 9

Time: 40-50 minutes

Approach: Expressive/Personal Development, Expressive/Arts in Society

Components: Creative/Productive, Critical/Responsive, Cultural/Historical

Common Essential Learning: Communication, Critical and Creative Thinking, Numeracy, Personal and Social Values and Skills

Description: This is a continuation of lesson #3 as the students will now perform and reflect upon their soundscape projects.

Materials: Whatever instruments/materials the students choose to use in order to create their soundscapes, looseleaf, and pens

Outcomes: Indicators:Examine how different sounds from the natural and constructed environment can be used for inspiration in creating sound compositions.

This is achieved as the entire activity hinges on this ability, to re-create sounds from the environment, either natural or constructed.

Transform ideas and feelings into musical thought through their sound compositions.

Completion of this is realized through the students’ ability to successfully compose a soundscape that is based on a specific environment as this acts as the “idea”.

Incorporate and increase their knowledge of the elements of music and principles of composition into their sound explorations.

This outcome is an essential feature in the creation of the soundscapes as students are to include musical elements into their work.

Represent their sound explorations with invented and traditional notation.

Although traditional notation is not required here, invented notation is, as the students must record their soundscape composition rather than improvising each time.

Examine the intentions, development, and interpretations of own arts expressions in relation to own experience, values, and perspectives.

This will be realized through the student’s ability to self reflect upon their own work in the short write up they submit.

Set: The students will continue on from where they ended last period, working on their performances for only about 10 – 15 minutes though. Also, in this time they must appoint

10

one group member to introduce the performance by explaining the soundscape they will be performing.

Development: Next, the groups will one by one present the soundscapes they have created. Ideas that the teacher should highlight to the students before they perform are:

Each group must have and introduction for their performance Each group will be required to hand in their sheet outlining the required features

as explained in the last class. Perform what was decided upon in rehearsal time. Although performing for your

peers can be intimidating, do not decide to improvise as a result. Even if you are not performing, you are still an important aspect of the

performance process when you are an audience member. As an audience, it is vital that you are attentive to the performances of others and clap enthusiastically at the end to celebrate the successes of your peers.

Closure: Once all groups have performed, individually, the students will be asked to write two to three sentences about what they learnt throughout this process with regards to either music, composition, group work, presenting, or any other aspect they feel is important. As well, they must write one feature they would want to personally improve upon if this exercise was repeated such as their leadership skills, confidence to speak up in group discussions, etc…

Assessment: Each student will be assessed individually as per the rubric attached.

11