Area Standard Goals/I can statements SEPTEMBER OCTOBER NOVEMEBER DECEMBER/JANUARY FEBRUARY MARCH APRIL MAY

Goals Week 1 Week 2 Week 3 Week 4 Week 5 Week 6 Week 7 Week 8 Week 9 Week 10 Week 11 Week 12 Week 13 Week 14 Week 15: Week 16: Week 17: Week 18: Week 19: Week 20: Week 21: Week 22: Week 23: Week 24: Week 25: Week 26: Week 27: Week 28: Week 29: Week 30:
Week 4: One octave D major scale
(pizzicato) and reading music that
I can locate and name the musical notes in utilizes those notes with actual
the staff and demonstrate where they are on sheet music, as well as building Week 17: D major and G major
my instrument. I can clap introductory aural skills with rote learning. scales in both detache and
MIB.1 The student will echo, read, and notate music, including rhythms in simple meters. I can demonstrate Week 1: The main focus of this Week 2: Plucking open strings, Students should feel confident with Week 16: Playing the whole G martele bow strokes, practicing Week 20: Playing pieces in Week 25: Introduction to Week 26: Introduction to an online Week 27: End of year summary: Week 29: Listening to pieces of
1. identifying, defining, and using basic standard notation for pitch, rhythm, martele and detache bowings. I can week is to work on note reading learning the names of all the where the notes are on their Week 5: Plucking the D major Week 6: Pizzicato tunes with all Week 8: Introducing the bow, Week 11: Martele bow strokes Week 13: Introduce detache Week 15: Introduce first four notes major scale (one octave) with a going from high two to low two on method book in both keys, Week 24: Bowing on the C string composing, prepare for notation software, i.e. Noteflight, review of detache vs. martele, Week 28: What is a binary form? music in binary form, identifying Week 30: End of year celebration:
meter, articulation, dynamics, and other elements of music; and demonstrate legato playing and staccato and reading beginning rhythms in strings on all instruments, where Week 3: Learning the first 4 notes instruments and the whole/half scale in different rhythms in call the notes in the D major 1 octave Week 7: Students lead call and discussing the parts of the bow, Week 10: bowing on open D and and the first 4 notes of the D Week 12: Martele bow strokes stroke on open strings (I) Week 14: Detache with the 1 of the G major scale with detache detache bow stroke, playing violin and viola, second finger vs Week 18: Playing pieces from the Week 19: Playing pieces in the applying dynamic contrasts to the Week 22: D major scales with Week 23: Bowings in music, down for cellos and violas and E strings composing project, introduction to Musescore, how to write, first four scale sumamry, finishing the C Applying it to in class contexts. (I) dynamic contrasts in repertoire Performing the classes
2. singing selected lines from music being studied. playing. 4/4 and 2/4 time. (I) those notes are in the staff (I) of the D major scale (I) steps. (M) and response scale (M) response exercises (M) pencil bow hold (I) Week 9: bow hold bow games (R) A strings (I, R) major scale (I, R) and the whole 1 octave scale (M) PREPARE FOR CONCERT! octave D major scale (R) bow stroke (I) songs in G major (R, M) 3rd finger on cello (R) method book D major method book in G major bow Week 21: Introduction to slurs (I) slurs (M, R) bows, up bows, slurs (R) for bass and violin (I) C major scale (I) notes of the C major scale (I) major scale (R, M) End of year concert! and style. (R) compositions
Week 10: Students will listen to
Week 1: call and response call and response on open D and
MIB.2 The student will echo, read, and perform rhythms and rhythmic rhythms in 2/4 and 4/4 time with Week 2: call and response in 2/4 Week 3: call and response with Week 5: Reading music in 4/4, 2/4 Week 6: Call and response with Week 7: Students will lead call and A strings in rhythmic Week 11: Review of eighth notes, We will spend the last few classes
patterns, including whole notes, half notes, quarter notes, eighth notes, I can listen to rhythms played by my teacher quarters, half and whole note and 4/4 time with those rhythms notes (R, I) Call and response in and 3/4 meter with rhythmic values changng meters with rhythms up response exercises using eighth combonations of quarters, half quarters, half notes and whole Week 12: Rhythms with the Holding detache stroke for Practice the D major scale with Quarter notes and half note Rhythmic patterns including Slurs in varying rhythms, i.e. Use varying rhythms, building off Usage of slurs in variations: down How to write bowings for basic of the year exploring our peers'
dotted half notes, dotted quarter notes, and corresponding rests. and play them back. values (I) (R) 3/4 meter Week 4: Introduce eighth notes (I) up to eighth notes (R) to 8th notes. (M) notes, quarters and half notes (M) BOW FOCUSED CLASS BOW notes, and whole notes notes martele bow stroke in quarters different lengths in rhythms (R) varying rhythms rhythms for the new scale eighth notes (M) Mixture of rhythms Mixture of rhythms Continue reinforcing concepts quarters, eighths (R) of last week (R) up up, down down up up etc. (R) rhythms (I) compopsitions and such
I can show what a whole and half step is on
Music Theory/Literacy

my instrument, i.e. low 2 vs high 2 on violin Week 4: Continue to enforce and

MIB.3 The student will identify and demonstrate half-step and whole-step and viola, second finger vs third finger on Week 3: What is a whole-step? remind students about their half Week 11: Review of whole and Week 12: Review whole and half Discuss the whole and half step Where are the whole and half- Where are the whole and half- Where are the whole and half-
patterns cello. Week 1: not introduced yet Not introduced yet. What is a half-step? (I) and whole steps (R) Same Same Same BOW FOCUSED CLASS BOW BOW half step relationships in D major steps with D major BOW Same relationships in G major (M) Same Same Continue reinforcing concepts steps? (R) steps in C major? steps in the C major scale?
I can identify 4/4 and Common time and 2/4
and cut time as well as 3/4. I can perform Week 6: Call and reponse with Students will play the C major End of year quiz: What is detache,
MIB.4 The student will identify, read, and perform music in simple meters music in these meters as well as describe Week 1: Reading rhythms in 4/4 Continue reading in 4/4 and 3/4 Read in common time (4/4), changing meters between 4/4 and Week 7: Student led call and Week 10: Call and response Call and response with the whole Call and response with the whole Pieces in 2/4, 3/4 and 4/4 meters scale in staccato and marcatto martele, what scales did we learn?
(2/4, 3/4, 4/4, C). the relationships between all of the meters. and 2/4 time. time Introduce 2/4 (I) Read in cut time (I) explain what the "C" means (R) 2/4 time (M) response exercises to peers (M) BOW FOCUSED CLASS BOW using open D and A strings scale BOW scale, led by students (M) Continue reinforcing concepts (M) styles (M)
Week 4: Introduce D major key Key signature quiz: (M) How it's
MIB.5 The student will identify and notate key signatures of scales and I can read and identify music up to two signature, what is that hashtag on Week 5: Identify the D major key Week 6: reading music with D What is the key signature for G written, where are the whole and
literature being performed. sharps and one flat. Not introduced yet. Not introduced yet. Not introduced yet. the page? signature (M) major key signature Same BOW FOCUSED CLASS BOW major? (M) half steps in the scale? Continue reinforcing concepts
MIB.6 The student will read, notate, and perform scales, including I can read, notate and perform scales in one-
2. string student—one-octave ascending and descending G and D major octave asending and descending G and D Week 3: Learning the first 4 notes Week 4: Finishing the 1 octave D
scales major scales as well as D melodic minor. Not introduced yet. Not introduced yet. in the D major Scale (I) scale (I, R) BOW FOCUSED CLASS BOW Continue reinforcing concepts
I can identify a binary form as well as What is binary form? Have the
MIB.7 The student will identify and perform music written in binary form. perform music written in binary form. Not introduced until Week 28 students guess, and then explain
MIB.8 The student will use music composition as a means of expression by
1. composing a four-measure rhythmic-melodic variation; and
2. notating the composition in standard notation, using contemporary I can compose a 4 bar melodic composition
technology on an online music notation software. Not introduced until Week 25
I can define various dynamic and musical
terminology in my music i.e., fortissimo,
MIB.9 The student will define and apply music terminology found in the pianissimo, allegro, andante, adagio, presto, Dynamic of the week: Mezzo- Applying all four dynamics in the Style of the week: Legato and
music literature being studied. (not limited to) Dynamic of the week: Forte Dynamic of the week: Piano Dynamic of the week: Mezzo-forte piano pieces Staccato Style of the week: Marcato
The student will choose from
violin, viola, cello, and bass and
then learn about the parts of the
MIB.10 The student will demonstrate preparatory instrumental basics and instruments. They will learn about Learning about the bow hold.
playing procedures, including how to take the instrument out of They will use a pencil instead of
1. identification and selection of an appropriate instrument; the case properly and how to put the bow since it is not as heavy. Students will use the technique
2. identification of the parts of the instrument; it away. They will learn about The student will review holding The class will be splint into half. from last class on an actual bow Students will use split bows with Students will work on right hand
3. procedures for care of the instrument; I can choose an instrument and identify its proper care of the instrument like the instrument up with just the left The student will work onn the Upper strings will learn about the instead of pencil and will play bow They will continue to work on left two notes to keep the rhythm in motion when reaching the tip.

Parent-Teacher Conference & Thanksgiving

4. proper playing posture and instrument position; parts. I can take care of and clean the cleaning the strings with a cloth. hand. They will then learn the curve of the left hand on the bunny bow hold and lower strings games like right hand push ups The student will focus on proper The student will focus on proper Students will focus on connecting Students will learn left hand space The students will pay attention to The students will pay attention to hand frame and keeping a straight the slurs. They will then take out The right hand should lean onto The student will continue to
6. string student—bow hold and left-hand position; and instrument. I can show poroper right hand They will learn how to hold the right hand placement for instrument and nont having waiter The students will work on left hand The students will work on left hand will learn about the sad bunny and spider clawling up and down bow hold and uses of split bows bow hold and uses of split bows Students will focus on left hand their stop bows to create a for G major. They will learn about keeping their hand frame the keeping their hand frame the bow, begins explaining going in the stops between the two notes the index and should lean on the Students will review their set up Students will review their set up demonstrate prepatory instrument
(bow arm) and left hand technique. instrument up (no bow yet). pizzacato. hand. (On the D string) frame on the a string. frame on the a string. bowhold. the bow. for a straight bow. for a straight bow. frame and bow hold. detache stroke. the g string. same during g major and d major. same during g major and d major. and out with the bow. once even. pinky at the frog. before the end of the year. before the end of the year. playing procedures
The students will learn how to
MIB.11 The student will demonstrate proper instrumental techniques, The student will learn the first 4 They will play a bow game and Studnets will work on placing the The students will compose a 4 input and notate articulations, Students will listen and make note
including I can learn how to play with the bow with notes to D Major. They will learn They will work on placing the They will work on placing the bow They will play a bow game and sliding up and down the string bow at different parts of the string bar melody including elements of dynamics and contrasting of dynamics, articulations and

Spring Break
5. string student—proper bow placement, weight, angle, and speed; different strokes. I can play notes short and The student will pluck open D and about the left hand shape and They will learn the remaining notes pencil on the instrument t o aline on the instrument to aline it with Students will play the scale with sliding up and down the string with with one finger to loosen right to demonstrate up and down bow. slurs, contrasting articulations, articulations in an online notation note what they listen in the
contrasting articulations (pizzicato, legato, staccato, two-note slurs) long strokes. A string. technique for these notes. the D major. Review of D major it with the bridge. the bridge. The student will use stop bows to play on
Thethe
student
open Dwill
and use
A martele.
string. Bow push up warm up Students will learn about detache. detache and martele. one finger to loosen right hand. hand. Students will learn about slurs. Slurs will be reviewed. Continued work on slurs. Review of bow games. bowings and varying rhythms software system. recordings in class
MIB.12 The student will demonstrate ensemble skills at a beginning level,
including
1. balancing instrumental timbres;
2. making adjustments to facilitate correct intonation; The students will play pieces from
3. matching dynamic levels and playing style; I can play in an ensemble and be able to The notes will be played all essential elements that have Students will look at eachothers Students will look at eachothers
4. responding to conducting patterns and gestures; and listen to the other parts in the ensemble. I The students will learn about together then in a canon to hear different lines for each instrument. pencil bow holds. They will also bow holds. They will also try Students will work on essential Students will work on essential An Ensemble piece outside of
5. maintaining a steady beat at various tempos in the music literature being can also understand conducting patterns and being qued in before plucking the harmonies created by these They will have to describe what try reteaching to eachother about reteaching to eachother about the The students will play in a canon The students will play in a canon Students will play a cannon in g element excersises that include element excersises that include Students will pick a partner to essential elements will be used to The ensemble will play pieces The ensemble will look at pieces
studied. keep in time with the ennsemble. notes. notes. other instruments are playing. the bunny. bunny. the first half of D major. the whole D major scale. major. the key G major. the key G major. perform a duo. work on g major. that include slurs. with bowings marked in.
Performing

MIB.13 The student will read and interpret standard music notation while The students will use call in The students will use call in Students will start working on Students will start working on The students will relearn the first
performing music of varying styles and levels of difficulty, in accordance with response from the teacher to learn response from the teacher to learn reading notation in essential reading notation in essential part to essential elements while Learn the key signature for g
VBODA Levels 1 and 2. I can read notes while playing my instrument. these notes. these notes. methods. methods. playing with the bow. major
The students will learn how to They will work on using marcato The student will learn about how They will perform with dynamics:
MIB.14 The student will begin to use articulations, dynamic contrasts, and I can use articulations. I can play with pluck forte and piano through a The students will use dynamic The students will learn how to during the stop bows to make a to make piano and forte on the They will use dynamics with the They will use dynamics with the They will perform with dynamics: They will perform with dynamics: Forte, mezzo forte, mezzo piano,
phrasing as means of expression varying dynamics and phrasing. game. contrast while playing the scale. accent while pizzing. loud and clean sound. bow. bow. bow. piano, mezzo piano, andn forte piano, mezzo piano, and forte and piano
The student will pluck back on an
open string rhythms the teacher The students will listen to the The students will listen to the The student will use call and Students will use call and
MIB.15 The student will perform simple rhythmic and melodic examples in I can repeat rhythms back usinng call and says. For example, pe-per-ron-ni The students will improvise on The students will improvise on teacher play the piece and then teacher play the piece and then response to learn rythms on the The scale will be taught through response to work on rhythm while
call-and-response styles. response. piz-za. these notes. these notes. repeat them. repeat them. bow. call and response. sluring.
This will be the first time they look
MIB.16 The student will create, through playing and writing, rhythmic The students will give the class at music. They will learn about Students will chose a melody to
variations of four-measure selections taken from folk songs, exercises, or rhythmic variations for these the proper way to look at the improvise with and then later The student will use variations to
etudes. I can make a rhythmic variation of a piece. notes. music in sight reading. They will be looking at new music. They will improvise over G major perform. help them compose their melody.
MIB.17 The student will demonstrate musicianship and personal
engagement by
1. identifying the characteristic sound of the instrument being studied;
2. monitoring individual practice through the use of practice records or
journals that identify specific musical goals;
3. participating in school performances and local, district, or regional events,
as appropriate to level, ability, and interest; and I can tell the difference in sound of the string The students will be tuaght rest They will review for the concert The first concert of the year. They
4. describing and demonstrating rehearsal and concert etiquette as a instruments. I can log my practice. I can The teacher will demonstrate Students will work on breathing position with the bow resting on and will learn about proper will perform everything pizzacato They will learn about breathing as Students will perofrm the
performer (e.g., using critical aural skills, following conducting gestures, also perform with my class and understand each of the instruments before coming in during the the right leg and the instrument concert ettiquite. What to where and will show pepperoni pizza chamber musicians and how to Practice log due. Student will improvised melodies for
maintaining attention in rest position). concert ettiquete. uniqueness. First pracitce log due teachers up beat. on the left leg. Practice log due. Practice log due. and how to sit. with the bow. Practice log due. que. perform duets. eachother. End of year concert
MIB.18 The student will sight-read music of varying styles and levels of They will work on looking at a new Students will look at pieces for the This will be the first time they look
difficulty, in accordance with VBODA Levels 0 and 1. I can sight read new music. piece of music in small groups. first time with slurs. at pieces with bowings marked in.
I can name the major musical eras between
antiquity and the present. (Antiquity Antiquity: Renaissance Music. Romantic music: Vincenzo Bellini Romantic Period: Erik Satie
Music History and Cultural

MIB.19 The student will explore historical and cultural aspects of music by [including medieval and renaissance], Guillaume Dufay (1400–1474), Baroque Music. Henry Purcell Baroque Music. George Frideric Classical Music. Wolfgang (1801–1835), Louis-Hector Romantic music: Jacques Romantic Period: Antonín Dvorak (1866–1925), Siegfried Wagner
1. identifying the cultures, musical styles, composers, and historical periods Baroque, Classical, Romantic, and Modern). Johannes Ockeghem (1420– Antiquity: Renaissance Music. (1659–1695) Handel (1685–1759) Amadeus Mozart (1756–1791), Berlioz (1803–1869), Johann Offenbach (1819–1880), Clara (1841–1904), Jules Massenet (1869–1930), Alexander Early modern: George Gershwin Modern: William Howard
associated with the music literature being studied; I can describe the ways in which music has Antiquity: Medieval music. Petrus 1497), Josquin Des Prez (c. Jacques Arcadelt (c. 1507–1568), Alessandro Scarlatti (1660–1725) Johann Sebastian Bach (1685– Franz Xaver Sussmayr (1766– Strauss I (1804–1849), Jacob Wieck Schumann (1819–1896), (1842–1912), Edvard Hagerup Nikolaevich Scriabin (1872– (1898–1937) Schuman (1910–1992) Career Options: Monday:
2. describing ways in which culture and technology influence the changed with new technologies. I can Abaelardus (1079 - 1142), 1450–1521), Alexander Agricola Thomas Tallis (c. 1505–1585), Baroque Music. Hieronymus Tomaso Albinoni (1671–1750) 1750) Classical Music. Johann Ernst 1803), Bedřich Dionys Weber Ludwig Felix Mendelssohn Cesar Franck (1822–1890), Anton Grieg (1843–1907), Gabriel- 1915), Ralph Vaughan Williams Francis Poulenc (1899–1963) Gian Carlo Menotti (1911–2007) performance with guest speaker. Monday: ethics re: social media
Context

development of instruments, instrumental music, and instrumental music describe how culture influences all aspects of Hildegard von Bingen (1098 - (c. 1446–1506), Jean Mouton Giovanni Perluigi Palestrina Praetorius (1560–1629), John Antonio Lucio Vivaldi (1678– Giuseppe Domenico Scarlatti Classical Music. Wilhelm Bach (1722–1777), Johann (1766–1842), Ludwig Van (1809–1847), Frederic Chopin Joseph Bruckner (1824–1896), Urbain Fauré (1845–1924), Sir (1872–1958), Sergei Vasilievitch Early modern: Artur Schnabel Edward Kennedy Ellington (1899– Jean Françaix (1912–) Tuesday: education (teacher and copyright laws. Tuesday:
styles; music. I can explain how music is related to 1179), Pérotin Magister (c. 1155 - Antiquity: Medieval music. Medieval music: Monday: review (1459–1522), Pierre de la Rue (1525–1594), Francesco Guerrero Dowland (1563–1626), Frei 1741) (1685–1757) Friedemann Bach (1710–1784) Gottlieb Goldberg (1727–1756), Beethoven (1770–1827), Niccolo (1810–1849), Robert Alexander Johann Strauss II (1825–1899), Edward William Elgar (1857– Rachmaninoff (1873–1943), (1882–1951), Igor Stravinsky 1974) Benjamin Britten (1913–1976) present). Wednesday: production proper concert etiquette.
3. describing the relationship of instrumental music to the other fine arts and other fields of knowledge. I can describe c. 1250), Léonin Magister (fl. c. Antiquity: Medieval music. Guillaume de Machaut (c. 1300 - 500AD-900 AD. Tues: review (1460–1518), Robert Fayrfax (1527–1599), Orlando de Lassus Manuel Cardoso (1566–1650), Georg Philipp Telemann (1681– Johann Friedrich Fasch (1688– Carl Philipp Emanuel Bach Franz Joseph Haydn (1732– Paganini (1782–1840), Carl Maria Review of all Classical music and Schumann (1810–1856), Franz Johannes Brahms (1833–1897), 1934), Giacomo Puccini (1858– Arnold Franz Walter Schoenberg (1882–1971), Zóltan Kodály Maurice Durufle (1902–1986) Bernd Alois Zimmermann (1918– Modern: William Mathias (1934– and recording with guest speaker. Wednesday through Friday: find a
other fields of knowledge; musical career options. I can describe how 1150 - 1201?), Philippe Le Philippe de Vitry (1291 - 1361) 1377) Petrus Abaelardus through (1464–1521), Francisco de (1532–1594), Francesco Soto de Claudio Giovanni Antonio 1767) 1758) (1714–1788) 1806), Johann Christoph Friedrich von Weber (1786 - 1826), test Thursday. Friday begin Liszt (1811–1886), Wilhelm Eduard Strauss (1835–1916), 1924), Gustav Mahler (1860– (1874–1951), Gustav Theodore (1882–1967), Anton Friedrich Sir Lennox Berkeley (1903–1989) 1970) 1992) Thursday: music therapy with recording on YouTube of a
4. describing career options in music; ethics, copyright laws, and social media can ANTIQUITY: Medieval music (c. Chancelier (c. 1165 - 1236), Pierre Des Molins (fl. c. 1375) Francesco Landini (1325 - 1397) Alfonso X "El Sabio". Wed: Review Peñalosa (c. 1470–1528), Robert Langa (1534–1619), Gioseffo Monteverdi (1567–1643), Thomas Jean-Philippe Rameau (1683– Jean Jacques-Christophe Naudot Review of Baroque music and test Christoph Willibald Ritter von Bach (1732–1795), Johann Gioachino Antonio Rossini (1792– Romantic music:Vincenzo Bellini Richard Wagner (1813–1883), Georges Bizet (1838–1875), 1911), Achille-Claude Debussy Holst (1874–1934), Charles Wilhelm von Webern (1883– Eduard Tubin (1905–1982) Ernest Tomlinson (1924–2015) Arvo Part (1935–) guest speaker. Friday: research symphony or concerto
5. describing ethical standards as applied to the use of social media and be applied to music. I can demonstrate 500 AD through c. 900 AD). Talk Walter von Der Vogelweide (c. Ghirardello da Firenza (fl. c. 1375) Pycard (fl. c. 1390) de Vitry through da Bologna. Th: Carver (c. 1485–1570), Clément Guami (1542–1611), William Byrd Simpson (1582–1628), etronio 1764) (1690–1762) Wednesday. Thursday and Friday Gluck (1714–1787) Christian Bach (1735–1782), 1868), Franz Peter Schubert (1801–1835), Louis-Hector Berlioz Giuseppe Fortunino Frencesco Modest Petrovich Mussorgsky (1862–1918), Richard Strauss Edward Ives (1874–1954), Review of Romantic music and 1945), Alban Berg (1885–1935), Dmitri Shostakovich (1906–1975) Peter Lamb (1925–2013) John Rutter (1945–) with small research project (on a performance and write a review
copyrighted materials; and proper concert etiquette and actively listen to gregorian chant through Guido 1170 - c. 1230), Alfonso X "El Lorenzo da Firenza (fl. c. 1375) Franchois Lebertoul (fl. c. 1400) review de Machaut through Janequin (1485–1558), Francesco (1549–1623), François, Eustache Review of all Antiquity and test on Franceschini (1650–1680), Giuseppe Matteo Alberti (1685– Johann Adolph Hasse (1699– start Classical Music: Johann Georg Leopold Mozart Antonio Salieri (1750–1825), (1797–1828), Domenico Gaetano (1803–1869), Johann Strauss I Verdi (1813–1901), Charles (1839–1881), Peter Ilyich (1864–1949), Jean Sibelius Joseph Maurice Ravel (1875– relevant events, technological Sergei Sergeyevich Prokofieff Olivier Messiaen (1908–1992) Karlheinz Stockhausen (1928– Andrew Lloyd Webber (1948–) career relating to music) as if you were a classical music
6. demonstrating concert etiquette as an active listener the performance. d'Arrezzo chronologically) Sabio" (1221 - 1284) Jacopo da Bologna (fl. c. 1375) Johannes Ciconia (c. 1335 - 1411) Ciconia. Test Friday. Canova da Milano (1497–1543) Du Caurroy (1549–1609) Friday Arcangelo Corelli (1653–1713) 1751) 1783) technologies, instruments, etc. (1719–1787) Muzio Clementi (1752–1832) Maria Donizetti (1797–1848) (1804–1849) François Gounod (1818–1893) Tchaikovsky (1840–1893) (1865–1957) 1937), Béla Bartók (1881–1945) innovations, etc. Test on Friday (1891–1953) Samuel Barber (1910–1981) 2007) announced. Due in one week. critic. Due Friday.
Analysis, Evaluation,

MIB.20 The student will analyze and evaluate music by I can describe the importance of cultural
1. describing the importance of cultural influences and historical context for influences and historical context for the
and Critique

the interpretation of works of music; interpretation of works of music. I can

2. describing and interpreting works of music, using inquiry skills and music describe accepted criteria for evaluating
terminology; works of music. I can describe performances Music from North America: Music from North America, test on Music from South America: Music from South America, test on Music from Western Europe: Music from Western Europe, test Music from Eastern Europe: Music from Eastern Europe, test Music from Australia/Oceania: Music from Australia/Oceania, test Music from Southeast Asia: Music from Southeast Asia, test Music from the Middle East: Music from the Middle East, test Music from Central Asia, test on
3. describing accepted criteria used for evaluating works of music; of music using proper music terminology. I accepted criteria for evaluating Friday: describe accepted criteria accepted criteria for evaluating Friday: describe accepted criteria accepted criteria for evaluating on Friday: describe accepted accepted criteria for evaluating on Friday: describe accepted accepted criteria for evaluating on Friday: describe accepted accepted criteria for evaluating on Friday: describe accepted accepted criteria for evaluating on Friday: describe accepted Music from Central Asia: accepted Friday: describe accepted criteria
4. describing performances of music, using music terminology; and can describe accepted criteria used for Music from North America: works of music, describe used for critiquing musical Music from South America: works of music, describe used for critiquing musical Music from Western Europe: works of music, describe criteria used for critiquing musical Music from Eastern Europe: works of music, describe criteria used for critiquing musical Music from Australia/Oceania: works of music, describe criteria used for critiquing musical Music from Southeast Asia: works of music, describe criteria used for critiquing musical Music from the Middle East: works of music, describe criteria used for critiquing musical criteria for evaluating works of used for critiquing musical
5. describing accepted criteria used for critiquing musical performances of critiquing musical performances of myself cultural influences and historical performances of music using performances of my own and of cultural influences and historical performances of music using performances of my own and of cultural influences and historical performances of music using performances of my own and of cultural influences and historical performances of music using performances of my own and of cultural influences and historical performances of music using performances of my own and of cultural influences and historical performances of music using performances of my own and of cultural influences and historical performances of music using performances of my own and of Music from Central Asia: cultural music, describe performances of performances of my own and of
self and others and others. context proper terminology. others. context proper terminology. others. context proper terminology. others. context proper terminology. others. context proper terminology. others. context proper terminology. others. context proper terminology. others. influences and historical context music using proper terminology. others.
MIB.21 The student will investigate aesthetic concepts related to music by I can propose a definition of music and
1. proposing a definition of music and supporting that definition; support that definition. I can identify why I
Identify how music evokes
Aesthetics

2. identifying reasons for preferences among works of music, using music prefer different kinds of music by using music
terminology; terminology. I can identify how music evokes sensory, emotional, and
3. identifying ways in which music evokes sensory, emotional, and sensory, emotional, and intellectual intellectual responses. Describe
intellectual responses, including ways in which music can be persuasive; responses. I can describe aesthetic criteria aesthetic criteria used for Propose a definition of music and
and used for determining the quality of a work of determining the quality of a work support that definition & identify
4. describing aesthetic criteria used for determining the quality of a work of music or importance of a musical style. (last of music or importance of a why I prefer different kinds of Portfolio of notes due Monday,
music or importance of a musical style three weeks) musical style. music by using music terminology. graded and returned by Friday.