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Example Concert Progamming

This document provides information about a performance by a folk songs group, including: - Three folk songs that will be performed, the timing of each, and the skills and concepts addressed in each song. - The national standards that will be addressed through learning and performing these songs. - The styles/genres, historical periods, and cultures represented in the song selection. - A rationale for why each song was chosen and how it will help students learn or practice certain musical skills and concepts like form, melody, rhythm, dynamics, and tone. - A proposed assessment of students' understanding of dotted rhythms, which are featured in two of the songs, through an in-class dictation

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58 views

Example Concert Progamming

This document provides information about a performance by a folk songs group, including: - Three folk songs that will be performed, the timing of each, and the skills and concepts addressed in each song. - The national standards that will be addressed through learning and performing these songs. - The styles/genres, historical periods, and cultures represented in the song selection. - A rationale for why each song was chosen and how it will help students learn or practice certain musical skills and concepts like form, melody, rhythm, dynamics, and tone. - A proposed assessment of students' understanding of dotted rhythms, which are featured in two of the songs, through an in-class dictation

Uploaded by

api-664012150
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© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Performance 1: Folk Songs

Pieces Performed:

 Celtic Air and Dances – Michael Sweeney (1.5)


 Ammerland – Jacob De Haan (2.5)
 American Riversongs – Pierre La Plante (3)

Skills Addressed:

 Celtic Air and Dances: AB form, who has melody


 Ammerland: dotted rhythms, dynamic contrast/expression, tone
 American Riversongs: harmony (monophony vs. homophony), articulation, dynamic
contrast

National Standards Addressed:

- Perform 4.2 - Analyze: Analyze the structure and context of varied musical works and
their implications for performance
- Perform 4.3 - Interpret: Develop personal interpretations that consider creators’ intent.
- Perform 6.1 - Present: Perform expressively, with appropriate interpretation and
technical accuracy, and in a manner appropriate to the audience and context
- Respond 7.2 - Analyze: Analyze how the structure and context of varied musical works
inform the response
- Respond 8.1 - Interpret: Support an interpretation of a musical work that reflects the
creators’/performers’ expressive intent
- Respond 9.1 - Evaluate: Support personal evaluation of musical works and
performance(s) based on analysis, interpretation, and established criteria.
- Connect 11.0 - Relate Musical Ideas: Relate musical ideas and works with varied context
to deepen understanding.

S, H, C, NS Addressed:

Celtic folk tune

Styles/Genres Ballad

Ragtime

Historical Periods America mid-1800s

Cultures Celtic
Netherlands/German influence

Perform 4.2, 4.3, 6.1, Respond 7.2, 8.1, 9.1


National Standards
Connect 11.0

Rationale for song selection and skill development:

Celtic Air and Dances is an engaging piece for flex band that will allow students to play
traditional Celtic folk songs. It features two traditional Celtic folk tunes called “The Parting
Glass”, which includes a woodwind feature and a full chorale section, and then “Tha Mi Sgith (A
Fairy’s Love Song) in an uptempo arrangement featuring rhythmic percussion. One main reason
I chose this piece is for the opportunity it provides to teach students about the musical form AB
and how to identify themes and perform them in such a way that makes them musically
distinct. The piece provides a great opportunity to teach students a new style of music with the
Celtic folk songs. This fits well into our concert theme of “folk songs”, which is an educational
opportunity to learn about folk songs in our culture and in other cultures. The other main
reason is that it provides an opportunity to talk about who has the melody in a given section
and how to bring that out. Because it is a flex arrangement, different instruments can have the
melody that do not typically get to and it will work no matter the instrumentation of the group.
It also features some dotted rhythms, which we will be learning with Ammerland, and is in a
new key (G minor).

Ammerland is inspired by the Ammerland region of Zwischenahner Lake in Germany. It


is a classic ballad for wind band and fits into our theme of folk songs because of the way it
represents the region it is inspired from. The main reason I chose this piece is for the
opportunity it provides to teach students about dynamic contrast and expression. These things
are what really “make” this genre of concert band ballads. It is also a great opportunity to begin
focusing on tone. This is a concept I want to refine all year, which is why I chose to begin talking
about it for our first concert. It is an important foundational skill that I want to address before
building on top of it. The other main reason I chose Ammerland is the chance it provides to
teach students about dotted rhythms, which are featured heavily throughout. The other two
pieces on this concert also feature dotted rhythms, so students will get a lot of practice with
this new concept during this unit. Ammerland also will help us review A and B themes that we
learned about in Celtic Air and Dances. It is in two keys (C minor and C major) that should be
somewhat familiar to students. It will also help us review listening for the melody like we
learned about in Celtic Air and Dances.
American Riversongs is a medley of composed and traditional folk songs from an earlier
time in American history when society was largely dependent on rivers and waterways. The
piece begins with an upbeat “Down The River” and then turns into a peaceful and expressive
arrangement of “Shenandoah”. Then, there is a transition into a tune called “The Glendy Burk”
by Steven Foster, which is later layered with an old Creole bamboula tune likely from the
Lousiana delta region and ends the piece in a ragtime feel. American Riversongs fits well with
the “folk songs” concert theme and allows students to learn about some of the folk songs
associated with American history. The primary educational benefit of learning this piece is the
opportunity to learn about articulation and dynamic contrast (which Ammerland also teaches)
and how to use these concepts show contrasting styles between the four tunes. This piece also
provides a chance to discuss harmony and monophony vs. polyphony. Another reason that
American Riversongs aligns well with the curriculum of the other two pieces is that it lets
students see dotted rhythms both function normally in the context of 2/4 time and function
differently in the context of 6/8. These rhythms are counted the same but feel different in
terms of pulse.

Sample Lesson Plan/Assessments:

Activity:

 Simple dictation assignment in class: to check student understanding of dotted rhythms


(which we are learning about during this unit using songs like Celtic Air and Dances and
Ammerland), I would create a short and simple 4-bar rhythmic dictation quiz that we
would do in class incorporating dotted quarter and dotted eighth note rhythms. I would
pass out papers with 4 bars of staff on them and the first note written in to help them.
Then, I would play the example and we would go through how to write out the first bar
as a class. I would model the proper listening process and direct their listening to help
them understand the rhythm, then review how to write it on the staff. Then, I would let
them finish dictating the other 3 bars on their own. I would play the recording ample
times (at least 2-3 times per measure) because my goal with this assignment is not to
stress them out or see how fast they can dictate. It is the beginning of the year so I only
want to assess their understanding of dotted rhythms and start working on basic aural
skills. If students need more time, I would offer time outside of class to come finish it.

Assessment Type:

 Rubric
Examples of possible assessment:

 I would use a checklist with 2 categories of 1: rhythmic accuracy and 2: accuracy of note
shape/drawing. There would be 4 columns. The fourth column would be “no mistakes”,
the third “one mistake”, the second “two mistakes”, and the first “more than 2
mistakes”. Then, I would leave room to write comments at the bottom so that if I can
tell that a student is almost there but they’re just missing one key concept, I can tell
them that or at least describe why they got something wrong.

Rationale for use:

 The purpose of this task is for me to be able to see how well students have understood
dotted rhythms after learning about them in class so I can see what I still need to review
or reteach for them. For example, if all students are able to write the dotted quarter
rhythm but not the dotted sixteenth rhythm, then I need to review just that. This could
almost be assessed with a simple checklist of whether or not they have the aural and
dictation skills, but I think there are multiple levels of understanding that a student
could have (ex: they understand the concept but just made a mistake in writing it out,
they understand how to play a dotted rhythm but not how to write it, they know how to
write it but don’t understand how it fits into the structure of a measure or how many
beats it takes up, etc.), so I want to be able to assess and give comments on these
different level of understanding.

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