MusicTheoryCurriculum PDF

Digital Harbor High School
Fine Arts Curriculum
Music Theory I
Last updated 3/17/2011
Complied by: Alyson J. Covino
Digital Harbor High School Updated on March 17, 2011

Music Theory I Curriculum
Timeline: Approx. 2 Weeks (spread
Unit #1 Unit Name: Aesthetic Criticism
throughout the course)
Outcomes
Understandings
Students will understand
How to express themselves through various mediums of music.
How others infer, perceive and respond to music.
How to respect and appreciate all musical genres, types and mediums.
How a piece of music elicits a specific emotion/feeling
How to create a piece of music that elicits emotion and feelings from listeners.
How to critique a work by understanding the fundamentals of music, performance
and interpretation.
How to grasp a story or message from within a given piece of music.
How to create a piece of music with a specific message or story.
What elements are needed for a performance to be meaningful and if those
performances have to public in order to achieve its goal.
How life experiences and cultures are so integral to a person’s experience of music.
Why certain types of music elicit specific behaviors from audience members.
Essential Questions VSC Indicators
How do people understand and 4.0: Aesthetic and criticism: students
express themselves through the arts? will demonstrate the ability to make
How do you know when an expression aesthetic judgments.
of art is finished? 4.1: Evaluate selected musical
What criteria do people use to assign composition using established criteria.
value to art and how is that 4.1.a: Use established criteria to
determined? analyze varying ways composers use
How is personal preference for music the elements and forms of music and
developed? how their choices affect the reactions
Why should we respect music even if of the listener
we don’t like the way it sounds? 4.2: Formulate, apply, and
How does music elicit emotion? communicate criteria for evaluating
What inspires someone to create a personal performances and the
piece of music? performances of others
What criteria do we use to evaluate a 4.2.a: Formulate and apply criteria to
performance? critique personal performances,
How does music communicate to an improvisations, and compositions and
individual? the performances of others
What makes a significant and 4.2.b: Compare different performances
meaningful performance? of the same selection of music; analyze
Why is music such an integral part of and communicate how interpretation
the human experience? affects the listener's reactions and
preferences
How does the style of music affect the 4.2.c: Listen to musical performances
behavior of an audience? and evaluate them according to the use
of dynamic levels, tempi, phrasing, and
other related characteristics
Key Terms Suggested Texts/Music
Genre “Music! It’s Role and Importance in
Composer Our Lives” by Fowler, Gerber and
Improvisation Lawrence (Chapters 5, 6, 9, 13, and
Phrase 15)
Vocal register Blue Man Group
Audiation “The Reluctant Dragon” by Kenneth
Idiophones Grahame
Music Critic Van Wilbur Piano Competition (any
Authenticity year on DVD)
Music Dramas “Amazing Grace” by John Newton,
Transcriptions Arranged by Rob Landes
Arranger “Kyrie” by Johann Sebastian Bach
Form “Dona Nobis Pacem”
Rhythm “What A Wonderful World” Louis
Tempo Armstong
Dynamics
Theme
Summative Assessments
Composition that creates a communicative story or message.
Student assessments of audience reactions based on various genres of music.
Maintain an on-going listening log for musical assessment.
Observe performers in various settings.
Suggested Technology
Sibelius Software (http://www.sibelius.com)
Groovy City (http://www.sibelius.com/products/groovy/city.html)
Audacity Sound Editor (http://www.audacity.softwaredl.net/)
ProTools (http://www.avid.com/US/products/family/Pro-Tools)
Baltimore City Public School System Blackboard (http://www.bcpss.org)
Suggested Learning Activities
Maintain an on-going listening log.
Create a composition that expresses a specific story/message.
Discussion/Dialogue based on student findings of song analysis, interpretation,
observation of performers and audience reaction.
Student presentation on specific performance techniques.

Unit #2 Unit Name: Rhythm, Beat, Meter Timeline: Approx. 2 weeks
Outcomes
Understandings
How to identify and explain beat.
How to identify and explain rhythm.
How rhythm is effective in communicating an idea or message to the listener based
on compositional elements and specific instruments.
Standard notation and rest types (Whole, Half, Quarter, Eighth and Sixteenth).
Different meters and how to effectively use them within a composition (simple and
compound).
How to organize notes and rests to create interesting and original rhythms within
various meters.
How to create and use an ostinato effectively within a composition.
How percussion instruments have an effect on the listener due to specific timbre and
combination.
Can there be rhythm without beat? 1.0: Perceiving and Responding:
How can rhythm effectively Aesthetic Education: Students will
communicate a feeling to a listener? demonstrate the ability to perceive,
What are the different note types and perform, and respond to music.
how do their values change based on a 1.1.a: Identify traditional sources of
given meter? musical sound, world instruments, and
How do you compose a rhythm that is non-traditional sources, such as
creative and interesting? modified instruments, new instruments,
How is rhythm organized to create and environmental sounds
music? 1.1.b: Identify and define standard
How do you create and effectively use music notation symbols for pitch and
an ostinato? rhythm
How are specific percussion 3.0: Creative Expression and
instruments similar or different based Production: Students will demonstrate
on the given timbre? the ability to organize musical ideas
and sounds creatively.
3.2.b: Create simple rhythmic and
melodic patterns that show contrast:
whole notes and whole rests, half notes
and half rests, quarter notes and
quarter rests, two eighth notes
connected, sixteenth notes, and tied
notes (4 measures)
3.2.c: Compose and use traditional
notation to preserve ostinato that
enhance given works
4.0.a: Compose music that includes
sixteenth notes and rests in duple,
triple, and mixed meters including four
sixteenth notes grouped, dotted half
notes and rests followed by quarter
notes and rests, dotted quarter notes
and rests followed by eighth notes and
rests
Beat “Music! It’s Role and Importance in
Meter Our Lives” by Fowler, Gerber and
Rhythm Lawrence (Chapters 3, 4 and 16)
Ritardando STOMP
Temp Amadinda Percussion Group
Rhythm Cycle Tigger Benford and the New World
Syncopation Drumming Group
Accent NEXUS-Drumtalker
“Felt” Time Dave Smith & Kerry Walker-Daul
Interlocking Rhythms Excursions
Whole Note/Rest
Half Note/Rest
Quarter Note/Rest
Eighth Note/Rest
Sixteenth Note/Rest
Measure
Bar line
Percussion
Time Signature
Maintain an on-going listening log for musical assessment.
Quiz on rhythm, beat, meter, standard notation and ostinatos.
Compositions of a short work that uses specific rhythmic elements.
Student presentation on a specific percussion group and their effectiveness to
convey a message, story or idea.

Create short rhythms with standard notation that students clap for the class.
Create short percussion works that incorporate learned elements in stages.
(Standard notation, various meters, ostinatos, interlocking rhythms, syncopation
etc.,)
Maintain an on-going listening log that focuses on percussion works and rhythmic
elements.
Research and present an oral report on a specific percussion group that shows their
creativity, successes and effectiveness with their music.

Unit # 3 Unit Name: Pitch/Melody/Harmony Timeline: Approx. 3 weeks
Outcomes
Understandings
Pitch and its relation to music for the listener, performer and composer.
How the timbre of specific instruments/voice create unique sounds.
How to read a staff and identify pitch for both treble and bass clefs.
The creative means in which to compose an effective melody.
That melody should effectively communicate with an audience and the elements that
enhance the listener’s experience.
How to analyze a melody and determine its effectiveness in its ability to
communicate with an audience.
Melody has a direct affect on the mood of a composition.
Melody plays different roles from meaningful to secondary.
How to explain harmony.
How to effectively use harmony and how its use affects a composition.
Harmony has the ability to communicate with an audience and how to affectively
achieve that.
Harmony has a direct correlation to a specific musical style.
What is pitch and how does it relate to 3.0: Creative Expression and
music? Production: Students will
What elements of sound make an demonstrate the ability to
instrument/voice unique? organize musical ideas and
How are notes identified on treble and bass sounds creatively.
clefs? 3.2: Preserve musical ideas
How is melody created? through simple compositions and
Does melody have to be memorable to arrangements.
effectively communicate to an audience? 3.2.a: Use traditional and non-
How does melody affect the mood of a traditional notation as a means of
composition? retaining musical ideas.
Does melody have to be interesting to be 3.2.b: Create simple rhythmic
meaningful? and melodic patterns that show
What is harmony and how does it enhance a contrast: whole notes and whole
piece of music? rests, half notes and half rests,
How does harmony determine musical style? quarter notes and quarter rests,
In what ways does harmony help to two eighth notes connected,
communicate a message to a listener? sixteenth notes, and tied notes.
3.2.c: Compose and use
traditional notation to preserve
chordal patterns that enhance
given melodies.

Timbre “Music! It’s Role and
Melody Importance in Our Lives” by
Harmony Fowler, Gerber and Lawrence
Pitch (Chapters 2, 6, 9, 11, 15, 16,
Treble Clef 26)
Bass Clef “Amazing Grace” by John
Staff Newton
Time Signature “Daybreak” from Daphnis and
Symphony Chloe by Maurice Ravel
A cappella “Sunrise” from The Grand
Cadence Canyon Suite by Ferde Grofe
Chord Progression “Oh Danny Boy”
Primary Chords The “Joy” Theme by Ludwig van
Beethoven
Phrase
“Why Can’t He Be You?” by
Melodic Contour
Hank Cochran
Harmonizing
“Ana Fi Intizarak” by Umm
Texture
Kulthum
Modulation
“Won’t You Please Come Home”
Idée fixe by Bill Bailey
Maintain an on-going musical log which notes timbre, melody and harmony.
Quiz on pitches in both treble and bass clef
Quiz on melody, harmony and chord progressions.
Written analysis for a specific piece of music that address specific formal elements.
Compose various works that highlight learned elements such as: melody, harmony,
chord progressions etc,.
Develop a chart that depicts pitches for both treble and bass clef.
Create short melodies and analyze them in small groups.
Compose short phrases mixed with ostinatos to create smaller works that convey a
specific message, idea or mood.
Write chords and chord progression that will late be used for a short composition.
Analyze a piece of music looking for melody and harmony.

Unit Name:
Unit # 4 Timeline: Approx. 1 week
Scales/Keys/Modulation
Outcomes
Understandings
What a key is.
What a scale is and how to create one within a given key.
The difference between major, minor and parallel keys.
How to relate various keys to one another.
How to create a piece of music that uses modulation through various keys in order to
create a specific sequence, sound or mood.
Why it is important to vary the sound throughout a work and why an audience or
performer will be more invested in the given work.
What are scales and why are they 3.0: Creative Expression and
important to music composition? Production: Students will demonstrate
What are Major, Minor, Parallel Keys? the ability to organize musical ideas
How are scales and keys interrelated? and sounds creatively.
How do scales and key enhance 3.1.a: Improvise simple rhythmic and
writing and communication from the melodic variations or embellishments
composer to the audience? on given pentatonic melodies and
How do you effectively achieve melodies in major keys (pentatonic -
modulation and why is it important? black keys only on keyboard
instruments; major - keys of C, F, and
G for keyboard instruments and keys of
G and D for guitar)
3.2: Preserve musical ideas through
simple compositions and arrangements
3.2.a: Use electronic technology to
arrange pieces for voices or
instruments other than those for which
the pieces were written
3.2.b: Create a short original musical
composition using contemporary
compositional techniques or modern
technologies
3.2.c: Compose and use traditional
notation to preserve chordal patterns
that enhance given melodies
Keys (Major, Minor, Parallel) “Music! It’s Role and Importance in
Scales Our Lives” by Fowler, Gerber and
Pentatonic Lawrence (Chapters 15, 16)
Modulation “Joe Turner’s Blues” by Handy
Sharp “The People Will Never Be Defeated”
Flat by Fredric Rzewski
Tone Row “Moses and Aron” by Schoenberg
Sequencing “Suite for Piano” by Schoenberg
Blues Notes “There is something on Your Mind” by
Retrograde Buddy Guy
Inversion “March of the Scaffold”
Chromatic Tones
Whole Tone
Cluster
Maintain an on-going listening log.
Quiz on scales and keys.
Written analysis on specific musical works that concentrate on scales and keys.
Properly used formal elements within an original composition.
Maintain and on-going listening log.
Create various musical works that focus on specific learned elements.
Group analysis on specific musical works that charts modulation throughout a work.
Quiz on specific key elements (scales and keys)

Timeline: Approx. 2 weeks (spread
Unit #5 Unit Name: Form/Genre
throughout the course)
Outcomes
Understandings
How to define musical form.
How form affects a piece of music and the impact it has on the listener and
performer.
How form is directly and indirectly related to genre.
How to define genre.
How to identify various genre types.
How form and genre communicate a thought, idea or story through musical
composition.
How form and genre keep a piece of music cohesive.
How genres are interrelated through musical ideas.
How genres have developed and changed throughout time.
The impact that culture has on a specific musical genre and the form of a piece is
affected by cultural differences.
What genres directly inspired the development of new genres.
What is music form? 1.0: Perceiving and Responding:
How does form affect a musical Aesthetic Education: Students will
composition? demonstrate the ability to perceive,
How does form relate to genre? perform, and respond to music.
What is genre? 1.1: Evaluate application of the
What are the different types of genre? elements of music and characteristics
How does genre and form help of musical sounds as they are used in
communicate a thought, idea or story a variety of genres and styles
to a listener? representative of world cultures
Are genre interrelated? 1.1.c: Listen to and distinguish among
How have genres been developed over forms of music, including ABA, call-
the years through history? and-response, theme and variation,
How does culture affect genre and rondo, and fugue
form? 1.1.d: Describe aural musical examples
What types of genre inspired the representing diverse genres and world
creation of other genres? cultures, using musical terms
1.1.e: Listen to music representing
diverse genres and world cultures and
analyze its elements and structure
1.1.f: Analyze aural music examples
representing diverse genres and world
cultures, using musical terms
1.1.g: Identify and describe musical
form using aural examples
Key Terms Suggest Texts/Music
Form “Music! It’s Role and Importance in
Rondo Our Lives” by Fowler, Gerber and
Sonata Lawrence (Chapters 1, 2, 11, 12, 14,
Sonatina 19, 20, 21, 24, 25, 26)
Fugue “The Jazz Singer” starring Al Jolson
Song Style “Salve Regina” – Gregorian Chant
Recitative Novum Organum by Francis Bacon
Strophic Henry George Fischer. "Organology
Lullaby and Iconography of Ancient Egypt
Genre and the Renaissance."
Middle Ages Rebecca Arkenberg, "Music in the
Gregorian Chant Renaissance".
Organum “Carmen” by George Bizet
Renaissance “Concerto in D Major for Trumpet and
Madrigal Orchestra” by Michael Haydn.
Polyphony “You’d Be So Nice To Come Home
To” by Cole Porter.
Baroque
“Lali” by the Bamileke-Bamoungoun
Concerto
Percission Ensemble.
Operas
“La Negra” from Jalisco
Aria
Video of “Campanas de America”
Recitative
“The Story of the White Snake” by
Dance
Taiji Yabushita
Suites
“Kye Kye Kule” by Abraham
Cantata Adzenyah
Song Cycles “Adagio for Strings” by Samuel Barber
Mass “Badinerie” by Johann Sebastian
Oratorios Bach
Classical “Bill Bailey, Won’t You Please Come
Viennese Style Home?” by Hugue Cannon
Symphony “Draw The Tear From Hopeless Loe”
Sonata by Handel
Quartet Selections from Porgy ad Bedd by
Romantic Gershwin.
20th Century “Cancion Ranchera” – Mexican Love
Country Song
Rock Ktiti – “Bruhi Mikundeti”
Fusion “Krida Punuhan” – Buddhist Dance
Alternative “A Mighty Force Is Ours” by Martin
Avant-garde Luther
Serialism “Sleepers Awake” by J.S. Bach
Minimalism “Perfect Praise” sung by Lecresia
Neo-classicism Campbell
Folk Selections from Manhattan Transfer
Popular Selections from Frank Sinatra, Louie
Musicals Armstrong, Scott Joplin and Cole
Jazz Porter, Thomas Fats Waller
Blues Selections from John Cage
Swing Selections from Rock Groups such as
Bebop The Beatles, Linkom Park, Queen
World Music and Ray Charles
Modern Selections from Coldplay, Areosmith,
Foo Fighters and O.A.R.
Selections from Eric Clapton, Etta
James, B.B. King and Taj Mahal
Maintain an on-going listening log for musical assessment of genre and form.
Quiz on specific genres and the detailed characteristics that are associate with them.
Quiz on forms and the basic set up of a specific structure.
Classroom jeopardy game covering aspects of genre, form and culture.
Properly used elements within an original composition that focuses on a specific
genre/form.
Maintain an on-going listening log for musical assessment of genre and form.
Compose various works in the style of specific genres (such as jazz, swing, classical
etc,.)
Compose various works using specific forms (Sonata, Rondo, Concerto etc,.)
Create a chart that maps the development of songs forms/genre and the
countries/cultures associate with them.

Timeline: Approx. 1-2 weeks
Unit # 6 Unit Name: Historical Context
(spread throughout the course)
Outcomes
Understandings
The influence both music and history have on each other.
The cultural differences worldwide that affect music in terms of sound, form,
instrument use and meaning.
How various cultures affect musical style and artistic content.
Historical significance of the arts and the direct relationship they have to various
cultures.
How personal views on music are a direct reflection of a person’s culture and
experiences.
Political and social events can and do inspire and directly affect the creative
process.
Artists have changed their perception and creative structure based in part of
political events that have happened throughout the world.
Technology has played a vital role in the creative process and has changed how
artists work.
The affect music plays in personal opinion and views on the world, its people and
themselves.
How do music and history influence 2.0: Historical, Cultural and Social
each other? Context: Students will demonstrate an
How does culture affect music? understanding of music as en essential
How do the arts relate to culture and aspect of history and human
history? experience.
How does a viewer’s personal 2.1.a: Describe how music is used for
experience shape his/her artistic individual and cultural expression.
preference? 2.1.b: Compare and explain functions
How has music developed based on of music, roles of musicians, and
social and political event? conditions under which music is
How have artists developed and performed in various cultures.
changed based on social, historical 2.1.c: Describe the influence of folk
and political events throughout the music on compositions for other
world? genres.
How has technology affected music? 2.2.a: Describe at least three different
How does music expand ones view of styles of music, relating each selection
the world, its people and one’s self? to the social climate from which it
emerged.
2.2.b: Describe the evolution of
electronic and other technologies and
their impact on the world of music.
2.3.b: Describe attributes of music that
distinguish it from other artistic forms in
expressing personal and cultural ideas.
2.3.c: Describe ways in which the
knowledge, skills, and processes of
music relate to other content areas
taught in the school.
2.4.a: Compare representative
selections of music from the major
stylistic eras in Western music.
2.4.b: Explain why selected musical
works are considered exemplary of a
given style or culture.
Culture “Music! It’s Role and Importance in
Folk Music Our Lives” by Fowler, Gerber and
Style Lawrence (Chapters 1,2, 5, 6, 12, 18,
Middle Ages 22, 23, 27)
Renaissance “Brandenburg Concerto No. 2 in F” by
Baroque Bach
Classical “Kinds of Flowers” by Java, Court
Romantic Gentleman
20th Century Senegal, Percussion, recorded by
Contemporary Charles Duvelle.
Musicology “Morning Star” by Australia Aborigine
Ethnomusicology Songs.
Urbanization “Cranes in Their Nest” by Shakuhachi.
“Tchakrulo” by S.S.R – Gregorian
Chant
“Melancholy Blues” by Louis
Armstrong
“Flowing Streams” by Kuan P’ing-hu
“Jaat Kahan Ho” an India Raga.
“Dar was the night, Cold was the
Ground” by Blind Willie Johnson
“Rite of Spring” by Igor Stravinsky
“Islands” by Philip Glass
“Pied Piper Fantasy” by John
Corigliano
“Since I Found You” by Sweethearts
of the Rodeo

Maintain an on-going listening log for musical assessment where connections to
history and culture are made.
Quiz/Test on major musical periods and the historical context in which they were
developed and maintained.
Original composition using influences from specific cultures.
Classroom jeopardy game covering aspects of history, technology and culture.
Music Analysis based on historical and cultural context and accurate creation of
timeline in which those are shown.
Active participation in an on-going listening log so that connections between music
and history/culture can be made.
Development of an accurate historical timeline that charts major political, social and
cultural events with music.
Creation of original musical works inspired by events in history.
Creations of original musical works that are influenced by specific cultures.
Creation of original musical works that include new technology advances.

Timeline: Approx. 2 weeks (spread
Unit #7 Unit Name: Creative Expression
throughout course)
Outcomes
Understandings
How to organize sound to create effective meaningful works that audiences can
appreciate and understand.
The formal qualities needed to create a structured work that is clear, organized and
well thought-out.
How to effectively express their own personal values within their own original
compositions.
How to share specific personal experiences through the creation of original
composition.
How to write and format lyrics that share a specific view, thought or story that is
meaningful.
How to properly create and construct original instrumental and vocal compositions.
How to compose film music for short films and maintain timing to interact with the
actions in the film.
How performers improvise music and effectively communicate with audience
members.
Various reasoning’s as to why people engage in the art and the various ways in
which they do so.
How creative expression can be effectively used in regards to academic learning
outside of the creative arts.
How is sound organized to make 3.0: Creative Expression and
music? Production: Students will demonstrate
How does the structure of a musical the ability to organize musical ideas
piece create order and clarity? and sounds creatively.
How do people express their values 3.1: Explore musical ideas through
through music? simple improvisations
How do people share personal 3.2: Preserve musical ideas through
experiences through music? simple compositions and arrangements
How do artists write meaningful lyrics? 3.2.a: Use electronic technology to
How does an artist create effective arrange pieces for voices or
instrumental and vocal pieces? instruments other than those for which
How does film music differ from free the pieces were written
form writing? 3.2.b: Create a composition using
When artists improvise how do they formal, free form, serial, chance, or
ensure they are effectively original compositional techniques
communicating with an audience? 3.2.c: Create a short original musical
How and why do people participate in composition using contemporary
the arts? compositional techniques or modern
technologies
Is creative expression an effective tool 3.2.d: Create a sound composition
for academic learning? based on a literary work, a place, a
personal experience, or other selected
subject
Improvise “Music! It’s Role and Importance in
Electronic Sound Source Our Lives” by Fowler, Gerber and
Free Form Lawrence (Chapters 8, 9, 10, 15, 17,
Serial 21)
Chance “Sacrae Symphoniae” by Giovanni
Film Scoring Gabrieli
Lyrics “Oh Happy Day” by the Edwin
Texture Hawkins Singers
Polychoral Music “Northern Plains” by John Rainer
Homophonic Texture “Daybreak” by Maurice Ravel
Imitation “The People United” by Sergio Ortega
Counterpoint “Siegfried’s Funeral Music” from
Music Drama Wagner’s music drama The Twlight of
Libretto the Gods
Aleatory Music “My Funny Valentine” by Richard
Rodgers
Program Symphony
“Fugue 16” by J.S. Bach
Hyperinstruments
Excerpts from the opera “Valis” by
Sequencer
Tod Machover
Musique Concrete
MIDI
Telharmonium
Sampling
Proper use of compositional techniques to create pieces that tell a story, maintain a
point of view.
Proper use of compositional techniques to create instrumental and vocal pieces.
Creation of free form music using proper compositional techniques.
Creation of original film scores using proper compositional techniques.

Create an original composition that is based off of traditional instrumental music.
Create an original composition that is based off of traditional vocal music.
Create an original composition that is based off of non-traditional instrumental music.
Create an original composition that is based off of traditional instrumental music.
Create an original composition that is based off of non-traditional vocal music.
Create music that uses free form.
Create film music based off of short silent films.

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Digital Harbor High School

Fine Arts Curriculum

Last updated 3/17/2011

Complied by: Alyson J. Covino

Digital Harbor High School Updated on March 17, 2011

Digital Harbor High School Updated on March 17, 2011

Digital Harbor High School Updated on March 17, 2011

Digital Harbor High School Updated on March 17, 2011

Digital Harbor High School Updated on March 17, 2011

Digital Harbor High School Updated on March 17, 2011

Digital Harbor High School Updated on March 17, 2011

Digital Harbor High School Updated on March 17, 2011

Digital Harbor High School Updated on March 17, 2011

Digital Harbor High School Updated on March 17, 2011

Digital Harbor High School Updated on March 17, 2011

Digital Harbor High School Updated on March 17, 2011

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