Introduction to Music

A primary goal of the music strand is to develop the aesthetic awareness and sensitivity that is a part of each child’s nature. This curriculum assumes music literacy to be an inclusive concept that includes the development of both technical understanding and aesthetic awareness.

Meaningful instruction will help to:

• stimulate interest in sound phenomena
• engage the imagination
• develop technical abilities, conceptual understanding, and expressive sensitivity
• develop a deeper appreciation of music and the art of music expression
• affirm and validate the experiences of the student.

In order to develop the above, both the classroom program and performance-oriented programs must facilitate problem solving and interpretive decision making by the students.

The Music Strand

The music strand provides students with opportunities to:

• develop their abilities as creators and performers of music
• express their ideas through creation of their own sound compositions
• value their own work as worthy artistic endeavours and understand that music making is accessible to everyone
• realize the functions of music in their own communities and daily lives
• develop an understanding of the music of various cultures through participation and critical reflection
• further their understanding of music by studying music and musicians (past and present) and their roles in cultures and societies (local, national, and global).

These opportunities are provided through guided exploration and structured activities designed so that students experience success. In this curriculum, music experiences are based on a “sound before symbol” approach to encourage the development of sound awareness, sound discrimination, and sound sensitivity. The music to which students are exposed includes a broad range, from classical to traditional to popular music in the mass media.

The music strand is organized into four required units:

Unit 1: Learning to Hear
Unit 2: Ideas and Inspirations
Unit 3: Making Sense of Things
Unit 4: The World of Music

 The three components of the Arts Education curriculum (creative/productive, cultural/historical, and critical/responsive) are to be integrated within these units. (Refer to page 3). Creating sound compositions, solving problems, singing, playing, discussing and listening to music, and learning about the role of musicians and composers in cultures and societies can all be undertaken within each unit.

 The following describes what teachers can find in the music section of the curriculum guide:

•  Music Unit Overviews and Sample Topics for Grades 1-5: This chart displays the four required units, the corresponding mini-unit themes, and the sample topics for Grades 1-5.
• Foundational Objectives : There are seven foundational objectives for Kindergarten to Grade 5. These are broad objectives that are achieved gradually throughout the Elementary Level. This section includes a description of each foundational objective.

• Kindergarten to Grade 5 Developmental Continuum: This chart shows the scope and sequence of learning for music from Kindergarten to Grade 5. The chart displays both foundational and specific learning objectives.
• Instructional Guidelines: Instructional guidelines are general instructions to the teacher. They apply throughout the year.
• Planning from the Music Section of the Curriculum Guide: This section is intended to assist teachers in planning music lessons and units or mini-units from the curriculum guide. A template for lesson planning is provided, along with a unit planning checklist.
• Planning for Composing in the Classroom: This section is intended to show how a teacher can help students become aware that every creative experience involves problem solving and decision making.
• Learning Objectives Checklist: This checklist appears at the beginning of each grade and displays the learning objectives for the grade. Objectives selected for the grade’s sample unit are checked.
• Unit Overviews: The unit overviews include a statement about the unit’s purpose, a sample topic, a list of suggested resources for the sample topic, and a starter list of suggested activities for use in planning. There are four unit overviews per grade. Each unit overview includes suggestions for two mini-units. Both mini-units are required; however, the activities provided within the mini-units are suggestions only. The chart on the next page displays the four units, the corresponding mini-units, and the sample topics for Grades 1 to 5.
• Sample Unit: Each grade includes one sample unit. The sample unit is intended to show how a series of lessons can be developed from the suggested ideas in the unit overviews.
• Appendix A: This appendix describes the concepts and understandings related to the elements of music and the principles of compositions that students acquire in music for K-5. These concepts have been derived from foundational objective #2.
• Appendix B: This appendix outlines the vocal and instrumental skills and abilities students develop from K-5. These skills and abilities have been derived from foundational objective #3 and are intended to nurture the singing and playing capabilities of all students.
• Appendix C: This appendix provides a process that teachers may use when introducing students to improvisation.
• Glossary: A glossary is included at the end of the music section. The glossary provides basic definitions of terms. If more information is needed, the teacher may refer to resources on the elements and concepts of music.

Instrumental and Vocal Instruction in the Music Strand of the Arts Education Curriculum

The foundational and specific learning objectives encompass the required content of the music curriculum. Activities provided in this document are suggestions only. Teachers may design their own activities to meet the foundational and learning objectives.

Instrumental and vocal instruction may be the means that teachers choose to achieve many of the music objectives. Therefore, teachers of instrumental and vocal programs should analyze the objectives to identify those that are being met in their existing programs. Teachers may find that they need to supplement their existing instrumental and vocal programs to achieve the remaining objectives.

Teacher Reflection

 Following are things that teachers might think about while reading the Music Strand section of the curriculum:

□ Will I teach the units in the order they appear in the curriculum document (i.e., units 1-4) or will I begin with the sample unit for my grade?
□ Suggested resources in the sample unit and starter lists of activities that I have access to include:
□ School library resources (e.g., books, videos, websites, music recordings) include:

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□ School Division resources (e.g., shared resources, teacher leaders for K-5 Arts Education) include:

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□ Community resources (e.g., arts organizations, local artists, public library) include:

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□ Resources I would like my school to purchase include:

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Music Unit Overviews and Sample Topics for Grades 1-5

Note: The mini-unit themes listed in this overview are required. The topics listed, however, are samples or examples. Teachers may choose other topics to express the required mini-unit themes. Mini-units in bold-faced type have been developed in the curriculum as sample units with lesson plans using the sample topics listed (available on CD-ROM and Saskatchewan Learning wesite) .

Foundational Objectives

There are seven broad foundational objectives for the Elementary Level. These objectives are to be developed over the course of Kindergarten to Grades 5 and can be achieved through the grade-specific learning objectives. The foundational objectives cover the scope of the music program and embody the three components of arts education.

The seven foundational objectives are listed below and are followed by an explanation of each objective.

The students will:

1. Become aware of the contexts, sources, functions, characteristics, and qualities of sounds in own environment.
2. Understand the elements of music and develop concepts that lead to an understanding of organization and structure in music expressions.
3. Develop vocal and instrumental capabilities in order to use them as mediums of expression.
4. Begin to understand the variety of sources for music ideas.
5. Develop ideas into music expressions, learning about and using the processes of creating and the sources of sound/music.
6. Become aware and develop an understanding of a diverse range of music.
7. Talk about, interpret, and respond to pieces of music.

1. Become aware of the contexts, sources, functions, characteristics, and qualities of sounds in own environment.

Purpose: to encourage students to explore their own environment – the sounds and music they are exposed to in their lives.

Through this focus, students are helped to:

• begin to recognize and identify the characteristics of sounds
• develop an awareness of the expressive qualities of sounds
• discover that their lives are influenced by the music they hear in the mass media, stores, various ceremonies, and events.

2. Understand the elements of music and develop concepts that lead to an understanding of organization and structure in music expressions.

For the purposes of this curriculum, the elements of music are rhythm, pitch, timbre, dynamics, and texture.

Purpose: to gain an understanding of the basic building blocks of music (elements) that help organize music into cohesive works.

Through this focus, students are helped to:

• recognize and identify the elements of music
• learn that it is the interaction, not the isolation of individual elements that is important in music
• become aware of how the different elements interact to establish form and express ideas and images.

Appendix A (see page 189) describes the fundamental concepts and understandings students are to acquire concerning the elements of music for K-5.

3. Develop vocal and instrumental capabilities in order to use them as mediums of expression.

Purpose: to develop the student’s vocal and instrumental capabilities through a process of informal and formal singing, playing, and creating activities.

Through this focus, students are helped to:

• explore and discover the distinctive characteristics and qualities of their own voices
• gain confidence about expressing themselves with their voices and with instruments by developing relevant technical skills and abilities
• discover how voices/instruments are used in various cultures.

Appendix B (see page 194) outlines in more detail the vocal and instrumental skills and abilities students are to develop from K-5.

4. Begin to understand the variety of sources for music ideas.

Purpose: to encourage students to realize that ideas come from many sources and can serve a variety of purposes within musical compositions.

Through this focus, students are helped to:

• discover that music expressions are developed for many different purposes
• explore how they might purposefully express images, moods, or feelings
• experiment with instruments/voices and sound objects to explore music concepts
• understand that a single idea can be developed or evolve in many ways and directions
• discover that the inspiration for one composition, whether in dance, drama, music, or visual art, can often inspire expression in a different art form
• see the relevance of keeping a journal of music expression ideas.

See Planning for Composing in the Classroom (page 169) for more ideas and guidance for the development of this foundational objective.

5. Develop ideas into music expressions, learning about and using the processes of creating and the sources of sound/music.

Purpose: to develop the students’ abilities to use a variety of sounds as a means of expressing themselves.

Through this focus, students are helped to:

• develop their technical skills and have a better understanding of the expressive powers of music
• discover how to transfer their ideas into sound
• see the relevance of music notation systems (notational skills are more likely to develop in a natural manner if students compose their own music)
• develop notation skills so that they can recreate what they and others have produced
• see that they are creative individuals and that the process of making music need not be viewed as the exclusive domain of a few individuals
• understand that they are communicating meaning through their music expressions
• understand that music is a unique means of communication and begin to gain an appreciation of the value of their own sound/music ideas.

Planning for Composing in the Classroom (page 169) outlines and describes a process for engaging students in developing their own compositions.

6. Become aware and develop an understanding of a diverse range of music.

Purpose: to have students look at the different functions music has for various groups of people throughout the world.

Through this focus, students are helped to:

• learn that music has served humankind as a method to transmit societal and cultural attitudes and values
• learn about the contributions of Saskatchewan and Canadian musicians and composers, including First Nation and Métis artists
• discuss styles, unique musical techniques, trends, trademark characteristics, and instruments used by different composers and musicians
• realize that music is still being created today in many different ways and styles.

7. Talk about, interpret, and respond to pieces of music.

Purpose: to lead students to respond to music in an increasingly thoughtful, sensitive, and meaningful way.

Through this focus, students are helped to:

• become familiar with processes such as those described in Responding to Arts Expressions (page 45)
• go beyond their initial reactions and suspend judgement while they describe, analyze, and further investigate music
• be open to differing opinions on musical compositions and support their opinions regarding a variety of music
• discover and reflect on how cultural and personal perspectives affect reactions to music.

Kindergarten to Grade 5 Developmental Continuum

The chart on the following pages displays the scope and sequence of learning from Kindergarten to Grade 5. It includes broad foundational objectives for the Elementary Level and grade-specific learning objectives. This chart represents the required content for the music strand.

Instructional Guidelines for Teaching Music at the Elementary Level

The following guidelines are general instructions to the teacher for music instruction throughout the year.

1. Introduce sound before symbol.

The development of musical understanding and skills is best achieved by an approach that introduces the students to sound before symbol. The ability to hear, recreate, and remember sounds accurately is fundamental to any future musical development. Students participate in extensive singing, playing, creating, and listening activities before being asked to recognize and represent sounds through symbols (notation). Notation skills are more likely to develop in a natural manner if students compose their own music and come to see the relevance of notational representation. Developing the ability to read music notation is seen as means to an end and not an end in itself.

2. Make use of whole-part-whole processes in the development of skills, techniques, and knowledge.

Instructional practices should incorporate the acquisition of relevant information and technical skills within a meaningful context using a whole-part-whole process. Helping students gain a sense of the whole aids them in understanding the role of the part. In a broader context, this is illustrated by the development of a given topic from general-specific-general (e.g., grade 3 mini-unit Inspiration from Life Around Us). In a more specific context, it might involve the learning of a song; moving from hearing the complete song (whole); learning specific phrases or focusing on a particular element (part); and then reintegrating the parts to return to the whole.

3. Integrate experiences that make up the personal and communal environment of the student.

The mini-unit Musicians and their Music, Grade 3, Unit 4, suggests how the personal and communal life of the student might be integrated into music instruction.

Instruction of this nature includes activities that:

• acknowledge and respect the experiences and cultural background of the students
• reflect and extend students’ interests
• affirm, validate, and celebrate the students’ identities and values.

4. Develop an inclusive concept of musical literacy.

Musical literacy is sometimes interpreted as the ability to read music notation. Developing this particular ability may contribute to literacy but is not to be viewed as its definitive quality.

Musical literacy is seen in a much more comprehensive way and includes the development of:

• interest in and curiosity about sound/music
• aural perceptual awareness
• skills, techniques, and abilities (including reading music notation)
• aesthetic awareness and understanding
• knowledge of, respect for, and valuing of diverse forms of music, past and present
• understanding music as a unique form of communication.

5. Provide opportunities for students to explore, improvise, and compose.

The creative/productive component of the arts education program stresses personal exploration and creativity; therefore, the curriculum guide suggests ways for the students to become involved in the creative process. Opportunities for students to express their feelings, moods, and ideas through sound creations are essential if students are to develop a basic understanding of music. Through involvement in the creation of sound compositions, students experience for themselves what it is like to create with sound. They also increase their understanding of the language of music.

The following activities are to be incorporated into every unit of study.

Exploration is a process of helping students to learn through discovery. Exploration may be:

• informal and open-ended (e.g., playing around with voices/instruments/objects simply for the enjoyment of sound making)
• guided and focused to illustrate a specific concept, element of music, or principle of composition (e.g., comparing timbres of various objects/instruments; illustrating repetition and contrast)
• used as an opportunity to develop students’ understanding of music vocabulary (e.g., introducing notation or musical terms such as crescendo)
• used within a context or focus for a composition (e.g., exploring the various ways possible to illustrate or express a particular mood or image).

Improvisation is a process of simultaneously thinking up music while performing it. Improvisation can be:

• helpful in the development of concentration and imagination while building technical skills
• guided by the desire to express an image or mood within a simple informal structure (e.g., a time span of 30 seconds)
• guided by the desire to express an idea or feeling within an existing structure (e.g., 12 bar blues).

See Appendix C: Introduction to Improvising on page 196.

Composing is process of selecting and arranging or ordering sounds.

It is important that students understand why they have been involved in creating sound compositions. Participation in a creative activity that makes no meaningful connection to the student’s own life is non-productive. When planning sound composition opportunities, situate them within a sequence of lessons that provide a meaningful context. See Planning for Composing in the Classroom on page 169 for a more detailed process for creating sound compositions and some sample activities.

6. Singing and playing activities should form a fundamental part of music instruction.

Actively involve the students in singing and playing throughout the year. All students should have the opportunity to express themselves through singing and playing activities, individually and in small or large groups. Through active participation in singing and playing, students experience the expressive qualities of music for themselves.

If you are unable to accompany your students on an instrument, some options may be to:

• invite another teacher, parent, or student to assist
• have a local musician tape the music for you
• collect a very wide range of taped music to accompany singers. Such music is available through publishing companies. You may wish to check with the Saskatchewan Music Educators Association, the Saskatchewan Choral Federation, or knowledgeable community members.

Instruments can be effectively used in the classroom to help students discover and reinforce concepts in music. Use any classroom instruments already in the school. Provide opportunities on a regular basis for students to explore, experiment, and use instruments (traditional and/or homemade) in classroom activities.

See Appendix B: Vocal and Instrumental Expectations for K-5 on page 192 for more ideas and guidance for singing and playing activities.

7. Teach concepts related to the elements of music and the principles of composition in a context of interest to the students.

The elements and principles are explored best in a context of interest to the students, rather than in isolation. Encourage students to learn about the elements of music and the principles of composition as they encounter them in their ongoing musical experiences. What the students discover about the elements and principles should be reinforced and applied throughout the year. While the teacher begins to use the vocabulary of the elements and principles in discussing sounds and music, students are not expected to demonstrate an understanding of the elements or principles beyond the level outlined in the learning objectives for that year.

8. Make use of music from a variety of cultures and forms past and present.

Appreciation comes, in part, from familiarity. For each unit of study, the teacher chooses one or two musical selections with which students become familiar through repeated listening. If music is taught by a specialist, s/he could make the selections available to the classroom teachers, who can then provide a convenient time slot in the school day for this listening activity. As well, students should be encouraged to contribute musical selections that meet particular criteria.

The music chosen by the teacher/student should encompass a wide variety of styles, including music from popular culture, vocal music, and instrumental music (including orchestral and symphonic works). The selections need not always be directly linked to the specific theme of the unit, but may be chosen for musical significance and relevance to the students.

The following suggestions aid in the development of listening abilities.

• Include Saskatchewan and other Canadian musicians/composers so students learn that the arts are a part of their own time and place.
• Include First Nation and Métis musicians/composers so students learn about the past and present contributions of the First Nation and Métis peoples of Canada.
• Invite musicians/composers into the classroom to talk about their musical experiences.

Help students realize that music can convey images, feelings, and ideas. Guide students to an awareness of the characteristics of style. Encourage students to talk about their reactions to pieces of music. Students may also wish to respond to music in ways other than discussion such as, through art, dance, or drama as described in Responding to Arts Expressions on page 45.

The students should record their reactions and observations about each selection in a journal.

9. Have students keep music journals or portfolios.

Portfolios and journals are excellent ways to encourage active involvement of all students. The journal or portfolio may have many functions - from providing students with opportunities to record ideas about themselves, their experiences, and their studies in music, to storing composition and research information gleaned from various activities.

Portfolios and journals are not to be used merely as diaries; rather, they are used as learning logs that facilitate problem solving and the comfortable expression of observations, ideas, and insights about music experiences. Encourage students to work out ideas, reflect upon their work in music, and gather information and fresh ideas that are of particular interest and relevance to them. Also, the students’ responses to the various listening examples can be recorded. The student and the teacher should see growth in the student’s ability to analyze and interpret music.

Planning from the Music Section of the Curriculum Guide

The Curriculum Structure

The music section of the curriculum encourages teachers to plan their programs in units – that is, in a series of connected lessons. For many Elementary Level teachers, this is a change from past classroom practice in music education.

The curriculum outlines four required units. Each unit is presented in two mini-units, which are simply shorter units. The mini-unit topics have been designed so that during the Elementary Level students experience a varied range of contexts for their learning in music.

The time allotment for music is 50 minutes per week. It follows, then, that roughly three to five weeks could be spent on each mini-unit. However, it is not required that the two mini-units be given equal time.

The activities provided for each mini-unit are intended to be a starter list only. As teachers become more experienced in using the guide, they will certainly want to add other activities or adapt the ones provided for different themes or topics. The activities are listed in three categories: introductory, main, and concluding activities. These three categories have the following purposes:

Introductory Activities

• to engage the students’ interest and attention
• to provide a context for learning
• to introduce concepts, skills, or materials needed for activities that follow

Main Activities

• to explore a theme or topic toward achieving the selected objectives

Concluding Activities

• to give the students opportunities to reflect upon their experiences
• to explore possible extensions to the unit, or to provide a bridge into a new unit of study.

Planning Lessons and Units
A sample form for planning music lessons from the curriculum guide can be found on page 176. Remember that lessons can include research, discussion, reflection, and a variety of other activities as music experiences. The following are steps to consider when planning music units.

Step One
Familiarize yourself with the information provided for your grade. Become familiar with the scope of learning objectives. Study the four unit overviews. Become familiar with the units and mini-units. Read the sample unit for your grade. This provides a model for unit planning. Read the sample units for other grades to get a sense of how other units and themes or topics are addressed. All sample units appear on the CD-ROM and Saskatchewan Learning website.

Step Two
Select a unit. Most teachers will want to begin with Unit 1: Learning to Hear; however, the units may be taught in any order. Choose a mini-unit theme and topic. You may use the topic suggested in the guide, or select one of more relevance to your students and community.

Step Three
Outline a sequence of lessons. At this point, be brief – a sentence or two describing each lesson. Refer to the Starter List of Activities in the guide, or develop your own activities. Lessons may be either 25-minute lessons (two per week) or 50-minute lessons (one per week), although teachers could plan for any combination totalling 50 minutes per week.

Step Four
Plan the lessons in detail. The following are important aspects of lesson planning:

• Select appropriate learning objectives for each lesson. A checklist is provided at the beginning of each grade. Remember that some learning objectives may need to be taught only once during the year, while others need to be taught and/or reinforced several times, depending on the students’ progress and the nature of the objective. Some learning objectives will, in all likelihood, be selected for all four units. Be sure to include Common Essential Learnings objectives. A sample checklist is provided.
• Select resources to which you have access. Be sure they apply to the objectives as well as the theme of your mini-unit.
• Determine the means of assessing achievement of the objectives. Remember to plan for ongoing assessment rather than only at the end of a mini-unit. Sample assessment forms are included in this curriculum guide.
• Outline procedures for each lesson in the mini-unit. Be as detailed as you feel you need to be.

Step Five
Refer to the Sample Checklist for Planning a Music Mini-unit located on page 175. This checklist is a means of ensuring that Core Curriculum components and initiatives are included in every unit. It also acts as a reminder of the importance of including a variety of teaching strategies in music.

Planning for Composing in the Classroom

It is suggested that teachers guide students through the process of creating sound compositions in the following way.

Provide a context or point of interest for the compositions .

Classroom composition ought to be a relaxed and enjoyable experience for the students but should not stand alone or appear to be only for “fun”. Student-created sound compositions are always included and taught within a larger context. Teacher and students can explore music within the context of a unit theme or topic in that unit. Students demonstrate their comprehension of musical learning through their sound explorations. For instance, students could demonstrate their understanding of function by creating music that they feel might be used to create suspense for a television show or movie. They could demonstrate their understanding of variety and repetition by creating a composition that alternates between similar musical material and sections of different sounds and sound patterns. Composition activities might also develop from discussions about a piece of music, a music concept, different functions of music in various societies, a style of music, a recently viewed video, or an experience with a live group. Students need to see this activity as a meaningful way to explore and understand a particular concept or idea.

These creative activities can sometimes generate a lot of unwanted sound for other classes in the school. It is a good idea to schedule such activities in co-operation with neighbouring classrooms, perhaps when the other class is out of the room. Let administrators and fellow teachers know in advance that the students will be problem solving and on task in spite of the increased sound level. The students are using and developing higher level critical and creative thinking skills. These activities require a great deal of concentration, co-operation, and communication abilities.

Provide for both structured and open-ended exploration with as varied a collection of sound-producing objects and instruments as possible. Encourage students to continue creating at home, both individually and with friends, as well as in the school setting. They soon begin to realize that music can be an effective form of communication and that this communication is possible for all people, not just a talented few. They also learn about the work and effort that goes into making a creative statement by examining musical artists of all styles, cultures, and types.

Discuss the objectives and set criteria.

The teacher selects particular learning objectives for composing activities based primarily on the following two foundational objectives:

• students begin to understand the variety of sources for music ideas
• students develop ideas into music expressions, learning about and using the processes of creating and the sources of sound/music.

The objectives may be directly related to the elements of music or principles of composition; the study of patterns or form; the different functions of music in various societies; or the expression of moods, images, or ideas. The students must understand their objectives in order to have a focus for their compositions. Within the context of the unit, discuss with the class what the main objective of this particular project is. Present the project as a problem-solving activity. Discuss possible resources and previous learning that may help them fulfill the objectives.

The objectives may come from:

• the unit focus; for example, how a musician puts things together for a purpose
• a specific music concept, such as “repetition and contrast”, “metre in music”, or “syncopation”
• other subject areas; for example, creating a soundpiece to accompany a poem (English language arts); creating a soundpiece to demonstrate changes in the weather (science); creating a soundpiece that illustrates elements that predominate in music of various cultures (social studies); creating a soundpiece to accompany a student video or art work, a dance creation, or a situation in drama (arts education)
• listening to another piece of music
• an experience that a student or the class has had with a live performance.

Guide students as they create.

The teacher guides students through each of the following steps. It is important to realize however, that this is not a discrete step-by-step procedure. Composing is an interactive, dynamic process that sometimes requires reviewing or retracing previous material or steps.

Decide on a focus.

The teacher or the students themselves may have determined general or very specific criteria for structuring and developing the soundpiece.

The following are examples of general directions:

• Plan and arrange a short series of sounds to express a feeling or idea.
• Match sounds with one or more visual images.
• Improvise a soundpiece inspired by an event, poem, or story.
• Create sound for the background of a cartoon.

The following are examples of specific directions:

• Explore specific rhythms or concepts such as syncopation.
• Use three different instruments, alone or in combination, that are capable of playing several different timbres.
• Create a composition that demonstrates a gradual increase or decrease in volume (i.e., crescendo and decrescendo).
• Using a previously composed work, alter one specific musical element, principle, or the form.

Collect sounds.

Discuss and list the sound possibilities of the chosen focus and begin to collect sounds for the sound composition. For example, animal sounds, electronic sounds, and environmental sounds can be put on tape to refer to later when finding musical ways to represent them.

Investigate how to change the timbre, pitch, and volume of various found and traditional instruments. The students could find innovative ways to create the sound and determine the optimum ways to produce a conventional sound.

Remember, it is important to remain open and flexible to all possibilities at this stage of the process.

Experiment.

During experimentation with the sounds that have been collected, attempt to balance instructional time and problem-solving activities.

Allow the students to freely explore a wide variety of sound materials in the classroom. In this way, students discover and identify sound possibilities. How many different sounds can be made with a single object? What are the dynamic possibilities of the object? Will the object need to be played alone in order to be heard? Can duration be manipulated? Can the pitch be altered by any means? How is the sound created? Can it play a repeated pattern or is it capable of only playing once (e.g., popping a balloon)? Are there a number of different ways sound can be produced?

Extend and focus explorations by guiding students to discover new ways to make sounds or to improve the quality of the sounds they have collected. Discover the sounds that are around them in their own environment.

After discovering some interesting sound possibilities, plan ways for students to explore and improvise with sounds in combination and in sequence. Such explorations help students to develop the ability to manipulate their collected sounds. They discover that the expressive quality of a sound changes when it is combined, preceded, or followed by another sound.

Students might try to create sounds that suggest a mood or feeling using objects, instruments, or voices. They might imitate or recreate sounds they have heard or imagined and combine taped sounds with real sounds.

Develop sound compositions.

During the development stage, students are challenged to combine and sequence sounds into compositions or forms of expression that are personally meaningful to them. They must make decisions about which sounds to use in what order to use them, and how often to use them. This stage involves decision making about discarding, inventing, balancing, restructuring, and rearranging.

Students:

• experiment and improvise with different sound combinations
• experiment and improvise with different sequences for the sounds
• experiment with expressive qualities (e.g., loud and soft)
• decide which sounds to use for the soundpiece
• decide on which principles of composition are important and how to use them best.

Synthesize.

Students:

• decide if there should be any changes to the sounds used, the order of sounds, or the length of the composition
• return to an earlier step, if necessary
• decide whether notation is necessary (traditional or invented) or decide on other ways to cue musicians
• finalize the order or pattern of the sounds, although some improvisation may always be desired.

Give students opportunities to perform their sound compositions.

Encourage students to rehearse or practise their soundpieces. If students are working in a group, they might decide to appoint a conductor. Have them make a tape and listen. What needs work? What could be done to make the composition more effective? Are the intentions and ideas they are trying to convey obvious to their audience? Is it important to them that their intentions be obvious? Why or why not?

The students can perform their compositions for themselves or for others. They might decide, instead, to put the composition on tape.

Encourage students to reflect on and self-evaluate their work.

At this stage, students need time to reflect on their compositions and processes. This might lead students to discover new ways of expressing ideas, moods, and feelings; to rework the instrumental combinations to create balance; to work towards building tension; or to improve existing and future compositions.

Encourage students to discuss their project. Provide small groups with focus questions such as: What were the strong points? What could be done to make it better? Facilitate a large group discussion about specific music elements and principles of composition.

Plan for brief teacher-student interviews at which students can discuss their project: Did they enjoy working on it? How could they change it next time? What were the most difficult aspects of working with a group? What would they do differently next time? What did they learn?

Help students extend and redirect their experiences.

Encourage students to:

• talk to a composer about their project
• listen to recordings of music that illustrate the same principles they were using
• go to a live performance
• compare their compositions to music on the radio or on television
• adapt or expand their original idea and create a new soundpiece
• apply their soundpieces to another subject area such as dance, literature, or visual art.
• use a process from Responding to Arts Expressions on page 45 to examine their compositions.

Evaluate the students’ progress.

Evaluation for creative experiences in music must focus on the individual student’s process. Criteria for the project or composition needs to be established and shared with the student before the project begins. It is essential that the teacher evaluate creative projects in consultation with the student in order to establish the student’s intent for the composition and, if appropriate, the context of the work.

The following evaluation criteria provide an example. The questions are based upon the foundational objective “develop ideas into music expressions, learning about and using the processes of creating and the sources of sound/music”.

Teachers might ask questions such as the following:

• In what ways does the student experiment with a wide variety of sounds in his or her sound explorations?
• What sounds has the student discovered when using the instruments available?
• To what extent has the student used sounds from the natural and constructed environment in creative and imaginative ways?
• To what extent has the student discovered how different instruments create their characteristic sounds?
• Is the student able to increasingly recognize and distinguish different voice types and instruments?
• What knowledge has the student gained about the characteristics of sounds in music and the natural and constructed environment?
• To what extent does the student recognize the effects of sound on daily life?
• What instrumental sounds has the student discovered from various cultures at home and around the world?

Sample Activities for Composing in the Classroom
(Adapted from a series of activities developed by D. Schaefer (2001), Prince Albert, SK: Garden River Research Associates.)

The following suggestions are provided to help teachers structure activities that allow students to create their own sound compositions as an individual, a small group, or a whole class. These suggestions are intended for teachers of students with varied musical backgrounds. Some students in the class may be receiving private or formal musical instruction while others may have little or no formal training. The suggestions incorporate the use of both vocal and instrumental sounds. Teachers are encouraged to use whatever classroom instruments are available to them along with found objects and homemade instruments.

Create folders that contain shapes, words, and images from calendars/magazines, poems — anything that might act as a catalyst or stimulus for a composition. Encourage students to create their own folders of potential compositional material.

Collect found objects as potential sound makers. These objects might include various lengths and widths of plastic tubing (for blowing or twirling); copper pipe; wood; assorted sized tin cans filled with various articles (for shaking); coffee cans (for drumming); wind chimes made out of various materials (keys, dowelling); mallets (dowels with rubber balls or wide elastic bands around the ends); old automobile parts (hubcaps, brake drums, flywheels); homemade lummi sticks (dowel rods); homemade flutes; wash tub bass; and washboards. Make instruments to use in compositions. In addition, use traditional and electronic musical instruments such as piano or small electronic keyboards.

Depending on the particular classroom situation, initial activities in sound creation may need to be more structured. Once students are familiar with the process, activities that are less structured can be included.

Grades K-2

The following suggestion works best as a teacher led activity involving the whole class.

Activity One : Alternate loud and soft sounds (whole class)

Focus: Loud and soft sounds

Objective:Demonstrate an understanding of loud/soft sounds in speech and music

• Have the students form a circle.
• Create and clap a short rhythmic pattern such as “ta – ta – ti-ti – ta” (x x xx x).
• The rhythmic pattern is done by everyone and alternates with the students saying their names (e.g. pattern – I am Steven, pattern, I am Susan).
• As you go around the circle, ask the students to alternate between loud and soft as they say their names (e.g., name spoken loudly (clap) x x xx x; name spoken softly (clap) x x xx x; name spoken loudly (clap) x x xx x; name spoken softly (clap) x x xx x).

Activity Two : Create a loud and soft pattern of sounds (individual or small group)

Focus: Dynamics

Objective: Make basic decisions (individual/class) about how sounds or instruments can be used in creating a music expression (e.g., order, dynamics, patterns)

• Choose an instrument/object or your voice and experiment with making loud sounds/soft sounds.
• Create a pattern with your sound and repeat the pattern until you can sing/play it the same way each time.
• Explore ways to make your sound pattern gradually get louder and then gradually get softer.
• Practise your pattern.
• Share your sound pattern with your classmates.
• Join with a classmate and combine your loud/soft patterns together to make a short soundpiece.

 Activity Three : Create rhythmic and melodic patterns (whole class activity)

Focus: Ostinato

Objective:Recognize and identify patterns of repetition and contrast in music

• Select a simple nursery rhyme or poem to recite (e.g., Jack and Jill).
• Recite or chant the poem as a group maintaining a steady beat and rhythm.
• Experiment with some spoken rhythmic patterns (ostinati) that could be used to accompany the poem (e.g., a small group chants “Jack and Jill” while the rest of the group recites the poem).
• Substitute an instrument/sound object to play the ostinato pattern of the chant “Jack and Jill”.
• Experiment with other rhythmic patterns using instruments/objects to accompany the poem.

Note: This same process can be used to develop melodic ostinati as accompaniments to songs or poems. For example, take the last phrase, “dip dip and swing” from “My Paddles Keen and Bright” and use it as a melodic ostinato.

Activity Four : Create non-traditional notation (individual, small group)

Focus: Experiment with ways to visually represent musical concepts

Objective: Become aware that notation is a way of preserving compositions and that sounds/music may be represented through a variety of notation devices

• Draw a shape or symbol on a card that shows one of the musical elements: pitch (high-low), duration (long-short), dynamics (loud-soft), tempo (fast-slow), direction (ascending-descending), rhythm (even-uneven), texture (few sounds-many sounds).
• Create a sound for the shape you have drawn.
• Create a short sound pattern with your sound.
• Combine your pattern with one or two other classmates to make a short composition.
• Ask students to describe the relationship between the sound shape/symbol they invented and the musical concept chosen.
• Experiment with various combinations of students’ patterns to create other compositions.

Grades 3-5

Activity One : Create a phrase structure (small group of two or three)

Focus: Phrase – a basic structural unit in musical form; a term used to identify patterns within more formal structuring of music

Objective: Understand that a phrase is a basic structural unit in music and can be repeated or contrasted with other phrases to create larger structural units (e.g., call/response, question/answer, rounds)

• Explore and experiment with the element of rhythm by creating a short rhythmic pattern using voice, instruments/objects.
• Talk about and listen to the sounds/rhythm patterns each member is making.
• Experiment with various rhythmic patterns emphasizing repetition.
• Create a short rhythmic pattern or phrase with your group (phrase a).
• Create a second pattern that is in contrast to the first pattern (phrase b).
• Decide whether phrase b will be the same length as phrase a.
• Combine the patterns into a soundpiece using an aabb phrase structure.

Activity Two : Create a sound sequence from a picture such as an image from a calendar, magazine, story book (individual or small group)

Focus: Sources of ideas for music expressions

Objective: Understand that they can develop ideas from a variety of sources to create music compositions

• Take the picture from your folder and discuss the ideas, moods, and sounds it suggests.
• Decide on which element/elements (rhythm, pitch/melody, dynamics, texture, timbre) you think might be used to reflect the mood or idea of the picture.
• Choose the sounds you wish to use: voice, instruments (pitched or non-pitched).
• Experiment with a variety of ways in which the sounds might be arranged or ordered into a sound sequence or pattern.
• Create a sequence or pattern.
• Practise and perform your sequence for another group/class.
• Explore the idea or possibility of combining various group patterns and making larger compositions.

Activity Three : Create a sound sequence from an invented notation chart (small group)

Note: This activity requires two or three lesson periods to complete.

Focus: The various uses of notation

Objective: Extend familiarity and use of traditional and non-traditional notation devices in music they create and perform

• Have each member of the group draw a shape and create a sound(s) to represent the shape.
  or
• Have each member choose a shape from a folder of shapes and create a sound for that shape.
• Practise the sound(s) developed from your shape until you can repeat it the same way each time.
• Share your sounds with each other.
• Discuss the idea of focusing on a particular music element (e.g., dynamics).
• Experiment with that element: soft/loud sounds; gradually getting softer or louder; sudden changes in dynamics; will each sound be heard just once, twice, or a few times?
• Begin to decide on an order or sequence for your sounds.
• Begin to draw the shapes on your notation chart in the order they will be heard.
• Invent symbols (e.g., underline loud sounds) or add words above, below, or beside the shapes to indicate the instructions for the performers.
• Choose a final pattern for your sequence employing principles of composition, such as repetition, variety, tension/resolution, and unity. Are your sounds compatible with each other? Does the sequence have a sense of cohesiveness? Is it interesting? Are you satisfied with the sequence?
• Develop a final notation scheme to represent the sound sequence.
• Display and explain your notation scheme and perform your sequence for another group/class.
• Exchange notations with other groups.
• Discuss the strengths and weaknesses of invented notation.

Sample Checklist for Planning
a Music Mini-unit

Teachers should select most of the following for each mini-unit:

• Have I chosen a theme/topic that will unify the lessons in the mini-unit?
• Have I set appropriate learning objectives, including learning objectives that address the Common Essential Learnings?
• Have I mapped out a series of lessons within a mini-unit?
• Have I included introductory activities from Appendix A: Music Elements and Concepts for K-5 and/or Appendix B: Vocal and Instrumental Expectations for K-5 , if needed?
• Have I included opportunities for the students to explore and express themselves through the exploration of sound and the language of music?
• Have I included activities that develop the Common Essential Learning objectives?
• Have I included opportunities for the students to research ideas or topics?
• Have I included opportunities for both individual and group work?
• Have I included opportunities for discussion?
• Have I included opportunities for student reflection on their own work?
• Have I included music from a wide range of styles, cultures, and time periods?
• Have I included appropriate music from Saskatchewan and Canada?
• Have I considered all three components (creative/productive, cultural/historical, and critical/responsive)? 
• Have I included First Nation and Métis content, either specifically or as examples of general concepts?
• Have I tried to make the activities relevant to the students and their communities?
• Have I made plans to assess the extent to which students have achieved the learning objectives during the mini-unit?
• Have I considered both process and product in the selection of my assessment strategies?

Other:

Sample Planning Form for a Music Lesson

Grade 3 Music

 Learning Objectives Checklist

The students will:

Grade 3 Unit Overviews

Unit 1: Learning To Hear

Time: 6-8 weeks

This unit focuses on the development of the students’ abilities to perceive sounds – that is, to hear sounds, to detect subtle characteristics of sounds, and to understand the effects of sounds. Activities in this unit are designed to help students discriminate between sounds and begin to recognize the distinctive characteristics and qualities of sounds. Activities and strategies are planned to allow students to explore sounds, to find out how sounds are made, and to extend their abilities to control and manipulate sounds.

Mini-unit: The Voice

Sample Topic: The Joy of Singing

Suggested Resources

• “Howdi Do” (poetry/song comes with CD that has music for all 3 books), “My Dolly”, “Bling Blang”, (all books come with sheet music) by Woody Guthrie, pictures by Vladimir Radunsky
• “A Ram Sam Sam”, page 8; “Boom Dali Da”, page 13; “Let It Rain”, page 28-29; Music Builders III
• “Locomotion Song”, page 258; “Breezes Are Blowing”, page 38; Canada Is…Music 3-4, (Teacher Guide)
• “Hello, I’m Me!”, CD 7, Canada Is…Music 3-4
• “I’d Like to Teach the World to Sing”, CD 1, Share the Music 3
• “The Canoe Song”, CD 9-37, The Music Connection, Grade 4, page 248 or in Music Builders IV, page 19
• “Pine Tree Gently Sigh” (pentatonic), page 41, “My Aunt Came Back” (call/response), page 274, Canada Is...Music 3-4 (Teacher Guide)
• “Magic Penny” (sequence), page 4; “Animal Fair” (direction), page 5; “Lollipop Tree” (steps, skips, leaps), page 23; “Nina Nana” (melody shape), page 25; Music Builders III
• “The Beamy Brown Eye”, page 10-11, Music Builders III
• “Ready, Set, Scat!” CD 7, Share the Music 3
• “Memories”, by Wandering Spirit, First Tracks (CD)
• “Down by the River” (light voice), “Down by the River” (heavy voice), CD 1, Share the Music 3
• “Tikki-Tikki Tembo” (musical story), CD 3, Musicanada 3
• “Cracker Jack”, from CD, Whispering Tree: Anishinaabe Stories & Songs
• “Pop! Goes the Weasel!” CD 2, Share the Music 3
• “Country Dance”, page 9; “The Beamy Brown Eye”, pages 10; “Sound Slalom”, page 12; and “Dripsody”, page 29; Music Builders III
• “Exploring Vocal Registers”, CD 1, Share the Music 3
• Human sounds in various settings (a street corner, a kitchen, a sporting event, a family celebration)
• Records and tapes students bring from home

Starter List of Activities 

Introductory Activities

Listen for the different sounds voices make; for example, in different places such as in the bush, shopping malls, sporting facilities, classrooms, and playgrounds.

What kind of sound effects do large groups of voices make? What kinds of sound can you make with one voice? How does the sound change when you add one other voice? Many voices?

Ask students to find the lowest and highest notes in a song.

Have them identify the direction of melodies as moving upward, downward, and/or staying the same. Use body movements to show the directions and shapes of melodies; for example, by raising or lowering the body.

Have students draw, in the air or on paper, the shapes and contours of melodies in familiar songs

Main Activities

Have students identify a melodic sequence in songs they sing.

Ask students to identify the steps, skips, and repeated notes in melodies they sing. They can do this both visually and aurally.

Help students to understand that a melody cannot exist without rhythm.

Sing melodies with and without accompaniment. Talk about the differences in sound. Does the melody sound incomplete without the accompaniment, or does the melody stand by itself?

Sing melodies with a melodic ostinato; for example, “The Canoe Song” on page 248 in Music Connections or page 19 in Music Builders.

Sing songs and canons in two, three, or four parts. Talk about how the texture changes as more parts are added. Encourage the use of descriptive words such as thick, thin, heavy, and light.

Have students use their voices to imitate sounds (a clock, a car starting, a loon, a beaver, a fire alarm).

Compare the sounds they make with those of their classmates. Are they similar? Are they quite different?

Look for words to describe the texture of the sounds (e.g., thick, thin, heavy, light).

Sing songs with contrasting tempos. Ask the students to match movements with the tempo of the music. Identify the tempos of music as fast, medium, slow, or changing.

Ask the students to choose appropriate tempos for songs they sing. Ask the students to identify the effect of tempo on the expressiveness of music.

Ask the students to choose or identify the appropriate dynamic levels and changes for music they sing.

Ask the students to describe the effect of dynamics (loudness and softness) on the expressiveness of a piece of music.

Concluding Activities

Play recordings of singers and compare the different voice qualities. Discuss and compare the various ways individuals and groups combine and manipulate sounds to accompany a song, poem, or story.

Discuss the texture and timbre of different voices.

Listen to music of various traditional cultures and talk about the different textures and timbres you hear.

Discuss the expressiveness in recordings and in class singing.

Mini-unit: The Environme