Music
Information for Teachers
CLICK BELOW TO GO STRAIGHT TO:
TEACHER RESOURCE
Notes regarding Assessment
Summative Assessment Rubric:
Assessment: Our Melting Pot
Students will learn how to create and perform a rhythmic ostinato with a percussion instrument in the cultural style of the student’s choice.
They will:
-
Choose a cultural style of music and instrument
-
Compose a one bar rhythm in four-four time.
-
Record (film) ostinato played solo demonstrating varying dynamics (volume: soft and loud)
-
Provide a commentary discussing choices and elements of music (rhythm, timbre, dynamics, tempo)
Example Assessment:
Students will form small groups (2-4) and perform and record (film) a layered ostinato in the cultural music style of their choice.
Example Assessment:
See note below
Commentary Text
Develop skills in:
-
discriminating between rhythm and beat
-
demonstrating beat and tempo change
-
matching and varying dynamics
-
varying instrumental timbres to create expressive effects using instruments safely and correctly in the classroom
-
taking on different roles in group music making, for example, accompaniment, lead
-
using technology as a tool for music making and performance.
Learn about the elements of music
-
Rhythm: simple metres, crotchet, quaver, semiquaver, rest, ostinato
-
Dynamics and expression: very soft (pianissimo) pp and very loud (fortissimo) ff, soft (piano) p, loud (forte) f, gradually getting louder (crescendo), gradually getting softer (decrescendo).
-
Timbre: recognising familiar instrumental timbres in isolation and combination
-
Texture: combining two or more rhythmic patterns which simultaneously in different voices.
Learning Goals for Assessment
(Australian Curriculum, Assessment and Reporting Authority [ACARA, 2017]
THE ARTS/Music - Year 3/4
Develop aural skills by exploring, imitating and recognising elements of music including dynamics, pitch and rhythm patterns (ACAMUM084)
Practise singing, playing instruments and improvising music, using elements of music including rhythm, pitch, dynamics and form in a range of pieces, including in music from the local community (ACAMUM085)
Create, perform and record compositions by selecting and organising sounds, silence, tempo and volume (ACAMUM086)
Identify intended purposes and meanings as they listen to music using the elements of music to make comparisons, starting with Australian music, including music of Aboriginal and Torres Strait Islander Peoples (ACAMUR087)
HASS /History – Year 3
The importance of Country/Place to Aboriginal and/or Torres Strait Islander Peoples who belong to a local area (ACHASSK062)
How the community has changed and remained the same over time and the role that people of diverse backgrounds have played in the development and character of the local community (ACHASSK063)
Celebrations and commemorations in places around the world (for example, Chinese New Year in countries of the Asia region, Bastille Day in France, Independence Day in the USA), including those that are observed in Australia (for example, Christmas Day, Diwali, Easter, Hanukkah, the Moon Festival and Ramadan) (ACHASSK065)
English/Language Year 3
Plan and deliver short presentations, providing some key details in logical sequence (ACELY1677)
Understand that successful cooperation with others depends on shared use of social conventions, including turn-taking patterns, and forms of address that vary according to the degree of formality in social situations (ACELA1476)
Curriculum Links (ACARA, 2017)
This unit explores a selection of the elements, skills, content descriptors and achievement standards in the Music Australian Curriculum from the Year 3/4 band as indicated above.
The aspects of the content descriptors included in this resource package are highlighted.
The students' work from this resource's summative assessment can be included in a folio of work for Year 3/4 and will be assessed on an ongoing basis against the achievement standards.
The commentary example has been provided as a photo story which falls under Media Arts. This is a suggestion of how the various elements of the Arts could be drawn together.
Music Appraisals
To develop student’s skills and knowledge of the elements of music, two different types of cultural music will be explored in detail:
1. Aboriginal and Torres Strait Island Music Style– Inanay (Guildmistress, 2010)
2. Chinese Dragon Drumming Music – Spirit of the Drum (Mojazz58, 2009)
Other cultural styles of music are also included in the student resources to provide further comparison and exposure to alternative cultural styles of music
1. Inanay (Guildmistress, 2010)
Inanay is a traditional Australian Aboriginal and Torres Strait Islander song. The song’s significance and meaning of the lyrics has unfortunately been lost, however it is believed to be a traditional Torres Strait Islander lullaby.
This version of the song is performed by the Young Adelaide Voices choir and includes percussion accompaniment of a clapping stick on a didgeridoo. The percussion in the song is a simple four beat crotchet (ta) rhythm maintained by the clapping stick which makes it ideal to introduce four-four time signature and writing basic rhythm music notation to students.
The tempo in the piece of music remains constant and there is little use of dynamics with the volume remaining uniform throughout the performance. Percussion in Aboriginal and Torres Strait Islander music provides texture to compliment the vocals and didgeridoo. The timbre provided by the clapping sticks is short and sharp and the sound of them makes you want to tap/stamp your feet to keep time with the music. Dance and ceremony are synonymous with Aboriginal and Torres Strait Islander music and the clapping sticks are widely used to keep the beat for the singers and dancers in this cultural style of music.
An important distinction to make with the piece of music is that as it is not performed by Aboriginal and Torres Strait Islander people, that it should be described as being ‘in the style’ of traditional Aboriginal and Torres Strait Islander music.
2. Spirit of the Drum (Mojazz58, 2009)
This example of Chinese Dragon Drumming music is performed by the Chengda Percussion Ensemble. It is an excellent example of the traditional Chinese cultural genre which is renowned for the theatrical drumming style of the performers and the use of dynamics and tempo to build the piece of music to a climax. The drumming rhythm patterns are a series of complex ostinatos. The drumming tempo begins slowly and progressively changes through each section of the music building to a very fast pace. The dynamics used in the music are also varied and very expressive which adds to the effect of building the excitement.
The large upright barrel drums called the dagu drums are the feature instrument in Chinese Dragon Drumming Music. A number of drums play the rhythm in synchronisation. The timbre of the drums is low and resonating and reminiscent of rumbling thunder. The performers strike different surfaces of the drum other than the top skin to create different sounds including the outside rim and sides of the drum. This adds interest to the music as the tapping sound is a stark contrast to the rumbling drum sound. In this type of traditional Chinese music the drums are paired with Chinese cymbals (bo) and gong (luo). The timbre of the clashing cymbals and gong is quite harsh and metallic almost ‘lightning like’. This type of sound gives hints into the music’s origins as the drums were historically used during combat to motivate the Chinese soldiers and to scare their enemies. Historical records report the drums sounding like a storm with rolling thunder and lightning emanating from the approaching Chinese army (Transparent Language, 2011). In listening to the music, the images of an army sweeping into battle definitely come to mind as the music has a ‘intense’ feeling. The texture that is created through the layering of the cymbals and gongs serves to amplify the drum’s sound as their rhythm pattern closely resembles the drums.
It is recommended that students have the following learning experiences to build the skills and knowledge required to complete the assessment
· Exposure to music from different cultures: A number of clips have been provided in the student resource. It would be ideal if students could also experience live performances of different cultural music. Community cultural music groups may be willing to do an incursion at the school or the students could attend a cultural music event, festival or staged performance. This would give students the opportunity to experience the music played live and engage with the performers and their instruments.
. Students from multicultural backgrounds could be encouraged to bring traditional instruments or recordings of their own traditional music so that their particular music culture could be shared and celebrated in class.
· Participation in warm ups, games and activities that develop students understanding of rhythm and give them practice at reading, playing, creating and echoing rhythms. See Rhythm Warm-up Activities.
· Opportunities to learn how to correctly hold and play a variety of percussion instruments.
· Opportunities to learn about the timbre of different percussion instruments and their use in various types of cultural music.
· Participate in activities that develop students understanding and perception of dynamics and give them practice at playing instruments at different volumes and recognising volume changes in pieces of music.
· Opportunities to learn about rhythmic ostinatos, to create and play them both individually and as part of an ensemble.
Materials required:
In addition to the learning materials provided in this package it is recommended that students have:
· Learning journal to record answers to questions and to write down rhythms.
· Wide variety of percussion instruments particularly those associated to different styles of cultural music focussed on in the resources (Chinese Drumming and Aboriginal and Torres Strait Islander (clapping sticks, didjeridu [see student needs section for more information about including this instrument], seed shakers, drums, cymbals, gongs) and others if students choose a different style.
· Access to computers or Ipads for the Beatlab activity.
· Recording equipment: Ipads or cameras/tripods.
Sequence of Learning:
Activities, Games and Warm ups
Activities have been provided in the student materials that follow the sequence of learning.
The below activities can also be used to consolidate students' understanding and to practice skills relating to the various music elements.
Each of these activities can be used as formative assessment. Observations of students participation and entries into the student's music learning journal will provide evidence of the students understanding and mastering of skills.
Rhythm
Rhythm Clock (The Music Teachers Resource Site, n.d.)
There are various ways you can use this activity.
Clock could be tailored to also include quavers and rests.
1. Unison clapping/playing going round the clock with each number as a bar
2. As above but each group of 4/5 pupils starting at a different time in a canon
3. Teacher or pupil shouts a number and class play/clap the rhythm
4. Half class start at 12 the other half start at 6 and play their rhythms going round the clock until they arrive back at their number
Rhythm Bingo (The Music Teachers Resource Site., n.d.)
Students given Bingo cards with various rhythms.
Teacher will clap a rhythm and students will match it to their card.
Rhythm Match Up
Students are given each one of a pair of various rhythm cards. Student plays/claps their rhythm and the student with the matching card echoes the rhythm.
Rhythm Memory Game (Body percussion classroom, (n.d.)
Set up a simple ostinato, the first student performs it with a body percussion sound. Another student suggest a 2nd way to do it, then the whole class performs it the first way and then immediately, in time, using the second sound. Next student demonstrates a new way, the whole class performs it three times, with all the sounds suggested so far, in order by memory. In this way the whole class is practising the rhythm. Class could be divided into teams and a points scored when the entire team remember the sequence without mistakes.
‘Pulse Points’ (adapted from TES Global Ltd, 2017)
Ensure all students have an instrument. Explain that you will count 1 2 3 4 (and repeat) and students should only play on the first beat (when you say 1). Model writing the music notation for this rhythm. Then change the rhythm: eg Ask students to play on beats 1 and 3. Have students write the music notation for this rhythm. Activity can be done either without music or accompanying a voice only version of Inanay.
Texture
Pulse Points Variation (see above activity in Rhythm)
Some of the group play on 1 and 3, others play on 3 and 4.
The combinations for this activity are endless. Student groups can nominate their own rhythms. Discussions can be had regarding which combinations work - eg. Do some instruments overpower others?
Random composing
Students work in small groups. Various percussion instrument names or pictures are written on paddlepop sticks, dice or pieces of card. Students randomly draw one and it becomes the first instrument to be played in an ensemble. Various notes (quaver, crotchet, rests etc) are also written on paddle pop sticks or on a dice or pieces of card. Students randomly draw them out and place one in each section of a of a quarter sectioned table (each section representing a beat of a four-four time signature one bar ostinato) beside the instrument name. Then the next instrument is drawn and the notes for their rhythm part in the ostinato also selected. Two to three instruments to be included in the ensemble. Students then play their part of the ostinato that corresponds with the instrument they have together as an ensemble.
Dynamics
Volume Controller (adapted from Washburn, 2009)
As a class students will playing percussion instruments along to the beat of Inanay.
Students take turns to be the volume controller. One student is selected to holds up a dynamics sign (p, f, pp, ff, <, >) and everyone in the class must play their instrument at that dynamic volume level. The student can switch signs throughout the song and students playing the instruments must adjust their volume accordingly.
Hide and Seek (adapted from Washburn, 2009)
Hide a small object while one student is out of the room. The class maintain a steady beat with their percussion instruments at medium volume. When the student re-enters the room the class help them to find the missing item by playing their percussion instruments according to how close the student is to the item: Softer as they move away, and louder as they get closer.
Crocodile
While listening to the Chinese Drumming Music, students use their hands/arms like a crocodile’s mouth to mimic the crescendo and decrescendo symbols and adjust their crocodile mouth in accordance with the music volume.
Timbre
Instrument Timbre Match Up
Place different words that describe timbre around the class room, have students select an instrument and go to the word that best describes the sound of that instrument. Ask students to think of other words they could use to describe the sound.
Meeting Student Needs:
Low literacy
· An audio option provided with the students website would provide a commentary of the website text. (Audio was not embedded in website due to the limitations of data capacity for the wix free version).
. Students can be paired with other students to assist with reading website content.
· Alternatives to writing are provided for students to respond to the pieces of music ie: draw pictures, movements (crocodile hands to indicate levels of volume)
· Assessment task does not require adjustment as it does not have a written component – oral and music performance only.
Visual impairments
· An audio option provided with the students’ website would provide a commentary of the website text. (Audio was not embedded in website due to the limitations of data capacity for the wix website free version)
· Ensure activity handouts/rhythm cards are printed in extra large font.
Hearing impairments
· Cochlear implants and modern hearing aides are designed to hear speech. As music has different intensity, energy at different frequencies and frequency emphasis to speech, music is not reproduced exactly by the hearing aide or cochlear implant (National Deaf Childrens Society [NDCF], n.d.). To assist with this, discuss with parents of children with hearing aids and cochlear implants the option of installing special music programs into the students hearing aid or other assistive technology /devices that are available to enhance their ability to hear and enjoy music.
· Due to the limitations of hearing devices, it can be difficult for students with a hearing impairment to follow multiple instruments (NDCF, n.d.). For this reason, for the assessment it is recommended that student’s group be reduced to two members only.
· To reduce echo that interfere with hearing aid effectiveness it is recommended that music lessons be conducted in rooms with soft furnishings and away from areas of loud background noise.
· To assist students with a hearing impairment, allow them to work in a different area to compose and practice their music so that the noise from other student’s music doesn’t adversely their hearing of what they are producing.
· Volume level checks are made with the student with a hearing aid to ensure that music is not too loud or overwhelming.
· ‘Beatlab’ visual element will assist students with a hearing impairment as when they create an ostinato the student can see the rhythm.
· Students with a hearing impairment should be encouraged to touch the speakers or the side of a drum so that they can also feel the vibration of the music.
Physical disability
Some students with a physical disability may not have the hand strength to grip a percussion instrument. Instruments may need to be adapted so that students with a physical disability are able to easily use them (Bright Hub Inc, 2016):
· Increase the grip size by wrapping a piece of sponge to add width to a handle of an instrument with a piece of sponge.
· To ensure a percussion instrument will stay still when struck it could be mounted onto a table or board.
· Allow students with a physical disability to use body percussion in the assessment if gripping an instrument with modification is still difficult.
Gifted Students:
Students are musically gifted will be able to work with and create more complex rhythms.
Aboriginal and Torres Strait Islander Students
For some Aboriginal and Torres Strait Islander people it may not be culturally appropriate for women/girls to use a didjeridu. There is great diversity in the opinion amongst Aboriginal and Torres Strait Islander people regarding this matter depending upon which region of Australia they are from (Indidj Australia, n.d.) . Out of respect for cultural beliefs it would be wise to check with the families of students of Aboriginal and Torres Strait Islander descent to ascertain their belief before a didjeridu could be included as a percussion instrument for students to use.
Another cultural consideration is the inclusion of a warning which has been added to the package to advise Aboriginal and Torres Strait Islander students that pictures included in the website may include the deceased.
Gender considerations:
It is important to not perpetuate gender stereotypes such as the perception that certain instruments should be played by a particular gender eg. boys play the drums, girls play the tambourine. All students should be encouraged to experiment with all the available instruments (also refer to section regarding didjeridus and Aboriginal and Torres Strait Islander people)
Other Cultural considerations:
Students from multicultural backgrounds could be encouraged to bring traditional instruments or recordings of their own traditional music from home so that their particular music culture could be shared and celebrated in class.
It would be respectful to check with families of students from multicultural backgrounds or community cultural elders to determine whether any specific cultural considerations associated with music exist.
Music from other cultures always needs to be appreciated and talked about in a respectful manner. In this way the teacher is providing a positive example and role modelling inclusiveness of diversity.
Other Considerations
Cyber safety:
Youtube: Please note that the links provided to the examples of different cultural music are from Youtube. Students use of the internet and the clips accessed would need to be monitored and supervised.
Beatlab: Similar supervision would need to be applied when Beatlab, which is an internet website, is being used by students. If students were using Ipads to access the website, the Ipads ‘guided access’ setting could be activated so that students would not be able to access other websites.
Multiple learning styles
To cater to the diversity in preferred learning styles of students it is recommended that music concepts and content are delivered in multiple ways to maximise the entire class’ learning. Each music content can be delivered aurally, visually and using kinaesthetic methods and the students and teacher resources provide examples for each.