Appendix G: Planning Your Program

Courses offered in music in grades 8 to 10 may be designated as:

• Music 8
• Music 9
• Music 10

Districts and schools may choose to develop programs that integrate more than one of the fine arts disciplines. For students to satisfy the fine arts requirement for grades 8 to 10, however, they must meet all learning outcomes from one of the disciplines (music, dance, drama, visual arts). This requirement ensures that students receive a strong foundation in at least one of the fine arts disciplines. Units within an integrated fine arts program might include:

• How the Arts Mirror and Influence Society
• The Arts Within Cultures and Across Time
• Musical Theatre
• Design
• Filmmaking
• Arts in the Media

Organizing for Instruction

Schools or districts may choose to deliver the prescribed learning outcomes in an instrumental or vocal ensemble, or in a classroom music setting. Teachers wishing to adapt existing programs to fit the new curricular requirements must ensure that all of the prescribed learning outcomes are met.

A classroom music course or program could focus on:

• music composition
• multimedia music
• musicology
• music theatre
• music criticism

• concert band
• jazz band
• orchestra
• chamber ensemble
• guitar
• piano

• concert choir
• chamber choir
• show choir
• jazz choir

• addressed the prescribed learning outcomes
• included opportunities for creating, listening to, and performing music
• set appropriate goals
• mapped out a sequence of lessons
• included opportunities for the students to explore and express themselves through music
• included opportunities for students to research ideas and topics
• included opportunities for both individual and group work
• included opportunities for students to reflect on their work
• included opportunities for listening and responding to the music of others
• included a range of cultural content
• addressed a range of learning styles
• included activities and strategies relevant for both male and female students
• made lessons relevant to students and their communities
• made plans for assessing the extent to which students are achieving the learning outcomes

DANCE
Presentation and Performance	Creation and Composition	Dance and Society	Elements of Movement

DRAMA
Exploration and Imagination Critical Analysis Expression and Trust	Context Social and Cultural Making Connections	Drama Skills Body and Voice Drama as Metaphor Elements and Structures Role Technique Making Connections Context Expression and Trust

VISUAL ARTS
Image-Development and Design Strategies Creating/Communication Perceiving/Responding	Context Creating/Communication Perceiving/Responding	Visual Elements and Principles of Art and Design Creating/Communication Perceiving/Responding	Materials, Techniques, and Processes Creating/Communication Perceiving/Responding

For examples of units specific to classroom, instrumental, and vocal instruction, see "Planning for Assessment" in Appendix D.

Whether classroom, instrumental, or vocal, a music program should include a range of opportunities for creating, listening to, and performing music. These experiences will serve as the basis for exploration of music concepts as articulated by this curriculum. As students refine the use of the structural elements, the principles of design, their perceptions and responses (thoughts, images, and feelings), and their understanding of the personal, societal, historical, and cultural contexts of music, they are afforded greater possibilities for a wider variety of experiences.

A number of considerations should be kept in mind when designing a music program that includes a range of music styles. Music choices should include:

• music appropriate for students' individual needs, interests, and abilities
• music representative of the cultural diversity of the local community, British Columbia, and Canada
• music representing a range of historical time periods, regions and countries, cultures, and styles
• music from a range of acoustic, electronic, and environmental sound sources
• the work of both female and male composers and performers

Rhythm

• dance: rhythm and metre in dance
• English language arts: metre in poetry
• mathematics: fractions

• visual arts, dance, English language arts: use of line and phrasing; use of melody to tell a story
• mathematics: graphing
• science: physics of pitch

• visual arts: use of a variety of colours, textures, and so on
• dance: performance of individual dancers combining to achieve a group effect
• drama, English language arts: dramatic use of dynamics
• science: physics of sound

• dance, drama, visual arts, English language arts: principles of design in other art forms

• drama, visual arts, dance: thoughts, images, and feelings evoked by and represented through the other fine arts; use of one art form to enhance images in another (e.g., use of music in drama, use of visual arts design principles in dance sets and costumes)
• English language arts, career and personal planning: ability to articulate responses; respect for others

• dance, drama, social studies, business education, career and personal planning: role and function of individuals within organizations or ensembles
• dance, drama, visual arts, business education: common elements of concert promotion and administration
• English language arts: writing of reviews and critiques
• career and personal planning: careers and lifelong opportunities in music

• drama, dance, visual arts, home economics, social studies: elements of culture or history related to the music of that culture or time period

In order to meet the needs of the widest possible range of learners, teachers are strongly encouraged to use a variety of instructional strategies when planning and implementing a music program.

Types of instructional strategies and learning styles include:

• direct instruction (e.g., teacher-directed rehearsal, structured overview, lecture, demonstration, didactic questions)
• indirect instruction (e.g., problem solving, case studies, inquiry, concept mapping)
• independent learning (e.g., research, computer-aided instruction, home practice, learning centres)
• experiential learning (e.g., field studies, experiments and exploring, games, performances, non-directed listening)
• interactive instruction (e.g., co-operative composition or performance groups, peer coaching, debates, problem solving, interviewing, role play, improvisation)

The view of music education embodied in this curriculum reflects the belief that instructional approaches should:

• emerge from and reflect the diverse music experiences of people throughout the world
• allow all learners to be actively involved in music through opportunities to create, listen to, and perform music throughout their educational program
• reflect the variety of media and contexts through which people experience music

Creating Music

Depending on the particular classroom situation, initial activities in music creation may need to be more structured. Once students are familiar with the process, less structured activities can be included.

Equipment should be both available and familiar to the teacher. Found and homemade instruments can be used along with classroom instruments and technology.

The following suggestions may help teachers structure activities that allow students to create compositions as a whole class, in small groups, or individually. These suggestions are intended to be flexible enough to suit students with varied musical backgrounds: some students in the class may be able to play instruments, while others may have little or no formal training in playing a musical instrument.

• Provide a context or motivation for composition. Student-created compositions can illustrate a larger context, for example, students can demonstrate their understanding of the elements of expression, the principles of design, or the historical and cultural contexts of music.
• Discuss objectives and establish criteria.
• Guide students as they create compositions. Assist them as they:
  • decide on a focus (e.g., expressing a feeling or idea; matching sounds with visual images; interpreting a poem or story; creating a soundtrack for a cartoon; exploring specific elements of rhythm, melody, or expression; trans forming a previously composed work; solving a given problem)
  • collect sounds and melodic or rhythmic ideas (e.g., animal sounds, electronic sounds, environmental sounds; found objects, acoustic and electronic musical instruments, voices, body percussion)
  • explore (attempt to balance instructional time and problem-solving activities)
  • develop compositions (combine and sequence sounds into compositions or forms of expression that are personally meaningful)
  • refine and evaluate
• Give students opportunities to rehearse and perform their compositions.
• Encourage students to reflect on and assess their work.
• Help students extend and redirect their experiences. Encourage students to talk about their project to composers, to listen to recordings of music that illustrate the same principles they were using, to attend live performances, to adapt or expand their original idea to create a new composition, or to apply their composition to another subject area such as dance, literature, or visual arts.

Responding to Music

Listening to live or recorded music should be an active experience for audience members. Teachers should encourage students to become totally immersed in the music: aurally, emotionally, and physically.

Students bring varied perspectives and associations to their music presentations, unique cultural and personal backgrounds, and ways of knowing, Because these perspectives are personal and will vary from student to student, an atmosphere of trust and respect must be established. Students should be asked to express their opinions, and encouragedto realize that their unique perspectives will enhance other students' listening experiences.

People respond in different ways to the same music presentation. It is also true that one person can, and in most cases should, respond in more than one way. The following are three ways students may respond to their work, the work of peers, or live or recorded music:

• on an emotional level­feelings evoked by the music
• an associative level­associations made with the music or with images in the music; (may be of a personal nature or come from a cultural perspective)
• on a formal intellectual level­responses following a formal analysis and interpretation of the music

When structuring a formal response activity, teachers may wish to include the following steps:

• preparation­establish the focus for listening to the music
• first impressions­respond spontaneously (no wrong answers)
• description­students take inventory of what they heard, responding objectively rather than interpretively
• analysis:
  • use appropriate terminology to identify the relationships between and among the structural elements of music and the principles of design
  • identify the structure or form
  • identify cultural indications represented in the music
  • identify how the musicians used the elements and principles to achieve certain effects
• interpretation:
  • students reflect on and discuss what the music means to them (e.g., What is the work about? What does it mean? Why did the artist create the work?)
  • students analyse how their responses are influenced by their experiences and perceptions of the world
• background information­students research or are provided with biographical, historical, and cultural information about the composer or performer
• informed judgment­students refer back to their first impressions and support their initial opinions of the work, or develop and support a new opinion of the music and its value based on their discussions, research, and reflections

When students research, analyse, and interpret the background of music of various cultures and time periods, the following topics may be considered:

• the origin of the music
• the purpose of the music (e.g., social, ritual, ceremonial, celebratory, occupational)
• the geography and climate of the country of origin
• the beliefs and customs of the culture or era
• any historical factors that may have influenced the music
• the symbolism, if any, used in the music

Performing Music

Music is a performing art. One of the most efficient and effective ways to learn about music is to experience it through performance. Whether formal or informal, performance allows students to develop their music abilities in all three areas of the curriculum: Structure; Thoughts, Images, and Feelings; and Context. Opportunities to perform their own and others' music enables students to shape and refine their ideas toward a more polished work and to integrate their music knowledge and attitudes with their technical skills.

When designing activities related to performance, consider opportunities for students to develop and apply their knowledge and skills related to the following:

• appropriate warm-up and tuning techniques
• appropriate performance techniques particular to their instruments or voices
• ability to follow the conductor, and to conduct the ensemble themselves as appropriate
• posture, breath support, free and open tone, and accurate pitch
• interpretation and musical effect
• performance etiquette (as appropriate to the given situation)
• notation reading skills
• maintaining their individual part while respecting the work of the ensemble
• commitment to the rehearsal process (including individual, section, and ensemble, and including out-of-class practice as appropriate)
• application of elements of stagecraft (e.g., video, lighting, sets, costumes)

To broaden the range of music opportunities for students, teachers may wish to team teach with other music instructors and musicians in the community (e.g., performers, teachers, therapists, technicians).

Whether making or responding to music, students' opportunities for learning may be greatly enriched when guest composers or musicians from the community are involved. Students should also have opportunities to work as composers or conductors, creating music for themselves or younger students. Teachers are encouraged to provide these experiences whenever possible.

When working with guest composers and musicians, teachers should:

• arrange for a meeting to discuss appropriate learning outcomes and expectations, and areas of the curriculum to be addressed (e.g., include focusses on the structural elements and the historical, cultural, and societal contexts)
• prepare students for the experience (e.g., discuss the expectations for process and etiquette, allow for pre-learning of specialized techniques or background information)
• determine the needs of the guest musician (e.g., equipment, space, time)
• allow time for debriefing with students and guests

• What might the particular student musicians be reasonably able to accomplish at that grade level?
• What warm-up activities and background information need to be incorporated?
• Is the music appropriate for a school setting?
• Is there a plan established for working through and sequencing the various parts of the music?
• What are the criteria for success?

• professional and community performance ensembles
• music studios, companies, and associations
• community, provincial, and national arts councils
• college and university fine arts departments
• school and public libraries
• music teachers' associations
• cultural associations
• community and recreation centres
• arts periodicals and publications
• arts broadcasting (radio, television)
• continuing education programs
• cultural festivals
• Internet web sites for music

When planning a music program, consideration must be given to health and safety issues, facilities, materials, and sensitive content.

Creating a Safe Learning Environment

Teachers should address the following questions prior to, during, and after an activity has taken place:

• Are students aware of established safety rules and procedures (e.g., hearing conservation, health procedures when sharing instruments)?
• Is the activity suitable to the gender, interest, confidence, ability, and physical condition of the students ?
• Has the instruction been sequenced progressively to ensure safety?
• Are the students being properly supervised?
• Have students been given specific instructions about how to use the facilities and their instruments appropriately?
• Are the facilities and equipment suitable and in good repair?

Sensitive Content

Some students or their parents may feel a degree of sensitivity or special concern towards certain matters arising from music classroom activities (e.g., religious or cultural contexts, social pressure on adolescents, human sexuality, standards of personal behaviour, assertive communication). The following are some suggested guidelines for dealing with sensitive issues:

• Inform parents of the objectives of the curriculum before addressing any sensitive issues in the classroom, and provide opportunities for them to be involved in their children's learning.
• Be aware of district policy and procedures regarding instruction involving sensitive issues (e.g., policy for exempting students from participation in certain classroom activities).
• Be aware of provincial policy and legislation related to matters such as disclosure in cases of suspected child abuse.
• Obtain the support of the school administration before engaging in any potentially sensitive instruction.
• Inform an administrator or counsellor when a concern arises.
• Be aware of warning signals for eating disorders, suicide, and child abuse (e.g., excessive perfectionism, compulsive exercising, depression, very low or high body weight).
• Obtain appropriate in-service training or consult with those in the school who have relevant expertise (e.g., a teacher counsellor) before beginning instruction in a new, unfamiliar, or potentially sensitive area of study.
• Establish a classroom environment that is open to free inquiry and to various points of view.
• Avoid dealing with controversial issues until class members have had enough time together to become comfortable with each other and to have learned an appropriate process for addressing such issues.
• Promote critical thinking and open-mindedness, and refrain from taking sides, denigrating others, or presenting a biassed point of view.

Facilities

Although several components of the curriculum can take place in regular classrooms (e.g., learning about the historical and cultural contexts of music), the performance components of the curriculum require certain physical considerations. When choosing or designing a facility for the physical components of the curriculum, consider the following:

• Are the acoustics appropriate from a safety and aesthetic point of view?
• Does the facility offer flexibility in terms of seating and arranging musicians (e.g., movable chairs and risers)?
• Is the space open and unobstructed?
• Is there adequate lighting, heating, and ventilation?
• Is there access to video equipment, computer technology, and an adequate sound system?
• Is there access to storage (for instruments, music, equipment)?

The following list may help students and teachers to research careers in music.

Performer

• advertising
• amusement parks and tourist attractions
• contemporary music ensembles
• culture-specific companies
• film, video, and television
• historical forms
• independent, freelance
• night clubs
• pit orchestra
• symphonic orchestra

• advertising
• arranger
• artistic director
• festivals, spectacles (e.g., Olympics, Canada Day)
• form own company
• freelance, independent
• musical theatre
• videos, film, and television

• colleges and universities
• community centres
• company teaching
• conservatories
• music therapy
• private studio
• public or private school systems
• rehearsal director

• archivist
• community arts council
• company management
• concessions, ushers
• educational programming
• facility management (e.g., theatre, community centre, parks and recreation program)
• festival organizers
• financial administration
• front-of-house management
• fundraising, development
• marketing, publicity
• notaters
• producing
• representative or agent for artists
• retail
• security
• tour management

• copyist
• film and video operators
• film and video production, post production
• recording technician
• sequencer
• sound design

• academic
• biographies
• broadcast journalism
• communications specialists
• development
• historical
• journals
• magazines
• newspapers
• publicity, promotion

Table of Contents

Province of British Columbia
Ministry of Education
Standards Department

© 1995 Copyright

Maintained by: Fine Arts Coordinator - Music

Revised: January 3, 1996

Ministry of Education Home Page