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Amy Tenney

Unit: Form/Variation/Mozart with Recorder Performance

Unit Plan Overview


Stage 1- Desired Results

Connections to Context: Expanding repertoire and listening with new ears. Sin distorts hearing, and a lack of knowledge can often limit our hearing as well. By learning about old music in context and the time period surrounding it, students will understand and learn to enjoy all of Gods creation.
(How does this fit with students experiences, the school goals, and the larger societal issues?)

Transfer Students will be able to independently use their learning to Recognize varied forms of melody and identify what about the melody was varied to make it different. Compose and improvise their own variation of a simple melody. Be able to identify the form of a piece when listening. Apply form to their own composition. Identify the different instruments in a Classical orchestra.
(What kinds of long-term independent accomplishments are desired?)

Established Goals
ART.M.I.4.2 Expand repertoire. ART.M.I.4.7 Perform with accuracy, rhythmic, and melodic patterns. ART.M.I.4.11 Recognize the basic expressive markings of music. ART.M.II.4.3 Create through exploration, improvisation, and composition, melodic embellishments on familiar melodies. ART.M.II.4.6 Add vocal, instrumental, and physical responses to a selection presented in 4th grade. ART.M.III.4.1 Identify theme and variation, coda, D.S. (Del Segno), D.C. (Da Capo), and other forms when presented aurally.

Meaning UNDERSTANDINGS ESSENTIAL QUESTIONS Students will understand that Students will keep considering Mozart was one of the most prolific composers of the How form is continually used in music, even current Classical Era and what characteristics made up the popular music? music during this time. How to vary rhythms and melodies to create their own These types of form are prevalent in all types of music variations no matter what the songs? and they will be able to connect it to familiar songs How entertainment has evolved over the generations that they know and listen to. consider how opera and the symphony then compares to new forms of entertainment and see the value that opera Opera was the main form of entertainment of the time, similar to movies is for our current generation. and symphonies hold relevance and importance even today? Music in the Classical Era served purposes similar to ways that we use them now: dances, watching, entertainment, socially, etc.
(What thought-provoking questions will foster inquiry, meaningmaking and transfer?) (What specically do you want students to understand? What inferences should they make?)

(What content standards and program- or mission-related goal(s) will the unit address? What habits of mind and cross-disciplinary goal(s)- for example 21st century skills, core

Acquisition of Knowledge, Skill and Values/Commitments/Dispositions Students will know Students will be skilled at Students will exhibit The history of Mozart. Using their recorders to create Respect for other students their own variations. contributions and listen and The different instruments and applaud each persons composition of classical orchestra. Moving to the music. composition as support. The historical significance of opera Identifying same and different Encouragement and support for and dances. parts when moving and listening. other students.

Based on Wiggins and McTighe (2011) The Understanding by Design Guide to Creating High-Quality Units and Van Brummelen (2002) Steppingstones to Curriculum

competencies- will this unit address? Include source and identifying number) (What facts and basic concepts should students know and be able to recall?) (What discrete skills and processes should students be able to use?)

Team-work to create their own accompaniment and ostinato.

(What values and commitments and attitudes should students acquire or wrestle with?)

Evaluative Criteria The final composition project will be evaluated using a rubric that I made prior to the event. The students will have a copy of the rubric in addition to the instructions for the task by which they will formulate their compositions. Daily assessments will be informal and be used to see where students are at. -Mini concert of variations in front of classmates. -Dance a minuet. -Identify forms, variations, characteristics of Classical Era, and characteristics of opera. -Act out dialogues from an opera.
(What criteria will be used in each assessment to evaluate attainment of the desired results?) (Regardless of the format of the assessment, what qualities are the most important?) It is important for students to understand music from the Classical Era and learn that they too can create music of their own. It may not necessarily be an instant hit, but they have the ability to create.

Stage 2- Evidence Students will show their learning by


Identifying theme and variation and determining what about the theme was varied when listening. Performing a simple variation of the first line of Hot Cross Buns on their recorders using the three notes they have already learned of G, A, and B. Identifying different instruments in a Classical Era orchestra as well as the simple form of ABA in one of Mozarts songs. Creating a movement to go with the A and B sections. Dancing a simplified minuet. Acting out dialogue from an opera. Identifying characteristics of opera and articulating the difference between an overture, chorus, and aria. Creating and performing an original composition by their group. Demonstrating proper audience etiquette and performance procedures during the final concert.

OTHER EVIDENCE: After each listening exercise, students write down their observations, based off of the specific directions they are given and share them with the class. They put them in their class folders for me to look over to see how well they understood the content. Students collaborate with one another three out of the five lessons on their recorder projects, allowing me to come around and check up on them to see how it is coming along on an individual basis.
(What other evidence will you collect to determine whether Stage 1 goals were achieved?

Based on Wiggins and McTighe (2011) The Understanding by Design Guide to Creating High-Quality Units and Van Brummelen (2002) Steppingstones to Curriculum

Stage 3- Learning Plan Lesson 1: Have students finger the notes first to see which students remember the notes and how much review should be done with the fingerings. Lesson 2: When listening to the piece, see if students hear the return of a familiar section by holding up their hand when they think it returns. Lesson 3: See how much students know about minuets, or the social dances in Mozarts time during the introduction by asking t hem the question and hearing their responses. Lesson 4: See how much students already know about operas. Lesson 5: Give students preparatory time, see where they are at and which groups need more help.
(What pre-assessments will you use to check students prior knowledge, skill levels, and potential misconceptions?) (Toward which goal does each Learning Events learning event build?) Acquisition Meaning Transfer

Progress Monitoring
(How will you monitor students progress toward acquisition, meaning, and transfer during lesson events?)

Student success at transfer, meaning, and acquisition depends upon their participation in these learning events Students will complete transfer goals when they are doing in-class activities such as composing a short variation, creating their own movement for form, learning a simple minuet dance, reenacting dialogue of operas, and performing their recorder piece. Students will complete meaning goals through class discussions on each of these genres of form, variation, social dance, opera, and performance. They will see how each of these units connect to their lives presently and understand that, though they may be separated by several centuries, these things persist and remain embedded in our culture, albeit slightly altered. Students will complete acquisition goals through their composition project. This project enables them to pick and choose from what they have learned and combine it into a cohesive creation of their own.

During acquisition, I will monitor students progress informally through seeing how they perform the different in-class activities. For meaning, this will largely be monitored by their responses to the listenings and brief in-class discussions. Transfer goals will be monitored during the ten minutes of group work that they are given at the end of class to work on their composition projects. Within this time, I will go around from group to group asking questions, seeing their progress, and making suggestions where they are needed to help students.
(How will students monitor their own progress toward acquisition, meaning, and transfer?)

Star the multiple means of representation; underline the multiple means of action and expression; circle the multiple means of engagement (Are all three types of goals (acquisition, meaning, and transfer) addressed in the learning plan?) (Does the learning plan reflect principles of learning and best practices?) (Is there tight alignment with Stages 1 and 2?)

During discussions, I will be able to respond to their observations to help let them know if they are on track or not, similarly with the inclass activities, I can help them immediately if they are struggling so they can correct themselves and know what to look out for. Finally, when in groups, they can monitor each other when working in pairs to see how well

Based on Wiggins and McTighe (2011) The Understanding by Design Guide to Creating High-Quality Units and Van Brummelen (2002) Steppingstones to Curriculum

they are applying what they have learned. (What are potential rough spots and student misunderstandings?)

Potential rough spots might be in learning the dance steps and combining it with the music. Students need to have a strong basis of rhythmic pulse in order to help them feel when they are moving. Also, this type of dance is very different than they are used to and requires collaboration with a partner for it to work, thus needing teamwork, respect, and patience. Another spot might be in understanding opera and, often, the bizarre plot lines that accompany them. I want students to have a clear understanding of all forms of musical entertainment that Mozart was involved in during this time.
(How will students get the feedback they need?)

Students will get instantaneous feedback during their composition work time as I come around the room to check on them as well as instant feedback during in-class activities and group discussions. I will also look over their other observations and write a few notes on them to either affirm or maybe point them in the right direction for them to peruse next class when we move onto our next listening.

Based on Wiggins and McTighe (2011) The Understanding by Design Guide to Creating High-Quality Units and Van Brummelen (2002) Steppingstones to Curriculum