August/September

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October

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November

Content / Chapter 1:
Introduction to Notation: Notes on the Staff and Rhythmic Symbols
Chapter 2: The Elements of Music / Chapter 3: Middle Ages
  • Culture of the Middle Ages
  • Sacred Music genres
  • Secular Music Genres
  • Medieval composers
  • Instrumental music
  • Analysis of medieval music
/ Chapter 4: The Renaissance
  • Culture of the Renaissance
  • Sacred Music genres
  • Secular Music Genres
  • Instrumental music
  • Renaissance composers
  • Analysis of Renaissance music

Skills and Processes / The student will learn about, discuss/reflect upon, analyze, and gain reinforcement from the basic skills, concepts, and application of:
Concepts regarding pitch and rhythm:
Define pitch and the musical alphabet
Identify pitches on the staff in treble and bass clef
Define, identify beat, measure, bar line, meter signature
Read, interpret rhythmic symbols and relationships
The Elements of Music
Define, identify concepts relating to melody: countermelody, range, conjunct/disjunct movement, phrase, cadence
Define, identify concepts relating to rhythm: meter (duple, triple, quadruple,nonmetric), divisions (simple, compound)
Define, identify concepts relating to texture: monophonic, polyphonic, homophonic, homorhythmic, heterophonic
Define, identify concepts relating to musical expression: tempo, dynamics
Define, identify concepts relating to form:
binary, ternary
Aural Skills:
Listen to musical excerpts and identify, discuss concepts relating to melody, rhythm, texture, tempo, dynamics, form / The student will learn about, discuss/reflect upon, analyze, and gain reinforcement from the basic skills, concepts, and application of:
Discuss the culture of the Middle Ages in terms of dates, centers of power, medieval society, role of the musician/composer, status of written music and literacy
Sacred Music Genres
Gregorian chantdefined in terms of:
Texture, meter, language, chant classification
(neumatic, syllabic, melismatic), melodic style (conjunct, disjunct), medieval modes, early notation (neumes)
The Mass defined in terms of parts of the Mass (Proper and Ordinary), role in sacred music
Organumdefined in terms of: role in development of polyphony, role of chant, texture, language, rhythm (development of rhythmic modes), role of the Cathedral of Notre Dame, advances in rhythm and pitch as a result of organum
The motet defined in terms of:
Language, texture, sacred/secular text, themes, role in the transition into Renaissance era
Secular Music
Discuss the status of instrumental and vocal music
Define and discuss the role of troubadors, trouveres, minnesingers, jongleurs
Discuss secular musical themes
Discuss the role of instrumental music in terms of: comparison to vocal music, improvisation vs. notation, instrumental ensembles (bas and haut)
Instruments of the Medieval Era
Discuss role of instruments in relation to vocal, written music vs. improvisation, instrumental families, types of instruments, and tone quality
Transition into Renaissance era
Discuss ars nova and ars antiqua in terms of sacred/secular and rhythm/meter and the role of these concepts in transition into Renaissance
Composers:
Hildegard of Bingen – discuss her role and analyze her music
Leonin and Perotin – discuss their roles in late medieval organum and analyze their music
Raimbaut de Vaqueiras - discuss his role as a troubadour and analyze his music
Guillaume de Machaut – discuss his role in ars nova and analyze his music
Aural Skills and Analysis
Hildegard: Alleluia, O virga mediatrix
Leonin: early organum: Alleluia pascha nostrum
Perotin: later organum: Sederunt
Raimbaut: kalenda maya
Machaut: puis qu'en oubli / The student will learn about, discuss/reflect upon, analyze, and gain reinforcement from the basic skills, concepts, and application of:
Discuss the new attitudes and shift in thinking in the Renaissance in terms of dates, centers of power, changes in society, role of the musician/composer, status of written music and literacy
Terms include: humanism, Reformation, Counter-Reformation, Council of Trent, invention of printing press and development of literacy
Characteristics of Renaissance Music in terms of:
Role of vocal and instrumental music
Melody, texture, meter, harmony, dynamics, scales (medieval modes)
Define, describe the following terms:
A cappella, polyphonic imitation, word painting
Sacred Music Genres: Define, analyze –
Status of vocal and instrumental music
Motet
Cantus firmus Mass
Late Renaissance Mass and Council of Trent
Secular Music Genres: Define, analyze
Status of vocal and instrumental music
Use of word painting
Chanson
Madrigal – Italian and English
Instrumental Music
Status in relation to vocal
Role of dance music; stylized dances defined
Families, types of instruments, and tone quality
Composers
Josquin des Prez
Guillaume DuFay
Palestrina
Thomas Weelkes
Claudio Monteverdi
John Farmer
Susato
Listening and Analysis
Compare excerpts from Medieval and Renaissance to identify characteristics of each
Josquin: motet - Ave Maria… virgo serena
Josquin: cantus firmus mass - Kyrie, from the Pange Lingua Mass
Dufay: Kyrie, from L’homme arme
Palestrina: Pope Marcellus Mass
Weelkes: madrigal - As Vesta Was from Latmos Hill Descending
Josquin: chanson Mille regretz (A Thousand Regrets)
Monteverdi: Italian madrigal- Ecco mormorar l’onde
Farmer: English madrial Fair Phyllis
Susato: Three Renaissance Dances
Assessments / Teacher observation during class:
  • Questioning
  • Discussion
  • Guided listening and analysis
Homework assignments
Writing assignments
Analysis of excerpts from music literature
Written evaluations / Teacher observation during class:
  • Questioning
  • Discussion
  • Guided listening and analysis
Homework assignments
Writing assignments
Analysis of excerpts from music literature
Written evaluations
Individual research assignments / Teacher observation during class:
  • Questioning
  • Discussion
  • Guided listening and analysis
Homework assignments
Writing assignments
Analysis of excerpts from music literature
Written evaluations
Individual research assignments
Essential Questions
Why, How
Which
Elaborate
Clarify
Hypothetical
Deep thought
Evaluation
Information-gathering
Original answer/idea
Critical thinking, not just memorize / What does it mean to be an intelligent listener?
How is eachelement of music and related concepts/termsessential to intelligent listening?
How are the elements of music used to establish the mood of the music?

December

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January

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February

Content / The Baroque era
  • Culture of the Baroque
  • Characteristics of Baroque music
  • Baroque instrumental genres
  • Composers
  • Analysis of opera and instrumental genres
/ The Baroque era:
  • Baroque Vocal Genres
  • The fugue
  • Composers
  • Listening and Analysis of vocal genres and the fugue
/ The Classical era
  • Culture of the Classical era
  • Characteristics of Classical music
  • Classical Forms
  • Classical Genres
  • Composers
  • Listening and Analysis

Skills and Processes / The student will learn about, discuss/reflect upon, analyze, and gain reinforcement from the basic skills, concepts, and application of:
Discuss the new attitudes and shift in thinking in the Baroque in terms of:
dates, centers of power, changes in society, role of the musician/composer, status of instrumental and vocal music
Characteristics of BaroqueMusic in terms of:
Texture, harmony, rhythm, melody, scales (major/minor scales), dynamics, mood (doctrine of the affections); major/minor tutorial
New terms: figured bass, basso continuo, The Camerata, terraced dynamics, virtuoso, internationalism and exoticism
Instrumental Music:
Characteristics of instrumental music in terms of:
Status compared to vocal music, tone color, development of the orchestra, instrumental families
Instrumental genres and related terms:
Sonata (trio sonata, solo sonata)
Concerto (solo concerto)
Concerto grosso (ritornello form)
The Baroque suite
The canon (ground bass)
Composers
Johann Pachelbel
Georg Frideric Handel
Johann Sebastian Bach
Antonio Vivaldi
Archangelo Corelli
Listening and Analysis

Claudio Monteverdi Recitative: Tu Se' Morta (“You are Dead) from Orfeo

  • Purcell: recitative and aria: Act IIIDido’s Lament from Dido and Aeneas
  • Pachelbel: Canon in D
  • Corelli: Trio Sonata, Op. 3, No. 1, in F major
  • Vivaldi: concerto -(Spring, from The Four Seasons)
  • Bach: concerto grosso - Brandenburg Concerto No. 2 in F major
  • Handel: Orchestral SuiteWater Music
/ The student will learn about, discuss/reflect upon, analyze, and gain reinforcement from the basic skills, concepts, and application of:
Vocal Music Genres and related terms:
Opera (recitative, aria, overture, libretto, ensemble)
Cantata (chorale)
Oratorio
The fugue and contrapuntal devices
Listening and Analysis

Claudio Monteverdi Recitative: Tu Se' Morta (“You are Dead) from Orfeo

  • Purcell: recitative and aria: Act IIIDido’s Lament from Dido and Aeneas
  • Bach: Cantata No. 80: A Mighty Fortress Is Our God
  • Handel – Oratorio: Messiah overture, recitative, aria, chorus, Hallelujah
  • Bach: Organ Fugue in g Minor (“Little” Fugue)
/ The student will learn about, discuss/reflect upon, analyze, and gain reinforcement from the basic skills, concepts, and application of:
Discuss the culture of the Classical era in terms of:
Famous names, occurrences in Europe and America, changes in political systems and social order, inventions and scientific advances, role of the musician/composer
Terms: The Enlightenment, American Revolution, French Revolution, Industrial Revolution,
Characteristics of ClassicalMusic in terms of:
Mood, rhythm, dynamics, melody, harmony, texture, genres, form, the orchestra
Terms: crescendo, decrescendo
Classical Forms defined and analyzed:
Ternary, binary, rondo form, theme & variations, minuet & trio, scherzo & trio, sonata-allegro form (exposition, development, recapitulation)
Classical genres
The Symphony (movements, innovations, the classical orchestra and instrumental families;
Chamber music (string quartet)
Classical concerto
Classical sonata
Classical opera (opera seria, opera buffa)
Composers
Wolfgang Amadeus Mozart
Ludwig Van Beethoven
Franz Joseph Haydn
Listening and Analysis
  • Mozart: rondo form –“Romanza” from Eine kleine Nachtmusik
  • Mozart: theme & variations -Ah, vous dirai-je Maman
  • Mozart: Minute and Trio - 3rd movement, Eine kleine Nachtmusik,
  • Beethoven: scherzo & trio - Piano Sonata in C sharp minor, Op. 27, No 2, second movement, Allegretto
  • Beethoven: sonata-allegro form - Symphony No. 5 in C minor, Op. 67
  • Wolfgang Amadeus Mozart: Clarinet Concerto in A, first movement
  • Mozart: opera buffo The Marriage of Figaro
  • Overture and Act I, Scenes 6 and 7
  • Mozart OPERA BUFFO/SERIADonGiovanni, final scene
  • Beethoven: Piano Sonata No. 14 in C# minor, Op. 27, no. 2 (Moonlight)
  • Mozart: String quartet - Eine kleine Nachtmusik (A Little Night Music), K. 525
  • Haydn: Symphony - No.94 (Surprise), 2nd mvt
  • Haydn: Symphony No. 95 in c minor , 3rd mvt
  • Beethoven: Symphony No. 5 in C minor, Op. 67

Assessments / Teacher observation during class:
  • Questioning
  • Discussion
  • Guided listening and analysis
Homework assignments
Writing assignments
Analysis of excerpts from music literature
Written evaluations
Individual research assignments / Teacher observation during class:
  • Questioning
  • Discussion
  • Guided listening and analysis
Homework assignments
Writing assignments
Analysis of excerpts from music literature
Written evaluations
Individual research assignments / Teacher observation during class:
  • Questioning
  • Discussion
  • Guided listening and analysis
Homework assignments
Writing assignments
Analysis of excerpts from music literature
Written evaluations
Individual research assignments
Essential Questions

March

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April

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May/June

Content / The Romantic era
  • Culture of the Romantic era
  • Characteristics of Romantic music
  • Early Romantic composers, forms, genres
  • Late Romantic composers, forms, genres
  • Listening and Analysis
/ Early 20th Century
  • The Post-Romantic era
  • Early Twentieth Century Music
  • Listening and Analysis
/ Late Twentieth Century
  • American Musical Traditions/popular styles
  • Musical theater
  • Rock and the global scene
  • Music for films
  • Listening and Analysis

Skills and Processes / The student will learn about, discuss/reflect upon, analyze, and gain reinforcement from the basic skills, concepts, and application of:
The culture of the Romantic era in terms of:
Changes in political systems, social order, and thought; Romantic writers, role of the musician/composer, concert life
Terms and concepts: Romanticism, French Revolution, Cult of Individual Feeling, Music and the supernatural
Characteristics of RomanticMusic in terms of:
Mood, rhythm, dynamics, melody, harmony, texture, genres, form, the orchestra, the expansion of tone color
Terms: rubato, chromaticism, program music, miniature compositions, grandiose compositions, thematic unity, orchestration, exoticism
Early Romantic genres
The lied
The song cycle
Character piece for piano
Early Program music
  • The concert overture
  • The program symphony
Early Romantic Composers
Franz Schubert
Robert Schumann
Clara Schumann
Frederic Chopin
Franz Liszt
Felix Mendelssohn
Hector Berlioz
SCHUBERT: Lied "Erlkönig" ("The Erlking")
ROBERT SCHUMANN,song cycle, Dichterliebe ("A Poet's Love") (1840)
CLARA SCHUMANN: song cycle, “Der Mond kommt still gegangen“ (“The moon has risen softly“) (1843)
FRANZ SCHUBERT: character piece for piano: Moment Musical No. 2 in A-flat (1827?)
ROBERT SCHUMANN: character piece for piano Carnaval
FRÉDÉRIC CHOPIN: character piece for piano Nocturne in F-Sharp, Op. 15, No. 2 (1831)
HECTOR BERLIOZ: Fantastic Symphony: Episodes in the Life of an Artist (1830)
Later Romantic Genres
  • Later program music
  • Symphonic poem
  • Nationalism and exoticism
  • The Romantic symphony form
  • The Romantic concerto
  • Romantic opera
  • Romantic nostalgia
  • Ballet
Later Romantic Composers
Richard Wagner
Bedrich Smetana
Antonin Dvorak
Richard Wagner
Pyotr Ilyich Tchaikovsky
Modest Musorgsky
Johannes Brahms
Gustav Mahler
Listening and Analysis
SMETANA: The Moldau
DVORAK: New World Symphony
BRAHMS: Symphony No. 3 in F major
MENDELSOHHN: Violin Concerto in e minor
RICHARD WAGNER: The Nibelung's Ring (1848-1874)
PYOTR ILYICH TCHAIKOVSKY: Overture-Fantasy, Romeo and Juliet (1869, revised 1880)
TCHAIKOVSKY: ballet – The Nutcracker, March
MODEST MUSORGSKY: nationalism/piano miniatures: Pictures at an Exhibition (1874)
JOHANNES BRAHMS: Violin Concerto in D, Op. 77 (1878)
GUSTAV MAHLER: Symphony No. 1 (1888) / The Post-Romantic Era
  • Two movements: Post-Romanticism and Impressionism
  • Impressionism in music – chord structure, orchestral color, rhythm
Early Twentieth Century Music
  • Reaction against Romanticism (expressionism, neoclassicism
  • Musical style: Rhythm (changing meter, polyrhythm), melody, harmony (polychords, polyharmony), tonality (atonality, serialism, tone row), dissonance, orchestration, form
  • Stravinsky and revitalization of rhythm
  • Schoenberg and the SecondVienneseSchool
Twentieth Century Nationalism
The National Schools (Russian, English, German)
Composers:
Claude Debussy, Igor Stravinsky
Arnold Schoenberg, Alban Berg
Charles Ives, Bela Bartok, George Crumb
John Cage, Aaron Copland
Listening and Analysis
DEBUSSY: Three Nocturnes (1899)
DEBUSSY: Prelude to the Afternoon of a Faun
STRAVINSKY: The Rite of Spring (1913): Part I, excerpts
SCHOENBERG: Song cycle - Pierrot lunaire (1912)
BARTOK: Interrupted Intermezzo, from Concerto for Orchestra
BÉLA BARTÓK: Music for Strings, Percussion, and Celesta (1936)BÉLA BARTÓK: Music for Strings, Percussion, and Celesta (1936)
CRUMB: Ancient Voices of Children
CAGE: Sonata V from Sonatas and Interludes
CAGE: 4’33”
COPLAND: Orchestral suite from ballet - Billy the Kid / Late Twentieth Century
Modernism in music, including new sound materials, electronic music, chance music
Post-war Avante-garde including George Crumb and John Cage
American Musical Traditions
  • Popular music in late 19th century (shape note notation)
  • Stephen Foster, John Philip Sousa, Charles Ives, Aaron Copland
  • African American music, including minstrel show, call and response, spiritual
Popular Styles
  • Characteristics of early jazz, including breaks and syncopation
  • Ragtime and Scott Joplin
  • Blues (blue note) including melody, harmony, form
  • New Orleans jazz and Louis Armstrong (scat singing, chorus)
  • Swing era/big band (Duke Ellington)
  • Later jazz styles: bebop, cool jazz, west coast jazz, Latin influence
  • Merger of Classical and Jazz styles – Gershwin
Musical Theater
  • Early musicals
  • Names: Rodgers and Hammerstein; Stephen Sondheim, Andrew Lloyd Webber
  • Film-based musicals
  • Recent musicals
Rock and the Global Scene
  • Rise of rock and roll, including rhythm and blues, back beat, rockability
  • The 1960’s, including Motown, soul, funk, the Beatles, the Beach Boys, Acid Rock, Woodstock
  • The 1970’s, including art rock, latin rock, heavy metal, glam rock, punk rock, new wave
  • The 1980’s and beyond, including music video, Michael Jackson, rap, hip hop, women in rock, revivals
  • Country-Western Music, including hillbilly music, classic country, mainstream country, country rock
Music for Films
  • Role of music in film, including setting the mood, running counter to the action, establishing character, place and time, underscoring, source music
  • Music in the silent era, including Joseph Carl Breil
  • Music in the sound era, including Max Steiner and Dmitri Shostakovich
  • The Postwar Years, including Bernard Herrman, Miklos Rozsa, Aaron Copland, Leonard Bernstein, Elmer Bernstein, Jerry Goldsmith
  • Beyond Star Wars and John Williams, including James Horner, Danny Elfman, Hans Zimmer
Composers
Scott Joplin
Billie Holiday
Dizzy Gillespie/Charlie Parker
Duke Ellington
Miles Davis
George Gershwin
Leonard Bernstein
John Williams
Listening and Analysis
JOPLIN: Maple Leaf Rag
SIPPIE WALLACE: "If You Ever Been Down" Blues (1927) (Composed by G. W. Thomas)
DUKE ELLINGTON: "Conga Brava" (1940)
HOLIDAY: Billie’s Blues
GILLESPIE/PARKER; A Night in Tunisia
CHARLIE PARKER and MILES DAVIS: "Out of Nowhere" (1948)
MILES DAVIS: Bitches Brew (1969)
GEORGE GERSHWIN: Prelude No. 1 (1926)
BERNSTEIN: West Side Story, excerpts
WILIAMS: Raiders March, from Raiders of the Lost Ark
Assessments / Teacher observation during class:
  • Questioning
  • Discussion
  • Guided listening and analysis
Homework assignments
Writing assignments
Analysis of excerpts from music literature
Written evaluations
Individual research assignments / Teacher observation during class:
  • Questioning
  • Discussion
  • Guided listening and analysis
Homework assignments
Writing assignments
Analysis of excerpts from music literature
Written evaluations
Individual research assignments / Teacher observation during class:
  • Questioning
  • Discussion
  • Guided listening and analysis
Homework assignments
Writing assignments
Analysis of excerpts from music literature
Written evaluations
Individual research assignments
Essential Questions

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