BC Education - Appendix D: K to 7 Samples

Music Sample 4: Grade 6

Topic:

Soundscape

Prescribed Learning Outcomes:

Structure (Elements of Rhythm)

It is expected that students will:

make choices from the elements of rhythm in classroom repertoire to create rhythmic compositions
apply knowledge of form and the principles of design to their rhythmic compositions

Structure (Elements of Melody)

It is expected that students will:

apply knowledge of form and the principles of design to their melodic compositions
use standard and invented notation to represent melodic patterns

Thoughts, Images, and Feelings

It is expected that students will:

apply the elements of expression in their compositions

Context (Self and Community)

It is expected that students will:

demonstrate responsibility to themselves and the group while experiencing music
use established criteria to analyse the work of self and others

Overview

In this unit, students learned about and composed soundscapes. Evaluation was based on students' compositions, notation, and group work.

Planning for Assessment and Evaluation

The teacher played several examples of contemporary soundscape music such as Babatunde Olatunji's Jewe, R. Murray Schafer's Epitaph for Moonlight, Varèse's Poème Électronique, Tibetan throat singing, Pink Floyd's Solitudes, and John Cage's First Construction for Metal. After each selection, the class discussed questions such as:
- Is this a piece of music? Why or why not?
- What instruments, if any, did you hear?
- What did this piece make you think of?
- What do you think the score would look like?
The teacher asked students to brainstorm words that indicate a vocal sound (e.g., hiss, buzz, whistle, click, pop). The students practised the sounds as the teacher pointed to the words. The teacher explained that voice can be used for more than singing in music.
The class was divided into two groups, with a conductor assigned to each group. Led by the conductors, groups performed vocal sounds and simultaneously created polyphonies. The teacher divided the class into three groups and had them repeat the activity.
The teacher divided the class into pairs or groups of three and asked each group to represent a mood, image, idea, or story by creating and performing a breathscape using mouth or vocal sounds only (e.g., buzz, hiss, whistle). Each group was required to use a repeated motif or pattern in developing its composition and incorporate texture using body percussion. Students discussed features that might distinguish effective work and agreed on a set of criteria for their compositions and performances. The teacher posted the criteria on a classroom chart, which was referred to throughout the unit.
Each group went to a quiet area and, using one repeated motif or pattern, developed its composition. Students referred frequently to the chart of criteria, using it as a guide to give feedback to one another.
Students suggested titles for vocal soundscapes (e.g., Nature, Cities, Everyday Life, Classroom Life, Elevator, Construction, School Hallways). In groups of four, they selected titles from a hat and chose appropriate vocal sounds for the images suggested by the titles. Each group shaped the sounds into a short musical composition and provided notated charts. Students performed and discussed their compositions, then they exchanged scores with other groups and performed one another's music.
Students listened to more examples of 20th-century soundscapes. After discussing the sound sources used in the compositions, students were asked to bring interesting sounds from home (sounds they could reproduce with their voices or hands).
Working in groups of four to eight, students used all the sounds they had collected to create themes or moods for particular settings (e.g., sad mood in a desert, tension at home, suspense on a mountain). The teacher provided the following lists:

Mood Setting

sad city - arcade

scary forest

suspenseful mall

surprised home

tense jungle

lonely ocean

angry train

thrilling movie theatre
Students notated, practised, and performed their compositions for one another. Then they discussed the effectiveness of the sound combinations.
The teacher gave each student a felt pen and a transparency with a staff on which to compose a bar of music using eighth notes. Students were then each given a full sheet of manuscript and asked to place the pattern in a variety of positions to create extensions (e.g., upside down, backward, moved up or down one staff line). The teacher discussed how various aspects of retrograde, transposition, and inversion relate to traditional notation. Students then performed their 8-bar compositions and critiqued one another's work.

Defining the Criteria

The teacher and students agreed on criteria for their work with soundscapes. The teacher posted the criteria in age-appropriate language on a chart that was displayed during music classes.

Composition

explores and experiments with a variety of sounds
applies knowledge of form and design
incorporates unique ideas
includes required elements
incorporates changes and suggestions based on feedback<

Notation

uses standard and invented notation accurately and in a consistent way

Group Work

offers supportive and helpful suggestions to classmates
co-operatesshows responsibility and commitment to the group

Assessing and Evaluating Student Performance

The teacher used the criteria developed with students to construct a rating scale. Students were given opportunities to review, discuss, and suggest changes to the scale. They kept copies of a similar scale in their music books and referred to them for self- and peer assessment. The teacher also used the scale to assign a summary rating at the end of the unit.

Soundscape

Rating	Criteria
Composition
C-	Tends to be extremely short and often relies on repeating sounds or patterns practised with the whole class. Required features may be misinterpreted or omitted. Composition often appears random, with little evidence of attention to form and design. Student may have difficulty dealing with feedback in a constructive way. No evidence of problem solving or using feedback to revise composition.
C/C+	With support, shows evidence of some exploration. May rely on sounds and patterns modelled by the teacher or other students. Includes most required features and shows some attention to form and design. Shows little evidence of problem solving or using feedback.
B	Shows evidence of some exploration and experimentation. May rely frequently on the same sounds or combinations. With support, generally meets requirements and follows conventions of form and design. Shows some evidence of problem solving and using feedback.
A	Student consistently explores and experiments with sound to contribute unique ideas. Composition meets requirements and follows conventions of form and design. Evaluates feedback and chooses suggestions that make improvements. Solves problems in unique ways.
Notation
C-	Inconsistent. Student may omit sections when notating or reading.
C/C+	With support, student shows developing accuracy and consistency in notating and reading simple compositions that rely on features that have been discussed and modelled.
B	Generally consistent and accurate for simple compositions that include familiar features. Students may be more successful in one area than another (e.g., notating or reading; invented or standard notation).
A	Consistent and accurate for simple compositions that include familiar features. Able to infer and interpret the invented notations of others.
Group Work
C-	Tends to focus on own role and contribution. May have difficulty collaborating. Assessment of own and group success may be unrealistic.
C/C+	Participates willingly in group tasks. May need encouragement to sustain efforts and contributions. Tends to assess own and group level of success in broad, general terms.
B	Co-operates and takes responsibility for group tasks. Contributes and respects others' contributions. Shows awareness of own and group levels of success and can offer some supporting evidence.
A	Shows commitment to making group activities successful. Contributes, encourages others, offers helpful feedback. Able to identify specific areas of strength and weakness in assessing work.

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Revised: July 8, 1998

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Mood	Setting
sad	city - arcade
scary	forest
suspenseful	mall
surprised	home
tense	jungle
lonely	ocean
angry	train
thrilling	movie theatre