Title: Cries of London

Conductor: Alex Delbar
Name: Camerata
Composer/Arranger: Orlando Gibbons
Secondary

Ensemble
Grade of Piece:

Learning Goals
What learners will:
Be able to do (behavioral): By the end of the semester, students will be
able to perform a 16th century madrigal with musicality that is
characteristic of the style of the period and is in tune and with accurate
pitches with 80% accuracy.
Understand (cognitive): The singers will contribute their own
interpretation of the piece through the staging done in the
performance. They will apply what they’ve learned about music in the
late 1500s to their performance.
Encounter (experimental): The students will take a field trip to
Westminster Choir College and will watch Kantorei performs a set of
madrigals. The students will write a short commentary on their
impressions of the performance.
Construct meaning (constructivist): By turning an older piece of music
that they may not enjoy singing at the beginning into an exciting
experience at the end, the students will learn to not make rash
judgments and have a more open mind in the future to not only
musical repertoire, but also other religions, cultures and ideas.
Technical Skills: Students will build healthy habits in proper breathing
and rhythmic accuracy.
Musical Concepts: Singers will develop skills in proper phrasing of the
musical line.
Empowering Musicianship: The students will have a deeper
appreciation for music that may seem “too old” or “dated” at first
glance. They will better understand how music can be a portal/time
machine into another period of time, and tell us much about the people
and places of that period.
Process
Partner:
1. Listening: Learners will hear a recording of “Cries of London”
while closing their eyes.

2. Discussion: The class will share what they imagined while
listening to this piece of music. Did they feel like they were in
16th/15th century London? Could they see the different characters
walking by?
3. Addressing Potential Problems/Finding Solutions: As a class,
discuss the following: Will it be difficult to share your part with
the string instrument or will it be easier?
Present:
1. Experimenting: In groups of five (one representing each part) the
students will choreograph simple movements and acting to go
along with the first four pages of the piece as a recording of it is
played. The students do not sing the parts yet, but they present
their ideas in front of the class while speaking the text out loud.
This will help them better identify where their entrances are and
how their parts fit into the rest of the ensemble. It will also help
them in learning the rhythms. Learner 3, who has a cognitive
learning disorder, might have difficulties in following these
directions. To help him, list all the instructions at the beginning of
the activity, and then repeat each single instruction before
students are to do it. This way, learner 3 only needs to remember
one instruction at a time.
2. Practice: Students divide into sections for sectionals. A strict time
allotment is given and the sectionals are set up as a
game/competition. After 20 minutes, the sections are expected
to come back with the first 10 pages learned. The sections then
come together to sing the piece as an ensemble. The section
that sings their part with the most accuracy, wins. This sense of
competition will motivate the students to focus during sectionals.
3. Applying Previously Developed Skills: The class now will be put
back into their original groups of five and will perform the first
four pages that they choreographed in front of the class, this
time, while singing their part. This time, challenge the students
to make some changes to their movements so that the
movements match the phrasing of the musical line.
4. Accumulative Application: Now the learners will sing the piece as
a whole ensemble. Learner 1, who has Asperger’s syndrome, will
most likely have difficulty focusing on the conductor and
expressing the emotion required in the piece. To help this, have
the ensemble join hands and lightly squeeze their hands to the
beat. All the students looking at the conductor will be squeezing
in the right tempo and those who won’t look at the conductor can
still feel the tempo through the squeezing. This will also help
him/her understand that he/she is a part of the ensemble and
might help in evoking emotion.
Personalize:

1. Making Connections: The class will then close their eyes and
imagine a modern, busy city that they have been to, such as LA
or Newark or Chicago. What was it like there? What was it like to
just walk down the street? What were the people like? Students
will now, collectively, decide on modern words to put in place of
dated vocabulary in the text. The students will write in the new
text, in pencil, under the original text, for the first 10 pages. The
ensemble will then sing through the first 10 pages with the new,
modern text. Learner 2, who has ADHD and is not medicated,
might have a hard time focusing during this activity. Allow a time
for the student to say out loud the noises and vocabulary that
they are imagining. The learners can also get up and act it out. If
learner 2 is behaving inappropriately, give him an activity to do
(such as a short worksheet) that will be due at the end of the
period. This way, when ever he is feeling momentarily bored with
the class’ activity and needs to focus on something else, he can
turn to the worksheet for a few seconds and then back to the
class.
2. Visualizing: The class will then watch a short video of the
crowded scenes of London from the 1968 film Oliver!
Perform:
1. The ensemble will perform this piece at the fall concert. It will be
a special musical number done as the singers walk among the
audience, as though the rows of the seating of the performance
hall are the streets of London, and the students will act as
though they are selling items to the audience.
Assessment
Formative: The teacher will take a short video of the students when
they present their very first choreographed interpretation of the text
during the experimentation stage. This video will then be played for
the students at the end of the semester after they have seen a video of
their fall concert so that they can see the progress they have made.
Summative: The student will write a paragraph explaining which
activity helped them the most to learn the piece, rhythmically or
harmonically or musically in general.
Integrative: When were the students the most engaged in the lesson?
When were they the most focused? When did you notice the ensemble
progressed the most musically during the rehearsal process?