Final Curriculum Project

NSU Masters of Music Education: Final Cumulative Curriculum Project
NSU Masters of Music Education:

Final Cumulative Curriculum Project
Chlo Plamondon
Northern State University
Table of Contents
Philosophical Discussion
Page 3
Manitoba Curriculum Outline
Page 6
Concept Map
Page 9
Curriculum Document
Instrumental Technique
Page 11
Musical Literacy
Page 13
Rhythm and Pulse
Page 14
Individual and Group Tone Development
Page 15
Performance Skills
Page 17
Ensemble Skills
Page 18
Evaluation and Reflection
Page 19
Creativity
Page 20
Connection
Page 21
References
Page 22

This final cumulative curriculum project is based on the philosophy that all musical
skills continually develop from one grade through to the next; no concept is ever
finished in the music-making journey. Based on Jerome Bruners spiral curriculum
model, all concepts introduced in Grade 9 continue to evolve through Grades 10, 11 and
12. Within each concept, activities are organized to stimulate prior knowledge before
teaching new concepts. Musical concepts are introduced in Grade 9 and continue to
develop through all four grades organically as skills increase, repertoire becomes more
challenging, and students begin to develop stronger audiation and critical listening skills.
Audiation is when the ear becomes more important than the fingers and hands in the
process of making music. Through audiation, one is able to draw on personal experiences
in and out of music to create deeper meaning in the music they create.
The main curricular objectives and connected learning concepts were developed
based on the four essential learning areas and the connected recursive learnings laid out
in the 2015 Manitoba Music Curriculum. This document states that, Music education
provides space and opportunities for learners to explore and communicate complex ideas
and emotions. Learning in music invites open-ended, emergent, and dialogic thinking.
When learners seek possibilities, and envision and consider alternatives, they develop
capacities for tolerating ambiguity and uncertainty. Learners become aware that questions
have more than one answer, that problems have multiple and sometimes unexpected
solutions, and that there are many ways to convey thoughts and ideas (McCallum,
2015). This philosophical statement expresses the essence of what this curriculum
document presents and my best intentions of how activities within this curriculum will
best serve my students.
Edwin Gordons Music learning Theory provides a clear method of what to teach
and when to teach it in order to guide students towards a synonymous blend of
understanding and enjoyment of music. The four music-learning sequences associated
with MLT skill learning sequence, tonal learning sequence, rhythm learning sequence,
and pattern learning sequence, were taken into consideration throughout the development
of this curriculum. Based on individual students unique musical aptitude, students will
create inferences on their own in the following sequence of understanding generalization, creativity/improvisation, and theoretical understanding.
This curriculum was inspired by ideas of constructivism theory. Constructivism
is the idea that learners must problem-solve solutions to newly introduced concepts using
prior knowledge. Learners are in constant conversations with competent peers and
engaged in active critical thinking in order to develop understanding. Piaget hypothesized
that learning is a transformative process rather than a cumulative process. People make
sense of what they know at every stage of their learning, they do not learn little bits at a
time until a full idea comes to fruition. In this document, new knowledge is continually
added to previous understanding of facts and experiences. The zone of proximal
development (ZPD), a strand of constructivist theory, is the area in which a learner needs
guidance from a teacher in order to develop understanding of a concept. The goal for
students in the my band program is to eventually be able to carry out learned concepts on
their own, with little to no teacher guidance. The ZPD becomes much larger as students
reach Grade 12 in this curriculum document.
Every piece of this curriculum is connected to every other piece no one part can
exist in and of itself. It is interesting that every single piece of information in this music
curriculum document affects and is related to the whole experience of learning music and
developing musician skills. This is a direct example of the Gestalt learning theory, which
is concerned with the nature of understanding in relation to the whole experience as
opposed to understanding in terms of separate parts of the experience (Behrens, 1998).
Gestalt theory suggests that separating ideas and parts from the whole of a situation does
not work to understand the entire idea. What takes place in the whole is not the sum of
individual occurrences, but the individual occurrences make up the reality and experience
of the whole. Gestalt theory argues that nothing exists in and of itself and that all beings
and experiences are a result of the whole experience. What is taking place in each single
part depends upon what the whole is, and in order to teach Gestalt effectively, we must
change the way we think about musical concepts and how they relate the whole picture of
what we plan to teach our students over an extended period of time (Wertheimer, 1924).
The curriculum is largely based on the program being a performing arts program,
with performing high quality literature @ the core of our values. According to Fiske
(2011), a musical experience is simultaneously cognitive, emotional and physical. This
supposition provides an avenue on which to base a foundation of the importance of
involvement in music learning through performance. Entrainment is a perfect alignment
of coincident neurological activity cognitive, motor and affective. It means that the
members of an ensemble are thinking alike, coordinating in an act of physical dexterity
and cognitive (neurological) calculations such that, rhythmically and harmonically at
least, the musical outcome is a singular event. Therefore, playing music in an ensemble
is an exercise in entrainment, and deep human bonds are created simply though
participating in music together as a team. In order for students to realize experiences of
entrainment and learn to live with empathy, I believe that it is essential that they develop
abilities in performing, listening, creating and interpreting music in an ensemble setting.
My job as a music educator is not to create a perfect performance, but to guide young
people in their journeys towards becoming better human beings in the world because of
their experiences in music education. It is my opinion that the following curriculum
document is an accurate reflection of this goal.
Manitoba Curriculum Outline

Manitoba 9 12 Music Education Philosophy
Music language and practices (Making) are connected to how they may be used to create
music (Creating), what understandings and significance the language and practices can
communicate through diverse music and life contexts (Connecting), and how critical
reflection about music transforms learning and develops identity and agency
(Responding).
Organization of Manitoba 9 12 Music Education Curriculum
Essential learning area: Each essential learning area begins with a statement of the
overall learning intent of the area or wing.
Recursive learnings: Recursive learnings further elaborate the essential learning areas
across Grades 9 to 12. They are developed, recombined, elaborated, and transformed
across novel and varied contexts so that learning across grades becomes more
sophisticated, more complex, deeper, and broader with time and new experiences and
applications.
Enacted learnings: Enacted learnings represent multiple and diverse ways to enact the
recursive learnings. They inform instructional design, teaching, and assessment. They are
possible sources of evidence for recursive learnings in music.
Inquiry questions: The inquiry questions, presented from the learners point of view, are
intended to provide learners and teachers with ideas for possible entry points and
pathways into the study of music. Questions are intended to stimulate thought, to
provoke inquiry, and to spark more questionsincluding thoughtful student questions

(Wiggins and McTighe 106).
Manitoba 9 12 Music Education Curriculum Outline
Making:
The learner develops language and practices for making music.
o MM1 The learner develops competencies for using tools and techniques to
produce and represent sound and music in a variety of contexts.
o MM2 the learner develops listening competencies for making music.
o MM3 The learner develops competencies for using elements of music in a
variety of
Creating:
The learner generates, develops, and communicates ideas for creating music.
o MCR1 The learner generates ideas from a variety of sources for creating music.
o MCR2 The learner experiments with, develops, and uses ideas for creating
music.
o MCR3 The learner revises, refines, and shares music ideas and creative work.
Connecting:
The learner develops understandings about the significance of music by making
connections to various times, places, social groups, and cultures.
o MC1 The learner develops understandings about people and practices in music.
o MC2 The learner develops understandings about the influence and impact of
music.
o MC3 The learner develops understandings about the roles, purposes, and
meanings of music.
Responding:
The learner uses critical reflection to inform music learning and to develop agency and
identity
o MR1 The learner generates initial reactions to music experiences.
o MR2 The learner critically listens to, observes, and describes music experiences.
o MR3 The learner analyzes and interprets music experiences.
o MR4 The learner applies new understandings about music to construct identity
and to act in transformative ways.
Curriculum Concept Map
10
11
NSU Master of Music Education: Cumulative Curriculum Document

Instrumental Technique
Curriculum Standards:
o MM1 The learner develops competencies for using tools and techniques to produce and represent
sound and music in a variety of contexts
o MM3 The learner develops competencies for using elements of music in a variety of contexts
Grade 9
Grade 10
Grade 11
Scales & Key Signatures
- Students can
play: 1 octave
chromatic
(starting on
concert Bb), Bb,
Eb, F (maj), g, &
c (natural min)
- Students know
the appropriate
transpositions for
their instrument.
- Students have
key signatures of
above scales
memorized.
- Students can
play: C, Ab (maj),
g & c (harmonic
& melodic minor)
- Students have
key signatures of
above scales
memorized.
- Students can
play: Db, Gb
(maj), 2 octave
chromatic
- Students
understand how to
construct any
minor scale
- Students have
key signatures of
above scales
memorized.
Fingerings/Positions/Sticking
accuracy
Technical Capacity
- Students have memorized all fingerings/mallets for notes in required scales.

- Percussionists demonstrate steady growth in paradiddles and flams on snare.
Articulations
Grade 12
- Students can
play: G, D, A
(maj), full range
chromatic
- Students have
key signatures of
above scales
memorized.
- Students learn to play with correct

- Students demonstrate ability to play
hand position (reinforce correction of
fast, technical lines.
bad habits)
- Students demonstrate appropriate use
- WW students keep fingers close to the
of air in combination with technique
keys.
- Students demonstrate appropriate
- Brass students playing with the correct practice methods to achieve success in
part of their fingers
fast lines.
- Percussionists demonstrate proper
sticking and mallet position
Tonguing, slurring, legato, staccato, accents, marcato, tenuto
Dynamics
- Students
demonstrate a
good tone in mf-ff
dynamics
- Students only
play as soft as
they can play
with a good tone.
-Students
understand and
can demonstrate
crescendos and
decrescendos
- Students
demonstrate
ability to
decrescendo
towards a p with
good tone.
- Students can
crescendo
together with
good balance and
no one
overblowing.
- Students
demonstrate good
balance & control
throughout
crescendos &
decrescendos.
- Students can
play pp with good
balance, tone and
control
- Students are
sensitive to all
dynamic
markings.
Sight-reading
- Students can
sight read with
correct notes in
the required keys.
-Students can
successfully sight
read repertoire 1
level below their
repertoire.
- Students sight
read quarters,
eighths, halves
and whole notes.
- Students
recognize
accidentals and
play appropriately
- Students can
sight read
sixteenth note and
dotted rhythm
patterns.
- Students can
sight-read
compound time &
mixed meter
- Students can
sight-read tied
notes and
syncopated
rhythms
- Students can
keep a steady beat
while sightreading.
- Students
demonstrate good
tuning, balance
and control
through
crescendos and
decrescendos and
have full
capability of
dynamic range.
- Students make
judgment calls on
necessary
dynamics in the
music.
- Students can
sight read music
with a duple feel
and a triple feel.
- Students learn
repertoire at faster
rate than previous
years
- Students can
independently
count rests and reenter music while
sight reading
12
Instrumental Technique (continued)

Problem Solving
- Students can identify when they make a

mistake.
- Students ask their classmates (1st) and
teacher (2nd) for help.
- Students use their fingering charts to look
up fingerings.
- Students write in counting of problematic
rhythms, figure out slowly (independently
or ask for help) and away from the
instrument.
- Students write fingerings or note names
into their music until they have them
memorized.
- Students listen around them for accuracy,

and help others when they can.
- Students use the internet in their
practicing for musical guidance or answers.
- Students mark in the beats per bar in
challenging rhythms
- Students no longer write in notes or
fingerings, unless it is a note that is not
played often (ex. b# = c)
Phrasing
- Students can
comfortably play a
4-measure phrase.
- Students avoid
breathing on bar
lines
- Students can
demonstrate an
ensemble release
and entry at the end
and beginning of
each phrase.
Expression & Musical

Nuance
- Students constantly strive towards creating the most beautiful sounds they are capable
of.
- Students develop skills in vibrato where appropriate.
- Percussionists develop strong listening skills in order to blend different textures into the
music.
- Students connect music to personal emotions to express naturally
- Students listen to quality-level music and work to mimic the expressive qualities
- Students demonstrate ability to watch conductor and react to expression from the podium
Audiation (When the brain gives
- Students can feel

an internal pulse in
silence
meaning to musical sounds)
Instrument Maintenance
- Students can
stagger breathe
- Students
demonstrate
understanding of
musical line.
-Students mark
phrase marking in
their music
- Students can hear

parts of melodies of
exercises and
repertoire in their
head
- Students can hear

melody, bass and
harmony in their
heads while
performing
repertoire
- Students
recognize the
appropriate number
of measures per
phrase and breathe
where appropriate.
- Students are able

to make musical
decisions as a group
based on their
auditory
understanding of
musical lines.
- Students clean condensation our of instruments at the end of each class/practice session
- Students carry and handle instruments properly to avoid damage
- Students do not allow classmates/friends who are not properly trained on the specific
instrument to handle or play the instrument.
- Students do not eat food or drink sugary drinks before playing instruments.
- Students close latches on the instrument cases and put away properly at the end of class.
13
Musical Literacy
sound and music in a variety of contexts.
o MM3 The learner develops competencies for using elements of music in a variety of contexts.
o MR4 The learner applies new understandings about music to construct identity and to act in
transformative ways.
Grade 9
Grade 10
Note
Identification
- Students can read

notes on the staff
- Students learn about
ledger lines and can
figure out notes above
and below the staff
- Students write in
notes in their music as
they need to until
memorized.
- Students can associate
letter names (ie C)
with notes on the staff,
and demonstrate the
appropriate fingerings
- Students can
efficiently read notes on
ledger lines.
- Students wean
themselves off of
writing notes in their
music by the end of the
year
instrument fingerings
with note-names
letter names (ie C)
with notes on the staff
and on ledger lines, and
demonstrate the
appropriate fingerings
Signs &
Symbols
- Students will recognize: musical staff, ledger lines, bar lines, double bar lines,
bold double bar lines, treble and bass clefs, whole, half, quarter, eighth,
sixteenth notes, beamed 8ths and 16ths, dotted notes, multi-measure rests,
breath marks, flats, naturals, sharps, key signatures, basic time signatures,
common time, metronome markings, ties, slurs, all dynamics, sforzando,
crescendo, decrescendo, fp, articulations, fermata, trill, grace notes, repeat
signs, simile marks, caesura, compound time signatures, cut time, glissando,
tuplet, octave signs, percussion instrument and sticking symbols.
(Signs and symbols will be addresses as necessary in the repertoire.)
Vocabulary
- Students can define and demonstrate

understanding of the following terms: accelerando,
adagio, allegro, beat, canon, cantabile, chamber
music, chorale, chord, chromatic, clef, coda,
composer, concerto, conductor, Da Capo, duet,
dynamics, enharmonic, ensemble, espressivo,
etude, fermata, flat, forte, harmony, interval,
intonation, introduction, key signature, legato,
maestoso, march, melody, major, minor, measure,
movement, natural, octave, ostinato, pentatonic
scale, phrase, piano, pitch, presto, quartet, quintet,
reed, relative major and minor, resonance, rhythm,
root, round, rubato, scale, sextet, sharp, slide, slur,
staff, suite, tempo, theme, time signature, tone,
treble, trill, trio, triplet, tuning, tutti, unison,
vibrato, vivace
- Students will be resourceful and look up other
words as they come up in their repertoire.
- Students can follow a
- Students can
musical form with
recognize forms of
teacher guidance
music with minimal
- Students can
teacher guidance.
following these
symbols in the music:
Repeat signs, Da Capo,
D.S. al Coda, Coda,
fine
Musical Form
Grade 11
Grade 12
- Students can read all notes and accidentals.

- Students know all fingerings through the full
range of their instrument (sharps, flats naturals)
- Students can association all note names with the
correct fingering on their instrument.
- Students can associate letter names (ie C) with
all notes demonstrate the appropriate fingerings.
Students will recognize:

double flat, double
sharp.
- Student will be able to
explain the meaning of
all symbols, and
demonstrate on their
instrument that they
understand what the
signs and symbols are.
- Students can define and demonstrate

understanding of the following terms: atonal,
baroque, cadence, cadenza, chord progression,
dissonance, encore, form, glissando, grandioso,
grave, homophony, interpretation, interval, medley,
modulation, ornaments, ostinato, recapitulation,
reprise, tessitura, timbre, tonality, triple time,
- Students can sight-read and perform through

musical forms comfortably without teacher
guidance.
14
Rhythm & Pulse

Grade 9
Pulse Control
&
Tempo
Maintenance
Speaking &
Performing
Rhythm
Patterns
Writing
Rhythms
- Students can play

whole, half, quarter
and eighth
notes/rests along
with the metronome
in 2/4, 3/4 and 4/4
time, individually
and as a group.
- Students can clap
up to subdivision of
4 @ quarter= 55 with
a metronome as an
individual and as a
part of a group
- Students can tap
their foot (heel or
toe) with the pulse of
the music in andante
and allegro
metronome
markings.
- Students use
appropriate language
to speak rhythm
patterns.
- Students view
rhythmic patterns as
an idea or word
instead of a
mathematical
equation.
- Students can write
in the counting of
rhythmic patterns
containing whole,
half, quarter, and
eighth notes and
rests.
-Students use 1 + 2
+ 3 + 4 + counting
system. Rests are
marked with brackets
around the beats.
-Students can
compose rhythm
patterns in common
time using the
appropriate number
of beats per bar.
Grade 10
Grade 11
- Students can play and clap dotted rhythms

and compound rhythms accurately with the
metronome.
- Students can tap their foot (heel or toe) with
the pulse of the music in adagio music and
fast music in 1.
- Students can clap up to subdivisions of 5
accurately at quarter = 46 with the
metronome, individually and as part of a
group.
- Students can play repertoire with the
metronome, at appropriate tempos in their
practicing.
- Students can speak

simple rhythms,
clearly, articulately
and confidently with
a good sense of
pulse.

in the counting of
rhythms containing
dotted rhythms,
sixteenth notes, and
syncopation.
in the counting for
basic rhythms in
compound time.
- Students can
compose rhythm
patterns correctly
incorporating the
above rhythm
concepts.
Grade 12
- Students
demonstrate an
understanding of
steady pulse in all
types of musical
styles.
-Students can
maintain pulse in any
time signature
-Students have the
flexibility and
musical control to
play rubato
- Students
- Students can clap a
demonstrate an
pulse while speaking
understanding of
a rhythm, and speak
sixteen notes, dotted, a rhythm while
syncopated and
clapping a pulse.
simple rhythm
patterns in all time
signatures
individually and as a
group.
- Students can write in counting of rhythms in
mixed meters, mixed duple and triple feel,
and complicated compound time.
- Students can demonstrate an understanding
of fast runs in relation to pulse.
- Student can compose rhythms in any time
signature with the appropriate number of
beats and notes/note values per bar.
15
Individual and Group Tone Development

o MM2 The learner develops listening competencies for making music.
o MCR1 The learner generates ideas from a variety of sources for creating music.
o MCR2 The learner experiments with, develops, and uses ideas for creating music.
o MCR3 The learner revises, refines, and shares music ideas (and creative work).
Grade 9
Grade 10
Grade 11
Grade 12
Intonation
- Students demonstrate
an understanding how
to adjust intonation on
their instrument.
- Students can start to
determine whether they
are in tune or out of
tune with like
instruments, on the
same pitch.
- Students understand
that good intonation
comes from
development of aural
skills, not from playing
a note into a tuner.

are in tune or out of
tune with different
instruments, on the
same pitch.
-Students can start to
are sharp or flat.
- Students will start to
develop ability to hear
whether some intervals
(M3, P5, P8) are in or
out of tune.
- Students will develop

a pitch tendency chart
for their instrument and
make immediate
adjustments in their
music as needed
according to the chart.
develop a more
sensitive ear to tuning
unison notes and
intervals within the
ensemble.
- Students will be able

to determine sharp or
flat and/or make the
appropriate adjustment
in a timely manner after
the tuning note is given.
- Students will be
cognizant of tuning
every single time they
play a note on their
instrument.
Balance
- Students are introduced to the pyramid of sound.

- Students practice listening to the bass instruments
of the band in full band rehearsals.
-Students listen to many examples as a class and on
their own of well-balanced bands.
-Students learn to control their individual volume
when playing in the full band setting.
- Students demonstrate an understanding of
balancing harmony, melody, countermelody, etc
- Students develop skills in balancing to the

pyramid of sound in every band class.
- Students remain balanced through dynamic and
intensity changes in the music.
Blend
an understanding of
blend by attempting to
avoid sticking out
within their section
*note: students are
expected to play with
quality tone as a first
priority at whatever
dynamic that is at this
point in their
development.
- Students can listen

and match tuning and
tone quality with their
neighbours to their left
and to their right (trios)
- Students can listen

further across their
sections and work to
blend tone and tuning
with the entire section.
Students are cognizant
of a section that is not
blended.

blend tone quality
across the band into
different sections.
Breathing
- Students actively
participate in breathing
activities each class
an understanding of
taking in a full breath
away from their
instrument and with
their instrument, in
isolation from playing
repertoire.
-Students demonstrate
proper distribution of
breath through four bar
phrases most of the
- Students actively
participate in breathing
activities each class,
and can start to apply
these skills into their
playing.
proper intensity of air
for different dynamic
levels.
- Students can apply a

variety of breathing
techniques into their
playing to demonstrate
different qualities of
tone at all dynamic
levels.
- Students can ration
their air appropriately
to the ends of phrases.
- Students no long have

to focus on taking
appropriate breaths and
supporting air because
the habits have been
instilled so strongly up
until this point. Teacher
periodically reminds
students to take in
quality breaths.
- Students ration their
air appropriately to stay
in tune until the very
end of each phrase.
Tone Quality
Tone
Appreciation
16
time.
- Students release air
with intensity in order
to maintain
characteristic tone in mf
and f dynamics.
- Students strive for a pure, dark classical tone every time they pick up their instrument.
- Students activity participate in long tone activities to help develop tone
- Students value
- Students can
- Students can
- Students can
examples of good tone
determine between
independently
independently
on their instrument,
characteristic tone and
determine characteristic
determine quality
through teacher
not-so-characteristic
tone quality on their
characteristic tone on
guidance.
tone on their own
instrument.
any instrument in the
instrument.
- Students can
band.
determine good wind
band tone vs. not-sogood wind band tone.
17
Performance Skills
o MM2 The learner develops listening competencies for making music.
o MCR2 The learner experiments with, develops, and uses ideas for creating music.
Grade 9
Performing
Etiquette
Audience
Etiquette
ProblemSolving
Grade 10
Grade 11
Grade 12
- Students dress appropriately: maples music

- Students dress appropriately: fancy black
shirt, black dress pants or skirt that covers the clothing and shoes. No jeans, sweatpants,
knees, black socks or pantyhose, black dress
sneakers or other casual type clothing.
shoes
- Students ensure that they are ready to
perform all music before the concert.
- Students present themselves professionally
at all times.
- Students enter and exit the stage in their
rows, as efficiently as possible.
- Students sit only when conductor cues them
to.
- Students put instruments up when the
conductors hands come up.
-Students keep instruments up after the final
note of the piece until the conductors hands
come down.
- Soloists stand at the end of the performance
when called on
- Entire band stands when audience claps in
appreciation for their applause.
- Students will show respect to the performers by not talking or leaving the venue during
pieces.
- Students will use their listening competencies to clap respectfully at the end of the piece. In a
multi-movement work do not clap between movements.
- Students will demonstrate an understanding of what they read in the program.
- Students will give their undivided attention to the performers on stage.
- All Band Students are expected to be a positive example of audience etiquette to their
families and friends.
- Students watch the conductor and keep going if there a mistake in the performance.
- Students arrange chair and music stand so that they can see the conductor and their music
-Students tell the director if there is a problem with lights/space during dress rehearsal
-Students who share instruments will leavea them in the assigned instrument depot area after
their performance.
-Students will be responsible for making sure they have all of the correct music before the
dress rehearsal and again at the concert.
18
Ensemble Skills
o MC2 The learner develops understandings about the influence and impact of music.
o MC3 The learner develops understandings about the roles, purposes, and meanings of music.
Grade 9
Focus
Physical
Preparedness
Attitude
Respect
Teamwork
Marking
Music
Releases
Entries
Musical
preparedness
Assignments
Grade 10
Grade 11
Grade 12
- All devices are turned off and put away for the duration of the class.
- Students are engaged with making music, whether it is listening to another section rehearse, practicing
technical passages silently, or playing when asked.
- Students are paying attention to where we are in the exercises or repertoire.
- Students are on time to class, warming up individually in their chairs before the start of class.
- Students bring with them to every class: instrument, mouthpiece & ligatures, reeds, valve oil, slide &
cork grease, cleaning supplies, music folders with repertoire and method books and a pencil.
- Folders are either put away in the correct folder slot at the end of class
- Students come to class - Students demonstrate a positive attitude towards
with an open mind to
all class activities, in and out of the classroom.
a positive attitude for
the different music
younger students in the
levels of their
band program. Grade
classmates from 5
12
different schools.
- Students display a
- Students must be open
positive attitude until
to trying new things
the very end of the
and stepping outside of
year!
their comfort zone.
- All students are show respect to: each other, teachers, band room equipment, instruments (own and
others), the music, and the school
- Students get to know
- In class, students work together musically to prepare for performances.
one another.
- Musical leaders help students with notes, rhythms, and fingerings as needed.
- Students help each
This requires being extremely engaged with the class @ all times.
other if they hear their
- Students help to set up and tear down equipment before and after each
neighbors struggling
performance.
- Students learn marking system.
- Students are expected to independently mark
- Students are prompted to mark their music, and
music throughout rehearsal as needed.
monitored on follow through.
- Students hone
Students can play
Students use their
understanding of the
listening skills and
correct ensemble
listening & watching
ensemble release.
strengthen the ensemble releases throughout a
skills to play ensemble
release.
piece of music, not only releases every there is a
- Students can play an
at the end with
release in the music.
abrupt release as the
watching the conductor
music calls for it.
and marking in their
parts.
- Students learn to breathe together and play
Students breathe together, in time, and enter
together with a tongued articulation.
together on any macro or micro beat in a measure.
- Students can play accurate entries at the
- Students breathe and enter together in a lyrical
beginning of a piece and after fermata releases.
style without any articulation.
- Students can play entries on any macro beat in a
measure.
- Students complete
- Students ask questions - Students make personal judgment calls on when
video tests as asked.
of their peers and
they need to practice challenging parts of their
- Students ask questions teachers immediately
repertoire as needed.
in class or privately to
when they do not
- Students follow through on teacher-assigned
stay on track with
understand something.
practice sections.
musical learning.
- Students start taking
- Students prepare for band exams timely and
responsibility to
thoroughly.
practice parts at home.
- Students are expected to complete any at home assignments by the designated due dates.
- All assignments are to completed to perfection, therefore students will continue to re-submit
assignments as needed until the concepts are understood and demonstrated.
19
Evaluating and Reflection

o
o
o
o
o
o
o
o
o
MM2 The learner develops listening competencies for making music.

MCR1 The learner generates ideas from a variety of sources for creating music.
MC1 The learner develops understandings about people and practices in music
MC2 The learner develops understandings about the influence and impact of music.
MC3 The learner develops understandings about the roles, purposes, and meanings of music.
MR1 The learner generates initial reactions to music experiences.
MR2 The learner critically listens to, observes, and describes music experiences.
MR3 The learner analyzes and interprets music experiences.
MR4 The learner applies new understandings about music to construct identity and to act in
Grade 9
Grade 10
Grade 11
Critical
Listening
- Students will listen to

music and develop
educated initial
reactions to what they
hear based on prompts
from teacher.
to discriminate between
qualities of music on
their own instruments
and of musics from
their own cultures and
backgrounds.
- Students will
recognize when they
make a mistake in a
group setting.

opinions about music
that is familiar and
unfamiliar without
prompts from the
teacher.
-Students will
recognize their own
mistakes, and start to
hear mistakes of others
playing the same part as
them.
- Students will
demonstrate skills to
discriminate between
different parts of the
music (ie: different
instruments, melody vs.
harmony vs. bass line)
hear mistakes across the
entire band.
develop personal style
and opinions about the
expression of music.
They will hear when
something does not
match their idea.
Grade 12
Verbal
Reflection

develop confidence in
speaking about their
musical opinions and
experiences.
to answer questions in
reflection to musical
experiences.
- Students will express
first impressions
evoked by music works
and experiences as a
starting point for
critical analysis and
reflection
- Students will be
forthcoming with their
own reflections to
musical experiences.
to describe their music
experience in an
educated manner with
proper vocabulary and
complete ideas.
- Students will suspend
judgment and take time
to deeply perceive
music works and
experiences before
forming opinions,
interpretations, and
evaluations
- students will build
common
understandings and
considering different
noticings about music
works and experiences
Written
Reflection
- Students will use proper vocabulary when reflecting on musical experiences.

- Students will be open and honest about what they hear in the music
- Students will analyze and interpret musical experiences in relation to their own experiences and
knowledge.
- Students will refining ideas and igniting new thinking through listening to others, critical dialogue,
questioning, and research
- Students will generating and co-constructing criteria to critically evaluate artistic quality and
effectiveness.

the ability to not only
discriminate between
good and bad music,
but be able to
articulately explain
WHY they feel the way
that they do. No
opinion is wrong when
defended with fact and
reason.
- Students will respect
the musical style and
expression of
classmates and use their
critical listening to
blend their ideas
together nonverbally
and effectively.
- Students will connect their musical experiences to
other areas of their life and be able speak openly
with peers and teachers about those experiences
and connections.
- Students will discern details about music
elements, forms, styles, gestures, and techniques to
inform analysis, interpretation, judgment, and
evaluation.
- Students will examine a range of interpretations to
understand that unique perspectives and lenses
(e.g., social, cultural, historical, political,
disciplinary) affect interpretation and appreciation
- Students will make informed judgments and
choices for independent decision making,
evaluation, and action
- Students will identify ways that music contributes
to personal, social, cultural, and artistic identity
20
Creativity
o
o
o
o
o
o
MM1 The learner develops competencies for using tools and techniques to produce and represent
MM3 The learner develops competencies for using elements of music in a variety of contexts.
MCR2 The learner experiments with, develops, and uses ideas for creating music.
MCR3 The learner revises, refines, and shares music ideas and creative work.
Grade 9
Grade 10
Composition
- Students use musical

knowledge to compose
short melodies in
specific keys and with
specific rhythms.
proper musical notation
in their writing.
- Students apply legal
and ethical arts
practices (e.g., related
to copyright,
intellectual property)
when consuming,
producing, and sharing
music and other arts.
- Students are open to

emerging, serendipitous
ideas and inspiration
Students analyze,
revise, rehearse, and
refine in response to
critical self-reflection
and feedback from
others.
- Students are inspired
by nature and their
world to compose
rhythmic stories using
anything BUT their
band instrument.
- Students use all

theoretical knowledge
of music and skills
developed to create an
original piece of work
in any form they are
inspired to create.
- Students experiment
with diverse music
elements, techniques,
tools language and
practices.
- Students engage in
collaborative ideas to
inspire musical
creations.
Improvisation
- Students use the major

and minor pentatonic
scales in appropriate
keys (*see instrumental
technique) to play
improvised chorales as
an exploration of their
sound with others.
rhythmic pattern
understanding by
improvising rhythm
patterns on one note
individually around the
classroom.
- Students draw from
personal experience and
relevant sources to add
meaning to the music
they play.
an understanding of
melodic line and
rhythm pattern by
improvising short
melodies individually
around the classroom.
an understanding of
musical nuance and
expression, tonality and
cadence by improvising
a short melody
individually around the
classroom.
- Students select,
synthesize, and
organize promising
ideas, motifs, themes to
arrange, improvise, and
compose, and for music
production and creation
- Students explore a
wide range of resources
and stimuli to ignite
ideas and questions
- Students consider
other arts disciplines
and subject areas to
inspire expression in
their playing.
- Students integrate
music elements,
techniques, tools,
forms, stylistic
considerations,
language and practices
learned about and
developed since grade 9
in order to make
educated and
meaningful decisions in
terms of expression in
music.
- Students define,
analyze and solve
creative music
challenges.
Expression
Grade 11
Grade 12
21
Connections
o
o
o
o
o
o
o
MM3 The learner develops competencies for using elements of music in a variety of contexts.
MC1 The learner develops understandings about people and practices in music
MC2 The learner develops understandings about the influence and impact of music.
MC3 The learner develops understandings about the roles, purposes, and meanings of music.
MR4 The learner applies new understandings about music to construct identity and to act in
Grade 9
Grade 10
Grade 11
Grade 12
Music in
Relation to
History and
Culture
- Students will explore a range of music works, forms, genres, styles, traditions, innovations, and
performance practices from various times, places, social groups, and cultures (including First Nations,
Mtis, and Inuit)
- Students will examine how music and music artists influence, comment on, question, and challenge
social, political, and cultural discourse and identity
Music in
Relation to
Careers
- Students will investigate contributors to music from a range of contexts (e.g., musician, composer,
arranger, advocate, educator, historian, critic)
- Students will investigate leisure and/or career and other lifelong possibilities in music (e.g., musician,
composer, producer, arranger, recording studio technician, teacher, critic, historian, anthropologist,
therapist, volunteer, listener/viewer)
Relationship
Between Music
& the Arts
- Students will engage with local, Manitoban, and Canadian contributors and contributions to music (e.g.,
music artists, groups, events, community and cultural resources, innovations) to expand learning
opportunities
Relationship
Between Music
and Disciplines
outside the
Arts
- Students will examine ways that music and music artists influence personal growth, identity, and
relationships with others
- Students will examine the impact of context (e.g., personal, social, cultural, political, economic,
geographical, environmental, historical, technological) on music and music artists
The Influences
and Impact of
Music
- Students will explore how music and music artists make and communicate meaning and create unique
ways to know self and to perceive the world
- Students will examine how music can be a means of sharing diverse viewpoints and of understanding the
perspectives of others
- Students will examine ways that music reflects, interprets, and records traditions, values, beliefs, issues,
and events in society and culture
- Students will analyze the multiple roles and purposes of music for individuals and society (e.g.,
celebration, persuasion, education, commemoration, entertainment, commentary, recreation, communal
events, therapy, religious/artistic/cultural expression)
22
References
Behrens, R. R. (1998). Art, design and gestalt theory. The MIT Press, 31(4). 299-303.
Bowman, W., & Frega, A.L. (2011). But is it philosophy? In Bowman, Wayne D. &
Frega, Ana Lucia (eds.), The Oxford Handbook of Philosophy in Music Education
(pp. 495- 508). New York, NY: Oxford University Press.
Dalby, B. (2008-2015). The Gordon institute for music learning. Retrieved from
https://d2l.sdbor.edu/d2l/le/news/widget/651505/FileProvider?newsId=385918&fi
leId=10121793
Daugherty, James F. (1996). Why music matters: The cognitive personalism of Reimer
and Elliott. Australian Journal of Music Education. No. 1: 29-37.
Fiske, Harold. (2011). Engaging student ownership of musical ideas. In Bowman, Wayne
D. & Frega, Ana Lucia (eds.), The Oxford Handbook of Philosophy in Music
Education (pp. 307 - 327). New York, NY: Oxford University Press
Gagnon, G.W., & Collay, M. (n.d.).Constructivist learning design. Retrieved from
http://www.prainbow.com/cld/cldp.html
Gordon, E.E. (2012). Learning sequences in music: A contemporary music learning
theory. Chicago: GIA Publications, Inc.
Huitt, W., & Hummel, J. (2003). Piagets theory of cognitive development. Educational
Psychology Interactive. Valdosta, GA: Valdosta State University. Retrieved from
http://www.edpsycinteractive.org/topics/cognition/piaget.html
Lisk, E. (1987). The Creative Director: Alternative Rehearsal Techniques. Oswego, NY.
Meredith Music Publications.
Marsh, G.E., & Ketterer, J.J. (n.d.). Situating the Zone of Proximal Development.
Retrieved from http://www.westga.edu/~distance/ojdla/summer82/marsh82.htm
McCallum, W. (principal writer) (2015) Manitoba curriculum framework. Retrieved

from: http://www.edu.gov.mb.ca/k12/cur/arts/docs/music_9-12.pdf
Noam Chomsky: The purpose of education (video file). Retrieved from:
https://www.youtube.com/watch?v=DdNAUJWJN08
Small, Christopher (1977). Music, society, education. New England: Wesleyan
University Press.
Stauffer, Sandra. (2011). Place, music education, and the practice and pedagogy of
philosophy. In Bowman, Wayne D. & Frega, Ana Lucia (eds.), The Oxford
Handbook of Philosophy in Music Education (pp. 434- 452). New York, NY:
Oxford University Press.
Wertheimer, M. (1924). Gestalt theory, max wertheimer (1924). Retrieved from
http://gestalttheory.com/maxwertheimer/gestalttheory/
23

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NSU Masters of Music Education: Final Cumulative Curriculum Project

NSU Masters of Music Education:

NSU Masters of Music Education: Final Cumulative Curriculum Project

Manitoba Curriculum Outline

Rhythm and Pulse

Individual and Group Tone Development

Evaluation and Reflection

NSU Masters of Music Education: Final Cumulative Curriculum Project

NSU Masters of Music Education: Final Cumulative Curriculum Project

NSU Masters of Music Education: Final Cumulative Curriculum Project

NSU Masters of Music Education: Final Cumulative Curriculum Project

NSU Masters of Music Education: Final Cumulative Curriculum Project

NSU Masters of Music Education: Final Cumulative Curriculum Project

Manitoba Curriculum Outline

NSU Masters of Music Education: Final Cumulative Curriculum Project

provoke inquiry, and to spark more questionsincluding thoughtful student questions

NSU Masters of Music Education: Final Cumulative Curriculum Project

NSU Masters of Music Education: Final Cumulative Curriculum Project

Curriculum Concept Map

NSU Masters of Music Education: Final Cumulative Curriculum Project

NSU Master of Music Education: Cumulative Curriculum Document

Scales & Key Signatures

- Students have memorized all fingerings/mallets for notes in required scales.

- Students learn to play with correct

NSU Masters of Music Education: Final Cumulative Curriculum Project

Instrumental Technique (continued)

- Students can identify when they make a

- Students listen around them for accuracy,

Expression & Musical

Audiation (When the brain gives

- Students can feel

meaning to musical sounds)

- Students can hear

- Students can hear

- Students are able

NSU Masters of Music Education: Final Cumulative Curriculum Project

- Students can read

- Students can define and demonstrate

- Students can read all notes and accidentals.

Students will recognize:

- Students can define and demonstrate

- Students can sight-read and perform through

NSU Masters of Music Education: Final Cumulative Curriculum Project

Rhythm & Pulse

- Students can play

- Students can play and clap dotted rhythms

- Students can speak

- Students can write

NSU Masters of Music Education: Final Cumulative Curriculum Project

Individual and Group Tone Development

- Students can start to

- Students will develop

- Students will be able

- Students are introduced to the pyramid of sound.

- Students develop skills in balancing to the

- Students can listen

- Students can listen

- Students can start to

- Students can apply a

- Students no long have

NSU Masters of Music Education: Final Cumulative Curriculum Project

NSU Masters of Music Education: Final Cumulative Curriculum Project

- Students dress appropriately: maples music