PROYECTO ANUAL MÚSICA DE 1°

AÑO

ESETP N° 716 “Casimiro Szlápelis”

Bianca A. Pinuer

Art and man are inseparable. There is

no art without man, but perhaps
neither
man without art. Through it, the world
becomes more intelligible and
accessible, more familiar. Is
the means of a perpetual exchange with what surrounds us, a kind of breathing
of the soul, quite similar to physics, without which our body cannot do. Being
isolation or civilization that does not reach art are threatened by a secret asphyxiation
spiritual, due to a moral disturbance
(Huyghe, cited in Alderoqui et al., 1995: 5).

RATIONALE

Based on the interests of the students, a work plan divided into three stages is proposed
from this space that will range between musical production and conceptual awareness of
musical language; each one will conclude with the presentation of a group work.
After a previous step of diagnosis and general review of contents, the aim is to gradually
build knowledge that contributes to the development of critical thinking, to the
development of each young person in the world around them as creative subjects (in this
sense I want to emphasize, given that it is essential for adolescents to express their
emotions, their stories, their identities, and generally the tools they have are not enough.
Music provides many of these communication tools, opening the metaphorical spectrum).

From the “doing” in the activities, the students will have an active participation in each
class, giving meaning to the graphic representations and musical concepts that will be
taught.

PURPOSES

-Provide a space for attentive listening, experimentation, conscious execution and re-
signification of knowledge in which content previously treated theoretically can be delved
into, directly relating it to the students' close musical context and musical practice.

-Provide tools to broaden the perspective in relation to musical production through group
ensembles.

-Plan collective activities that contribute to group awareness, respect for the thoughts of
others and the resolution of situations inherent to musical language.

-Guarantee equality and equity in relation to instrumental performance roles, without

discriminating by gender or sex, completely repudiating all stereotypes or prejudices.

-Promote the enhancement of the different modes of musical production, taken into
account as vehicles for critical reflection, social transformation and reinterpretation of
reality.

THEORETICAL FRAMEWORK

As Flavia Terigi indicates in the educational compilation “Arts and School”, citing Spravkin
(1999: 242), cultural goods are not always considered as their own (symbolically) because
a large part of society does not find the intellectual and sensitive conditions for this
appropriation, which is why in the vision of the new secondary school, artistic languages
are presented as strategies that provide transformative experiences of reality, since it is
not only an exclusive product of artists, but it is a social language and a cultural tool. In
this sense, I would like to highlight a position regarding music and other artistic subjects as
exclusive for the promotion and development of creativity, a distinction with
controversies in education, and personally I consider both physics, history and
mathematics, for example , just as suitable as artistic areas to cultivate creative thinking,
understanding creativity as the ability to solve problems according to Guilford (1994:22). It
is for this reason that this project is open for any articulation.

Chubut's curricular design proposes to guarantee that the teaching of the arts proposes
dynamics for the strengthening of groups: "dynamics for integration, through proposals
related to attitudes of tolerance, solidarity and creative coexistence that in turn promote
critical consciousness"1 , so this proposal will have group work as its methodological axis.
Likewise, working transversally with comprehensive sexual education is made explicit
within the framework of curricular design as an unavoidable responsibility of the school
(law 26150 art. 3) therefore, critical reflection will be sought, tending to equal
opportunities for all, regarding discriminatory and stigmatizing attitudes linked to musical
performance in relation to: - forms of speech and singing; - the forms of musical
performance according to the cultures of origin; - stereotyped instrumental roles.

Finally, this project is framed, mainly, in one of the Priority Learning Nuclei proposed by
the Ministry of Education “ The understanding of the modes of musical production2 in
Argentina and Latin America of music coming from both the cultural industry and various
circuits .”2

ACTIVITIES

 Listening, analysis and research work on the various genres to be addressed.

 Group performance of folkloric and national rock repertoire.
 Through guided listening, identification of aspects of the musical language
indicated in the contents.
 Composition of rhythmic and melodic patterns.
 Using the instrument, exercise fine motor skills, scale fingering,
costodiaphragmatic breathing work, attack, etc. (on melodic string and wind
instruments) coordination games and hitting techniques (on percussion
instruments).

1
Chubut Curriculum Design. Artistic Languages, Secondary Education P.3
2
Ministry of Education (2011). NAP Artistic Education, Basic Cycle, Secondary Education. Buenos Aires,
Argentina.
METHODOLOGICAL STRATEGIES

 Evaluation of prior knowledge of the topic through an oral and written survey on
music knowledge, through questions, literacy resolution activities, and simple
musical productions, requiring active participation of the students.
 Appropriation of new content through scheduled productions, always maintaining
a playful nature in the proposals, which will also be group-based .
 Accompaniment and assistance of the teacher for each group work, indicating
good practices of vocal and instrumental performance.
 Synthesis of the contents worked on, which will consist of a global and reflective
vision in order for learning to be meaningful.

CONTENTS

Diagnostic stage

 National and Latin American musical genres.

 Sound attributes.
 Modes of action of sound sources.
 Group singing.

Unit I

 Identification of the distinctive characteristics of the music of adolescent culture.

 Listening, analysis and production of sound qualities, and their graphic
representation.
 Group singing.
 Musical form (internal structure of songs).
  Production of regular and irregular rhythmic patterns.
 Use of different sound sources (conventional and unconventional).

Unit II

 Musical characteristics that determine folklore genres and styles in relation to the
cultural context.
 Vocal and instrumental techniques (individual and group).
 Use of different modes of production (combined instrumental-vocal).
 Identification and production of textures: monody-polyphony (ostinatos, canon,
qodlibet).
 Interpretation of works selected by students.

Unit III

 National rock: musical production in different historical, political and social

contexts.
 Knowledge of the influences of technologies applied to musical work.
 Musical composition: Instrumental and/or vocal arrangements (melodies that
respect the formal structure of repetition-change-repair and instrument execution
techniques)
 Use of the voice (singing and accompaniment).
 Sounding of stories taking into account the dynamics of musical discourse.

ASSESSMENT

The teaching-learning process will be reflective at the end of each work, encouraging co-
evaluation through debates and plenary sessions where students will have the possibility
of expressing and communicating their ideas to constantly improve the work of the
teacher as a mediator, who must adjust his or her methodologies. class by class, taking
into account the diversity of the classroom.
The permanent review of teaching practice and student performance is proposed,
socializing the problems and emergencies as a responsibility of all parties, which concern
both the attitudinal and the technical aspects of the musical language.

ACCREDITATION CRITERIA
Approval of the partial evaluation instances (three group productions) planned for each
unit in which the:
• Understanding and explanation of characteristics of the musical works addressed,
according to their context.
• The identification of components of the musical language, and their organization for
personal compositions, using specific names.
• Execution of instruments with their respective techniques.

In addition, participation in debates, games and activities will be evaluated class by class.

With respect to attitude, the general criteria are:

 Respect for the productions of colleagues.
 Active cooperation in all group work.
 Attendance and respect for class schedules.
 Study discipline in daily work proposed by the teacher.

EVALUATION INSTRUMENTS

 Monitoring sheet for each student.

 Form-questionnaire for each student (See form at the end)
 Group practical work
 Auditory and visual record of practical evaluations (which will allow students to
self-evaluate their learning processes).

DIDACTIC MATERIALS AND RESOURCES

 Short documentary videos to present the topics in their historical aspect

 Melodic, harmonic and percussion instruments
 Audio player equipment
 Chalkboard
 Photocopies of bibliographic material
 Posters with song lyrics

BIBLIOGRAPHY FOR THE TEACHER

 Ministry of Education of the Province of Chubut. Curriculum Design for the EGB.
  Akoschky, Judith; Brandt, Emma; Calvo, Martha; Chapato, María Elsa; Harf, Ruth;
Kalmar, Deborah; Spravkin, Mariana; Terigi, Flavia, Wiskitski, Judith. (1998) “Arts
and School” PAIDÓS. Buenos Aires, Argentina.
 Ministry of Education of the Nation. Priority Learning Nuclei, Artistic Education
(2011), Buenos Aires, Argentina.

BILIOGRAPHY AND FILMOGRAPHY FOR STUDENTS

 GINDRE, P. BEILINSON, F. ZAIDMAN, J. (2007) “The Book of Folkloreishon” SATIVA.

La Plata, Argentina.
 Documentary series Maybe Why, “Beat Generation”; “The Hippies”; “Rock and
Dictatorship”; “The Spring of Rock”; Encounter Channel; Buenos Aires, Argentina.
 Lecture sheets made by the teacher
 Ministry of Education of the Nation. (2011) “ Argentine music box”. (General idea:
Juan Falú). SADAIC.