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Music, Middle School 1 - General Music 6

TEKS Strand Expectations
Foundations: Music Literacy Teachers identify comfortable ranges for student voices and select music that encourages continued participation in music. Pitched and non-pitched instruments are added to song literature. Recorders, resonator bells, and xylophones expand ranges and harmonic concepts. Clefs other than treble may be added to the musical vocabulary. Computer technology facilitates music notation. Students who have worked with both major and minor scales can learn about the modes.
Creative Expression Technical performance skills are addressed whenever students perform. Students work on small group, ensemble, and whole class musical presentations, and they demonstrate basic ensemble skills in every class. They prepare written and memorized music for formal and informal performances. Structured, choreographed body movements can help maintain student interest and focus. Students apply knowledge of treble, bass clef, and the grand staff in arranging rhythmic and melodic phrases.
Historical and Cultural Relevance The study of musical compositions expands to include some of the larger forms, such as overtures, suites, symphonies, concertos, oratorios, and operas. Selections should represent various cultures and historical periods.
Critical Evaluation and Response Students reflect on their own and others' performances, discuss their observations, and develop criteria that can be applied to both group and personal performances.
Example:

Ellen Finley introduces her sixth graders to the modern suite with a concert piece by Virgil Thompson, arranged from his score for the film Louisiana Story (1948). Until the time of Bach, a suite was a series of dances. The modern suite may be a series of dances or a free succession of contrasting movements. Thompson's suite uses seven songs of the Cajun river people, descendants of French settlers who migrated from Acadia in Nova Scotia to Louisiana, as the basis for the seven movements of his suite. They are "Sadness," "Papa's Tune," "A Narrative," "The Alligator and the 'Coon," "Super-Sadness," "Walking Song," and "The Squeeze Box."

The class first listens to the suite without knowing the names of the movements, and each student makes up titles that they believe describe the feeling of each movement.

After discussing the students' titles, the actual titles are written on the board. The class analyzes one movement in depth, discussing reasons for its title, instrumentation, form, rhythm, melody, and harmonies.

Differentiation Strategies for Students with Special Needs
 
©Copyright 2015, Center for Educator Development in Fine Arts (CEDFA). This chart is developed by the Center for Educator Development in Fine Arts (CEDFA) as a resource for Texas teachers. All rights reserved.
Center for Educator Development in Fine Arts (CEDFA)
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Austin, TX 78758
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©Copyright 2015; Center for Educator Development in Fine Arts all rights reserved.