Classroom and Curriculum Implementation Examples
Let’s share our ideas on implementing the Standards. Send us your unit, teaching and lesson plans. Share your assessment practices, report cards and curriculum outlines that match the 2017 Standards. A consistent format is not necessary. We will organize these into categories and post them here. Submit your own examples of implementing the standards in your classroom! Email Leyla
Example 1: Pewaukee High School — Band — Kate Mitchell, Music Educator
I won’t lie, I like writing, analyzing, and working with curricula. As a member of the State Committee to help adapt the Core Arts Standards for Music in Wisconsin, I felt I needed to understand them and apply them to my classroom. In the 2015-16 school year, I set out to “experiment” with the new Core Music Standards in the high school band setting. What you will find below (in an abbreviated outline) is a year long “unit” where I tied all of the standards together. The topic for the year was “Global Awareness.” Everything we did (Responding, Creating, Performing, and Connecting) led to greater understanding and empathy for the world.
In this document, I divided the lessons by standard, however, each lesson intertwined with the others throughout the year.
The overarching unit was based upon this quote from Deepak Chopra:
“Think for just a moment: If we looked around and could see the ribbons of people from every nation standing in unity. Smiling, hopeful, inspired. We are all one. With greater compassion, understanding, joy, love, equanimity, peace, abundance, we can have a more just and sustainable world community.”
The overarching essential question for the year was: Why is music such an integral part of the human experience?
|Strand and Anchor Standards||Lesson|
#7-Perceive and analyze artistic work
#8-Interpret intent and meaning in artistic work
#9- Apply criteria to evaluate artistic work
Each week, students have in-class listening assignments where students need to describe the musical characteristics of the piece, make hypotheses about the composer’s/performer’s intent, and deduct the country of origins based on their listening analysis and previous listening experiences. I primarily used Higher Ground with Jonathan Overby (Wisconsin Public Radio) and Youtube samples of other world music.
● Formative: Listening blogs using Weebly
#1- Generate and conceptualize artistic ideas and work
#2- Organize and develop artistic ideas and work
#3- Refine and complete artistic work
Part 1: Using this Beginning Activity, students gained a better understanding for how composers take a stand for peace, tolerance, and social justice issues through music.
Part 2: Students chose an issue related to the International Day of Tolerance. They researched their topic, wrote a narrative reflecting their research and their stand on the issues, and composed (using parameters) a short work to give a musical “voice” to their topic. Students could use MuseScore, Noteflight, or flat.io.
Halfway through the project, students completed pair-shares with their compositions to receive feedback for further improvement.
Part 3: Performance of their work (either via the computer or perform it themselves)
Formative: The work completed in the beginning activity document
Summative: The final composition with the written narrative of their research.
#5- Develop and refine artistic work for presentation
#6- Convey meaning through the presentation of artistic work
|Part 1: Programming
All of the music for the two concerts related to the quote and overarching question. Here are just a few of the pieces we explored, rehearsed, and performed.
● Mother Earth by David Maslanka: a piece to challenge us to be aware of the needs of our planet;
● Overcome by Bill Locklear: based on We Shall Overcome, (75% of the students had never heard of that song);
● The Dream Catcher by W. Francis McBeth: celebrating the Native American traditions;
● Khan by Julie Giroux: based on Genghis Khan’s words, “It is not sufficient that I succeed-all others must fail.”
● Walking into History by Richard Saucedo, a piece based on the Clinton 12.
Part 2: Questions for Understanding.
Just after a couple of rehearsals on the music, I had students develop a list of questions they had about the piece/music. We used these questions to continue to explore the meaning of the work and how we were going to interpret the composition through performance. Questions ranged from basic to complex.
● What does stringendo mean?
● How do you play the flute trill in mm. 56?
● “Why did the composer put the melody in the tuba?
● Given the background we have on Khan, why is there not more prominent features of the low instruments?
● What was the composer’s opinion of Khan and his actions?
● Does The Dream Catcher actually resemble the object hung over your bed, or does it go deeper into symbol? (ex. A person catching their dreams; a particular legend of a dream, etc)
Part 3: Rehearsal Evaluations
We continually record sections of our pieces throughout the concert cycle. This gives the students the opportunity to complete evaluations on where we are at and what we still need to work on in the music.
Part 4: The performance is the culmination of the learning. Students develop a slide presentation that is presented for each piece (many of which are timed to the music) to help educate our audience on the music.
Assessments (two per term--6 week terms):
● Formative: A selection picked by me, usually scale patterns or a section of an etude.
● Summative: Is a student choice selection based on the concert music. With their performance assessment students need to have a written statement of why they picked those particular sections of the music and what challenges they faced with the sections.
#10- Synthesize and related knowledge and personal experiences to make art
#11- Relate artistic ideas and works with societal, cultural and historical context to deepen understanding
|Part 1: Virtual exchange program: Ramallah, West Bank, Palestine
I was chosen to have a schools to schools virtual exchange program with a school in Ramallah, Palestine. The goal of this 15 month exchange was to build mutual understanding and enhance student to student partnerships between the United States and the Muslim World
Cultural connections: Through the virtual exchange, students explored the complex social, political, economic, and religious divides in each area. Through this open dialogue forum, students will learned the political ideologies and complex religious and economic systems that drive each country. We also explored what connectedness looks like and what it will be in the future for social and economic global sustainability. This was all in addition to sharing music, customs, food, and culture with each other.
One of my main goals was to have my students define and model what it means to be a Global Citizen. I wanted to help break down the stereotypes and encourage social entrepreneurship, open dialogue, and relationship building through music.