Unit

Plan Overview-Jana Dykhuis

Unit: Haydn and his Surprise SymphonyListening Unit

Stage 1- Desired Results
Connections to Context:
Each month, students do a
Mystery Musician, and Haydn will
be the chosen musician for the
month of April.
They have not yet studied many
composers from the Classical era,
so this will fill that gap.
This unit uses listening as a
springboard for other musical
skills and exercises. It provides
reemphasis on rhythm, a
continuation of major/minor
tonality, and an introduction to
composition, which the teacher will
focus on in May. All of this occurs
under the blanket of introducing
theme and variation.
Listening well is part of the schools
On Track learning behavioral
policy, and it is also a societal skill.

(How does this fit with students experiences,
the school goals, and the larger societal issues?)

Established Goals

(Taken from NAfMEs 2014 Music
Standards for P-8 General Music)
Creating:
Imagine - The creative ideas,
concepts, and feelings that influence
musicians work emerge from a
variety of sources.
Present-Share creative musical work
that conveys intent, demonstrates
craftsmanship, and exhibits
originality
Performing:

Transfer
Students will be able to independently use their learning to
Fill in gaps in their knowledge of music history, adding the Classical period and its context to their learning.
Hear same and different in the context of theme and variation as well as be able to apply the ability to aurally
distinguish such things in later listening.
Gain further security in rhythm, tonality, and start laying groundwork for composing, all of which will reoccur in the
spiral curriculum model of education.


(What kinds of long-term independent accomplishments are desired?)

Meaning
UNDERSTANDINGS
ESSENTIAL QUESTIONS
Students will understand that
Students will keep considering
music ideas are often introduced and then re-
same and different, especially in the context of theme
presented in various ways
and variation
listening is an important way to show respect and
how composers vary their use of rhythm, tonality,
learn about different time periods and people
instruments, and dynamics to make old material new
they use the same basic tools and skills (rhythm, form, how they can apply rhythm, tonality, instruments, and
dynamics) to compose as famous musicians, bridging
dynamics in their own music-making and composition
the gap between listening to music(ians) and doing

(What thought-provoking questions will foster inquiry, meaning-
music.
making and transfer?)


(What specically do you want students to understand?
What inferences should they make?)
Acquisition of Knowledge, Skill and Values/Commitments/Dispositions
Students will know
Students will be skilled at
Students will exhibit
basic information about Joseph
aural distinction (same and
the ability to listen.
Haydn (Classical period, jokester,
different).
a commitment to value music and
court musician).
people from time periods other
inference-based deduction.
what theme and variation is.
than our own.
composition.
basic rhythmic ideas, major/minor
creativity.
tonality, dynamics, and composition (What discrete skills and processes should
students be able to use?)
(What values and commitments and
guidelines.
attitudes should students acquire or

(What facts and basic concepts should
students know and be
able to recall?)

wrestle with?)

Based on Wiggins and McTighe (2011) The Understanding by Design Guide to Creating High-Quality Units and Van Brummelen (2002) Steppingstones to Curriculum


Analyze- Analyzing creators context
and how they manipulate elements of
music provides insight into their
intent and informs performance
Interpret-Develop personal
interpretations that consider creators
intent.
Responding:
Select-Choose music appropriate for
a specific purpose or context.
Analyze-Analyze how the structure
and context of varied musical works
inform the response.
Interpret -Support interpretations of
musical works that reflect
creators/performers expressive
intent.
Connecting:
Connect #10-Synthesize and relate
knowledge and personal experiences
to make music.
Connect #11-Relate musical ideas
and works with varied context to
deepen understanding.

(What content standards and program- or

mission-related goal(s) will the unit address?
What habits of mind and cross-disciplinary
goal(s)- for example 21st century skills, core
competencies- will this unit address?
Include source and identifying number)

Evaluative Criteria
Composition will be guided by and
assessed through a rubric or short
list of guidelines. Peer review in
accordance with the guidelines
may also be incorporated.
Listening map quiz will be written
down and attainment measured by
their ability to distinguish theme
and variations.

Stage 2- Evidence
Students will show their learning by
PERFORMANCE TASK(S):
Composing a brief musical idea within criteria on a rubric OR class composition of musical accompaniment to a short
poem.
Listening map quiz identifying theme and variation in Haydns Surprise Symphony; possible application to Mozarts
Twelve Variations on "Ah vous dirai-je, Maman", K. 265/300e
Informal inquiry-based assessment on listening and connecting to personal experiences and prior knowledge

(How will students demonstrate their understanding- meaning-making and transfer- through complex performance?)

(What criteria will be used in each assessment to

Based on Wiggins and McTighe (2011) The Understanding by Design Guide to Creating High-Quality Units and Van Brummelen (2002) Steppingstones to Curriculum


evaluate attainment of the desired results?)
(Regardless of the format of the assessment,
what qualities are most important?)
Being able to listen well
Hearing same and different
Recognizing and using tools like
rhythm, tonality, and dynmaics in their
own music making

OTHER EVIDENCE:
Mystery Musician guess submission slips
Informal inquiry-based assessment on listening and connecting to personal experiences and prior knowledge
Use of basic rhythmic ideas, major/minor tonality, and composition guidelines in their creative compositions.

(What other evidence will you collect to determine whether Stage 1 goals were achieved?

Based on Wiggins and McTighe (2011) The Understanding by Design Guide to Creating High-Quality Units and Van Brummelen (2002) Steppingstones to Curriculum


Stage 3- Learning Plan

Pre-assessment- due ________
Asking the teacher about students prior units and her assessment of basic skills such as rhythmic ideas, major/minor
tonality, form, and composition.
Guided questions about their knowledge of the Classical period.

(What pre-assessments will you use to check students prior knowledge, skill levels, and potential misconceptions?)
(Toward which goal does each
Learning Events
learning event build?)


Student success at transfer, meaning, and acquisition depends upon their participation in
Acquisition
these learning events


Meaning
Mystery Musician weekly clues about the composer and his time period as well as

listening excerpts
Transfer
Haydns Surprise Symphony Lesson 1:

o Introduction of the theme
o Discussion of the name, musical elements, connecting to prior knowledge and
experience
o Introduction of variation 1 (rhythmic variant in the high strings)
o Rhythm activity
Haydns Surprise Symphony Lesson 2:
o Reminder of the theme
o Further discussion/review of the name, musical elements, connecting to prior
knowledge and experience
o Introduction of variation 2 (trumpets and timpani variation in minor)
o Tonality activity- happy/sad, major/minor (solfege implementation)
Haydns Surprise Symphony Lesson 3:
o Reminder of the theme
o Further discussion/review of the name, musical elements, connecting to prior
knowledge and experience
o Introduction of variation 3 (oboe and flute duet)
o Instrumentation activity/arranging (composing)
Haydns Surprise Symphony Lesson 4:
o Reminder of the theme
o Further discussion/review of the name, musical elements, connecting to prior
knowledge and experience
o Introduction of variation 4 (swelling forte with triplets)
o Dynamics activity
Haydns Surprise Symphony Lesson 5:
o Reminder of the theme
o Further discussion/review of the name, musical elements, connecting to prior
knowledge and experience

Progress Monitoring

(How will you monitor students progress
toward acquisition, meaning, and transfer
during lesson events?)

-inquiry
-observation
-participation
-individual formative assessment
during activities

(How will students monitor their

own progress toward acquisition,
meaning, and transfer?)

-rating themselves on activities by

closing their eyes and showing a
number 1-5
-if they can aurally distinguish the
theme and variations differences

(What are potential rough spots and
student misunderstandings?)

-inability to hear changes in the
music
-inability to distinguish what has
changed
-listening map discrepancies

(How will students get the feedback they
need?)

-my responses to the answers they
give on questions during class
-during small group work, I will walk

Based on Wiggins and McTighe (2011) The Understanding by Design Guide to Creating High-Quality Units and Van Brummelen (2002) Steppingstones to Curriculum


o Summary of unit, discussion of theme and variation, including listening map quiz
o Revealing the mystery musician

around and help, answer questions,

and guide learning
-composition peer feedback
-listening map review
-revealing of the mystery musician

Star the multiple means of representation; underline the multiple means of action and
expression; circle the multiple means of engagement
(Are all three types of goals (acquisition, meaning, and transfer) addressed in the learning
plan?)
(Does the learning plan reflect principles of learning and best practices?)
(Is there tight alignment with Stages 1 and 2?)

Based on Wiggins and McTighe (2011) The Understanding by Design Guide to Creating High-Quality Units and Van Brummelen (2002) Steppingstones to Curriculum