JAZZ AT THE SYMPHONY TEACHERS
GUIDE
YOUNG PEOPLES CONCERT
INTRODUCTION
The Oakland East
Bay Symphonys Jazz at the Symphony Teachers Guide is designed to
enrich students Young Peoples Concert experience. A series of
activities for students in the elementary grades are provided, each focusing on
different aspects of the Jazz at the Symphony performance. Students will have
an opportunity to listen to jazz music, and complete hands-on activities to
learn about call-and-response and improvisation. They will also make a memory
book, write poems and create jazz art.
PRE-CONCERT ACTIVITIES
Grade Level: K-5
Materials:
Chart
paper
Marker
Several jazz CDs
or cassettes
Internet
access
Art
supplies
Teacher
Note: To prepare for these
activities, you will need to have access to jazz CDs or tapes. You may bring in
jazz CDs or cassettes from home or your local library. If these options are
unavailable, jazz music samples may also be found on the PBS Ken Burns
Jazz website at http://www.pbs.org/jazz/. A selection by
Duke Ellington might be a good choice for these activities, as students will be
listening to Duke Ellingtons work when they attend the Young
Peoples Concert.
Activity One
What is Jazz?
The purpose of
this lesson is for students to experience jazz and answer the question,
What is jazz?
1. Tell students
that you are going to play a piece of music for them to listen to. Explain to
students that after they listen to the piece, they are going to call out words
that describe the music. Tell students to make sure to include words that
describe how the music makes them feel.
2. As students
call out words, record their responses on the board or on a piece of chart
paper. You may choose to play another musical piece and continue the same
process.
3. After you have
finished recording all of the students responses, write the word,
JAZZ across the top of the paper. Explain that the music they just
listened to is known as jazz.
4. Ask students to
share what they know about jazz. This may include information as well as
personal experiences. Record the information on a KWL chart.
5. Share the
following key points about jazz with your students:
- West African
tribe members brought their music and traditions with them when they arrived as
slaves in the United States. The roots of jazz were planted in America as they
struggled to adapt to their new lives as slaves.
- African-American spirituals and work songs are part
of the foundation of jazz.
- The music
called jazz was born sometime around 1895 in New Orleans.
- Jazz is musical conversation: a partly
planned and partly spontaneous musical dialogue among the musicians who are
performing it.
- In most jazz
performances, musicians play solos that they make up on the spot. This is
called improvisation and is an important part of jazz.
- In most jazz
performances, you will hear one instrument answer another instrument. This is
called a call-and-response pattern.
- Jazz can
express many different emotions, from pain to pleasure.
- The theme of
freedom is often heard in jazz music. Jazz has a history of voicing
peoples suffering due to how they were treated because of their skin
color.
6. Add any new information to the
KWL chart. Continue to add information to the chart as you complete activities
and attend the performance.
Activity Two
Call-and-Response
The purpose of
this activity is for students to develop an understanding of the role that
call-and-response plays in the African-American culture and how it relates to
jazz.
1. Explain to
students that call-and-response is an important element of jazz that has its
roots in spiritual and slave songs. Explain that spirituals were group
expressions used to convey religious convictions. Spirituals were used as a
comforter against a harsh existence, to teach, to express a yearning for
freedom and to plan escapes from slavery.
2. Copy the song
lyrics below on a piece of paper. This may be a piece of small paper if you are
going to be the only one reading the lyrics or a piece of chart paper if you
want to share the lyrics with the entire class.
Couldnt Hear Nobody
Pray
An I
couldnt hear nobody pray.
O Lord!
Couldnt hear nobody
pray,
O-way down yonder
By myself,
I couldnt hear nobody
pray,
In the valley,
Couldnt hear nobody pray,
On my
knees,
Couldnt hear nobody pray,
With my burden,
Couldnt hear nobody pray,
An my Savior,
Couldnt hear
nobody pray.
O Lord!
I couldnt hear nobody pray,
O
Lord!
Couldnt hear nobody pray.
O-way down yonder
By
myself,
I couldnt hear nobody pray.
Chilly waters,
Couldnt hear nobody pray,
In the Jordan,
Couldnt hear
nobody pray,
Crossing over,
Couldnt hear nobody pray.
Into
Canaan,
Couldnt hear nobody pray.
O Lord!
I
couldnt hear nobody pray,
O Lord!
Couldnt hear nobody
pray.
O-way down yonder
By myself,
I couldnt hear nobody
pray.
Hallejuh!
Couldnt hear nobody pray,
Troubles over,
Couldnt hear nobody pray,
In the Kingdom,
Couldnt hear
nobody pray,
With my Jesus,
Couldnt hear nobody pray.
O
Lord!
I couldnt hear nobody pray,
O Lord!
Couldnt
hear nobody pray.
O-way down yonder
By myself,
I couldnt
hear nobody pray.
This song, or
parts of this song, can be heard on these websites:
PBS American
Experience website
http://www.pbs.org/wgbh/amex/singers/sfeature/songs_couldnt_l.html
Sam
McClain
Authentic History
website
http://www.authentichistory.com/audio/antebellum/AA_Spiritual_Couldnt_Hear_Nobody_Pray.html
Tuskegee Institute
Choir
Amazon.com
http://www.amazon.com/exec/obidos/tg/detail/-/B000002NHD/102-5994362-5880156?v=glance
The Fairfield
Five
3. Have students
gather on the floor in a circle. Read, or sing, the part of the caller and have
the class answer the response line, Couldnt hear nobody pray,
when you point to them. After finishing the song, discuss how this song was
probably more of a signal song than a spiritual song. Ask students to think
about what lines from the song would lead them to believe that it was a signal
song. (The line Couldnt hear nobody pray might suggest that
it was a signal song because when an escaping slave got far enough away that
they could no longer hear the singing, he or she knew that the chances of a
successful escape were greater.)
4. Tell students
that they are going to create a call-and-response pattern of their own. Ask
students to stand up in the circle and take turns creating a rhythmic pattern.
Explain to students that they can use hand clapping, foot stomping, finger
snapping, etc. to create this pattern. Ask the rest of the class to respond by
repeating the pattern. After completing a number of patterns, discuss how the
spiritual and the patterns they created relate to jazz music. (In the
activities the leader sang or tapped out a line and the listeners repeated
after them. This is referred to as call-and-response. In jazz an instrument
will play something and another instrument will answer by playing
back.)
Teacher
Note: Older students might want to
try taking the pattern that the caller started with and expanding on it in
their response. This would give students an idea of what jazz musicians do when
they improvise.
Activity Three
Improvisation
The purpose of
this activity is for students to experience improvisation and how it relates to
jazz.
1. Have students
stand in a circle. Tell students that they are going to create an
improvisational story. Explain that you are going to begin the story and then
touch a person on the shoulder and that whomever you touch is going to continue
with the story, picking up where the last person left off, and making it up as
they go. Explain that the story is going to continue around the circle until
everyone has had a chance to add to the story. Tell students to keep in mind
that every story has a beginning, middle and an end and that they should
consider that as the story goes around the circle. In other words, students
should be aware of the fact that when they are half way around the circle, they
have also reached the middle of the story and that when the story is headed
back toward the place in the circle where the story began that they will be
coming to the end of the story.
2. You may choose
your own beginning for the story or use the following story starter: One bright
and sunny day Ms /Mr. /Mrs. INSERT YOUR NAME
s class was on
the way to the Young Peoples Concert. The kids were excited to be leaving
the school and everyone was smiling and laughing when all of a sudden
At
this point, tap the student standing to your left on the shoulder and have that
person continue the story. Continue in this same manner, tapping the student
standing next to the student who is telling the story. When you tap the next
person in the circle, the person who is talking immediately stops talking and
the next person picks up the story where that person left off.
4. After the story
ends, relate the activity to jazz. Discuss how improvisation is an important
element in jazz and is a way for musicians to express themselves through music.
Explain that when jazz musicians improvise, they are making up music as they go
along, and that, much like the story they told, there is a beginning, middle
and end when a musician is improvising.
Activity Four
Hear the Music
The purpose of
this activity is to expose students to jazz music and to begin to understand
what to listen for in a jazz performance.
During the time
leading up to the performance, take some time to listen to jazz. Pass out and
review the Bring on the Jazz Handout included in this lesson. Play
selections from a jazz CD for the students. After listening to the selected
pieces, engage students in a conversation about the music. Ask students what
they liked about the piece and ask them to share if they heard anything that
was mentioned in the handout. Teacher Note: With younger students you might
simply have them listen to jazz and talk about it after. They might also free
draw as they listen to the music and share their pictures after they finish
listening. Another possibility is to choose one or two things from the Bring on
the Jazz handout to listen for, or ask them to identify instruments that they
heard in the piece. This Online Jazz Appreciation website contains examples of
jazz instruments and features the instruments in audio clips.
http://www.ccsn.nevada.edu/finearts/music/wherry/jazz/syllabus/instrument.html
Activity Five
The Duke
The purpose of
this activity is for students to learn about Duke Ellington.
Several of the
selections that the students will hear at the concert were composed by Duke
Ellington. Before going to the concert, students might benefit from visiting
the Jazz Class section of the Smithsonian Jazz website. This website may
be found at http://www.smithsonianjazz.org/class/jc_start.asp.
Students may want to visit the engaging interactive to learn about Duke
Ellington. This interactive may be found by clicking on the blue underlined
Duke Ellingtons interactive class text found under the
Welcome section. Teacher Note: This interactive could be
completed as a whole class activity with students who are unable to read the
text. For a challenge, older students might want to try the Dukes
Match Game that is found under the Jazz Classes heading.
Activity Six
Meet the Artists
The purpose of
this activity is to introduce the students to the musicians who will be
performing at the Jazz at the Symphony concert.
Share the
following information about the artists who will be performing at the Jazz at
the Symphony concert:
Keith
Doelling is a 15 year old,
10th grader who currently attends College Preparatory School in
Oakland. He has studied the double bass for five years under the tutelage of
Michel Taddei of the Crowden Music Center. In addition to studying the double
bass, Keith also studies piano with Chip Brimhall and music composition with
Arkadi Serper. His compositions have won national acclaim and have been
performed by the Berkeley Symphony Orchestra, the CPS Chamber Orchestra and the
The Crowden Music School. An article in the SF Chronicle has described Keith as
one of the Bay Areas most promising young musicians.
Keiths
musicianship has been widely recognized. He was a finalist in the
SF Youth Orchestra Concerto Competition in 2004 and a soloist for Chichester
Psalms for the Santa Rosa Symphony at the age of 11. His virtuoso talent has
been widely acknowledged by international double bass artists such as Gary
Karr, Diane Gannett and John Clayton. Keith has recently returned from a
tour of Europe with the San Francisco Symphony Youth Orchestra where he serves
as the Assistant Principal bassist.
Zenas
Hsu was born in 1991. He began
violin at the age of five and is currently studying with Wei He and Camilla
Wicks at the San Francisco Conservatory of Music.
Zenas will attend
the 9th grade in Lynbrook High School in San Jose, California this
fall.
Zenas has been a
winner of many competitions. This year, in addition to the Oakland East Bay
Symphonys 9th Annual Young Artist Competition, he has also won
the 2004 Pacific Musical Society Violin Competition, the Contra Costa Strings
Competition including their Turner award for exceptional performance, the 2004
Nueva Competition, the Prometheus Symphony Competition, including a performance
with the Prometheus Symphony, and the 2004 CMTANC (Chinese Music Teachers
Association of Northern California) Violin Competition.
Jeremy Cohen
is a faculty member of
the Henry Mancini Institute at UCLA and has taught with the Stanford Jazz
Workshop for six years. He is a long-time resident of the San Francisco Bay
Area, where he lives and makes music with his two sons.
His electrifying
recorded and live performances of jazz violin have earned him accolades across the
country. As a soloist, Jeremy Cohen has performed with numerous symphony
orchestras including the Virginia Symphony, California Symphony, Los Angeles
Modern String Orchestra, the Monterey Bay Symphony, and the Reno Philharmonic.
As a
recording musician, his credits include numerous motion picture and television
soundtracks, including "The Dukes of Hazard," and Jane Fonda's "Dollmaker"
& studio orchestra concertmaster on recordings with Linda Rondstadt, Cleo
Laine, Ray Charles, Howard Keel and Aaron Neville. He appears in Carlos
Santana's two most recent recordings and has recorded on many occasions at
George Lucas' Skywalker Ranch, including "Star Wars" with John
Williams.
Paul Hanson is a Bay Area musician and composer who is rapidly
gaining international recognition for his unique bassoon playing. His
repertoire incorporates aspects of jazz, funk, world music, classical and
electronic music.
He has mastered the bassoon using
many different playing techniques not usually associated with this classical
instrument.
From performances in small chamber
music settings to outdoor festival concerts for thousands, Paul Hanson is
redefining the perception of what the bassoon can do.
You
may choose to watch the streaming
video of part of their SmileFest 2004 performance at
www.abstractlogix.com.
Click the "Watch the Video" link underneath the title Paul Hanson, Jonas
Hellborg and Jeff Sipe.
Post-Viewing Activities
Activity One
Memory Book
The purpose of this activity is to help students
reflect upon and capture their experiences at the Jazz At The Symphony
concert.
1. Tell the students that they are going to create
a memory book called My Day at the Oakland East Bay
Symphony.
2. Provide students with the following templates to
use in creating a memory book called My Day at the Oakland East Bay
Symphony.
Activity Two
Jazz Poetry
The purpose of this activity is for students to
write a poem that portrays images of jazz.
OPTION ONE
1. Share the poems below with the
class. Ask students to write a poem based on their Jazz At The Symphony
experience.
THE JAZZ
MAGICIAN
He turned
his
saxophone
into a hat of satin
and pulled
a silky rabbit
out of every note.
Charles Ghigna
MILES
DAVIS
On stage
in a
spotlight
of smoke
a cool, blue
question mark
of a man
blows
ashes
into answers.
Charles Ghigna
These poems may be found on Charles Ghignas
website. This website contains excellent information on using poetry in the
classroom. http://www.charlesghigna.com/classroom.html
Jazz
Jazz the ritz
And the glamour,
The razzmatazz.
The sounds that one hears
Takes you to another realm,
The tones
The bass, trumpet and drums
Each has a sound
Very much to ones
Ear to please.
Pleasure of jazz
Razzmatazz
Jazz Jazz Jazz.
Sally Davis
http://www.poemhunter.com/p/m/poem.asp?poem=25196
Greens
Lid's on, steam's risin':
collard greens, Lord,
bubblin' JAZZ!
That's appetizin'.
James A. Emanuel
http://www.poemhunter.com/p/m/poem.asp?poem=102858
Im A Jazz Singer, She Replied
He dug what she said:
bright jellies, smooth
marmalade
spread on warm brown bread.
"Jazz" from drowsy lips
orchids lift to honeybees
floating on long sips.
"Jazz": quick
fingerpops
pancake on a griddle-top
of
memories. Stop.
"Jazz": mysterious
as
nutmeg, missing fingers,
gold, Less serious.
"Jazz": cool bannister.
Don't need no stair.
Ways
to climb
when the sax is there.
James A. Emanuel
http://www.poemhunter.com/p/m/poem.asp?poem=25196
2. Involve students in a discussion about the
images and sounds and feelings created in the poems.
3. Tell students to refer back to their memory book
for words and ideas for their poems.
4. After students have finished their poems you may
choose to bind the work into a class book.
OPTION TWO
1. In this option, students will visit the PBS Ken
Burns Jazz website http://www.pbs.org/jazz/ and explore the
different sections of the site to learn about jazz. Tell students to
record artists names, facts, song titles and lyrics, and use this
information to create a poem mirroring the style of Ray Riveras
Jazz.
JAZZ
Jazz! Blue Monk Played by Thelonious Monk, Jazz!
Lady Day Singing
'Bout her "Lover Man" Jazz! Stan Getz and the Girl from
Ipanema, Hey dig
Jackie Williams, Mr. Cool himself beatin' time on
"Caravan" Jazz! Hank
Jones, piano playing is such a delight, have you
heard Horace Silver
playing "Song for my Father" or Billy Taylor play
"Ray's Tune" as only he can. Jazz! Lester Young leaps in with his cool, cool
sound. Jazz! Ella sings 'bout the moon, while Dakota Staton tells you of the
late, late show. Jazz! Count Basie is down for the count. Cause Joe Williams
has the blues. Jazz! I've got a hunch that's John Bunch on that Edgar Samson
tune. Jazz! Have you taken a trip on route 66, with Nat King Cole 'cause if you
haven't Duke Ellington will take you for a ride on the A Train. Jazz! Major
Holly, Slam Stewart, Milt Hinton, Richard Davis, Ray Brown, Red Mitchele - Can
you picture them all playin' together, Jazz! Feet tapping to the drum beat of
Papa Jo Jones, Ray Mosca, Cozy Cole, Percy Brice, Art Blakely, Buddy Rich,
Louie Belson, Max Roach. The beat goes on and on. Jazz! The guitar of Gene
Bertoncini, on a soulful Bossa Nova, Kenny Burrell, Playin' the Blues, Wes
doing it his way, the rhythm of Freddy Green. Jazz! Paul Desmond takin'five
while Yard Bird Charlie Parker let's you know that now's the time for jazz.
There are so many past and present who have given to this great American art
from we call Jazz.
Ray Rivera
http://www.poemhunter.com/p/m/poem.asp?poem=24739
OPTION THREE
1. Share Betty Swain Wyeths poem
Black Man Walking with your class. After reading the poem,
play some jazz music and have the students move to the music. When the music
has ended, have the students write a poem about how it felt to move to the
music.
Black Man Walking
I saw a Black Man walking
in Old Orleans,
In a day when it wasn't fashionable
to be black.
His body was twisted
and bent out of shape,
And I noticed as he shuffled along,
that his
feet didn't keep beat with the street.
When I stopped and asked him what he
minded most,
(an arrogant assumption that he minded both),
He stood as
tall as his frame would allow...
"No Ma'am, I don't mind being a Black
Man,
And I don't mind this old body being twisted,
And beat out of
shape, but I sure hates livin' in a city
Where Jazz is the King, and my
feet won't keep
the beat of the street.
Yes, I sure hates livin' in a
city where Jazz is the King,
and my feet won't keep beat with the
street."
Awed by his countenance,
I felt a deep loss.
For I of fair
skin and freedom of movement,
Had Never..
No Never...
Felt the beat
of the street.
I live in this city,
Where Jazz is the King,
And I
never have felt
The beat of the street.
Oh, Life's never fair, as it
deals out our fate-
But, are some refined and others defeated?
If the
truth were known, we're all
Winners,
Losers;
And, who can know the
strength of the straw?
Oh, how did I find favor in the eyes of a God,
To meet the Black Mass of Bourbon Street
Who had conquered a complex of
faces.
In the end...would his love of the
Jazz defeat him?
I see him as then, as he ambled away-
Truth revealed,
if only he knew it.
He was the King, not the Jazz, or the beat...
But,
the Black Man of Bourbon Street.
Betty Swain Wyeth
http://www.poemhunter.com/p/m/poem.asp?poem=18640
Activity Three
Jazz Art
The purpose of this activity is for students to
create a work of art that captures an essence of jazz.
1. Share with the class some of the jazz
arton the All About Jazz website. Make sure that some of the pieces of
art that you share with your students are abstract in nature.
http://www.allaboutjazz.com/art.htm
2. Tell students that they are going to create a
piece of improvisational jazz art.
3. Divide the class into groups of three or four
students. Pass out at least five pieces of
8.5 X 11paper to each group (this paper may be
colored or plain) and one larger piece of construction paper.
4. Explain to students that they are going to draw
pictures of jazz instruments and jazz musicians playing instruments on the five
8.5 X 11 pieces of paper. Tell them that they are going to draw these people
and instruments in an unusual way. Ask them to begin by folding the 8.5 X 11
pieces of paper into thirds. It doesnt matter if the paper is folded
lengthwise, crosswise or a combination of the two. Explain to students that the
image is going to be drawn in three parts. Tell students that one person will
draw the top third of the image. After they have finished drawing, they will
fold over what they drew so that the next person cant see what they drew
and hand it to the second person. This person will draw the middle of the
image, fold it over and hand it to the last person who will draw the bottom of
the image. Ask the students to decide what images they will draw on these
sheets of paper before they begin drawing. After the students have finished
drawing the images, they will unfold the paper, cut out the images, and arrange
and glue them on the larger sheet of paper to create an abstract work of art.
Students may use paint, markers, chalk, colored pencils, etc. to color their
work. Students may also consider incorporating the use of glitter, sand,
toothpicks, pipe cleaners, feathers, straws and other items in the creation of
their work.
5. Ask students to title their work and display the
work in the classroom.
Extension Ideas
Oral History Project
Have your students take part in the Jazz Oral
History Project sponsored by MENC and the Smithsonian's National Museum of
American History. See the "Jazz In Your Community"
Oral History Project Extension. Also go to
the Smithsonian Jazz Appreciation Month Site
for FAQ and audio and video excerpts from oral histories.
Learn More About Jazz
Visit the PBS Kids Jazz site to learn more
about jazz.
http://www.pbs.org/jazz/kids/
Read About Jazz
Share these books with your class.
The First Book of Jazz. Hughes, Langston (1982), Hopewell, NJ.: Ecco
Press.
The
Blues Singers: Ten Who Rocked the World Lester, Julius (2001). New
York: Hyperion Books for Children
Charlie Parker Played
Bebop Rascha, Chris (1992). New York: Orchard Books
Bens Trumpet Isadora, Rachel (1979). New York: Greenwillow
Books
The Jazz of Our Street Shaik, Fatima (1998). New
York: Dial Books
Rent Party Jazz
Miller, William and Charlotte Riley-Webb (2001).
New York: Lee & Low Books
Ella Fitzgerald : The Tale of a Vocal
Virtuosa Pinkney,
Davis Andrea (2002). New York: Jump
Sun
If I Only Had a Horn : Young Louis
Armstrong
Orgill, Roxane (1997). New York: Houghton Mifflin
Satchmo's Blues Schroeder, Alan Reprint edition (1999).
New York: Dragonfly Books
John Coltrane's Giant
Steps Raschka,
Chris (2002). New York: Richard Jackson Books
The Jazz Fly Gollub, Matthew (2000). California:
Tortuga Press
Duke Ellington: The Piano Prince and His
Orchestra
Pinkney, Andrea Davis (1998). New York: Jump Sun
STANDARDS
California Visual and Performing
Arts Standards http://www.cde.ca.gov/standards/
Kindergarten
4.0 AESTHETIC
VALUING
Responding to,
Analyzing, and Making Judgments About Works of Music
Students critically assess and
derive meaning from works of music and the performance of musicians according
to the elements of music, aesthetic qualities, and human responses.
Derive Meaning
4.1 Create movements that correspond to
specific music.
4.2 Identify, talk about, sing, or play music written for
specific purposes (e.g., work song, lullaby).
Grade 1
3.0 HISTORICAL AND CULTURAL
CONTEXT
Understanding the
Historical Contributions and Cultural Dimensions of Music
Students analyze the role of music
in past and present cultures throughout the world, noting cultural diversity as
it relates to music, musicians, and composers.
3.4 Use developmentally
appropriate movements in responding to music from various genres, periods, and
styles (rhythm, melody, form).
4.0 AESTHETIC
VALUING
Responding to,
Analyzing, and Making Judgments About Works of Music
Students critically assess and
derive meaning from works of music and the performance of musicians according
to the elements of music, aesthetic qualities, and human responses.
Derive Meaning
4.2 Describe how ideas or moods are
communicated through music.
Grade 2
3.0 HISTORICAL AND CULTURAL
CONTEXT
Understanding the
Historical Contributions and Cultural Dimensions of Music
Students analyze the role of music
in past and present cultures throughout the world, noting cultural diversity as
it relates to music, musicians, and composers.
Role of Music
3.1 Identify the uses of specific music in
daily or special events.
Diversity of
Music
3.2 Sing simple songs
and play singing games from various cultures.
3.3 Describe music from
various cultures.
4.0 AESTHETIC
VALUING
Responding to,
Analyzing, and Making Judgments About Works of Music
Students critically assess and
derive meaning from works of music and the performance of musicians according
to the elements of music, aesthetic qualities, and human responses.
4.4 Respond to a live performance
with appropriate audience behavior.
5.0 CONNECTIONS, RELATIONSHIPS,
APPLICATIONS
Connecting and
Applying What Is Learned in Music to Learning in Other Art Forms and Subject
Areas and to Careers
Students apply what they learn in
music across subject areas. They develop competencies and creative skills in
problem solving, communication, and management of time and resources that
contribute to lifelong learning and career skills. They also learn about
careers in and related to music.
Careers and Career-Related
Skills
5.2 Identify and
discuss who composes and performs music.
Grade 3
3.0 HISTORICAL AND CULTURAL
CONTEXT
Understanding the
Historical Contributions and Cultural Dimensions of Music
Students analyze the role of music
in past and present cultures throughout the world, noting cultural diversity as
it relates to music, musicians, and composers.
4.0 AESTHETIC
VALUING
Responding to,
Analyzing, and Making Judgments About Works of Music
Students critically assess and
derive meaning from works of music and the performance of musicians according
to the elements of music, aesthetic qualities, and human responses.
Derive Meaning
4.3 Describe how specific musical elements
communicate particular ideas or moods in music.
Grade 4
3.0 HISTORICAL AND CULTURAL
CONTEXT
Understanding the
Historical Contributions and Cultural Dimensions of Music
Students analyze the role of music
in past and present cultures throughout the world, noting cultural diversity as
it relates to music, musicians, and composers.
Role of
Music
3.1 Explain
the relationship between music and events in history.
Grade 5
1.0 ARTISTIC
PERCEPTION
Processing,
Analyzing, and Responding to Sensory Information Through the Language and
Skills Unique to Music
Students read, notate, listen to,
analyze, and describe music and other aural information, using the terminology
of music.
Listen to, Analyze, and Describe
Music
1.5
Identify vocal and instrumental ensembles from a variety of genres and
cultures.
3.0 HISTORICAL AND CULTURAL
CONTEXT
Understanding the
Historical Contributions and Cultural Dimensions of Music
Students analyze the role of music
in past and present cultures throughout the world, noting cultural diversity as
it relates to music, musicians, and composers.
Role of Music
3.1 Describe the social functions of a variety of musical
forms from various cultures and periods (e.g., folk songs, dances).
Diversity of Music
3.2 Identify different or similar uses of musical elements in
music from diverse cultures.
3.3 Sing and play music from diverse cultures
and periods.
3.4 Describe the influence of various cultures and historical
events on musical forms and styles.