Capstone Done Done Done 1

Running head: SUSSEX SCHOOL POP MUSIC CURRICULUM DESIGN PROJECT 1
Sussex School Pop Music Curriculum Design Project
John Potosnak
Kent State University

SUSSEX SCHOOL POP MUSIC CURRICULUM DESIGN PROJECT 2
Table of Contents
I. Title Page 1
II. Table of Contents 2
III. Introductory Essay 3
IV. Abstract 6
V. Define the Project 7
VI. New and Innovative 7
VII. Rationale / Review of Literature
a. Review of Literature 8
b. Contribution to the Curriculum 16
c. Practical Implications 16
d. Long-term Values 17
e. Standards 18
VIII. Intended Audience 19
IX. Curriculum Chart 20
X. Curriculum / Lesson Plans
a. Week 1 (Don’t Touch that Dial! / Rockin’ ‘Round the Clock) 27
b. Week 2 (Surfin’ Safari / Peace, Love, and Music) 37
c. Week 3 (The Songwriter / Feeling the Disco Beat) 46
d. Week4 (I Want My MTV / A Song Can Change the World) 55
e. Week 5 (Music Sampling 101 / Sampling a Dream) 63
f. Week 6 (Brought to You By! / You Can Do it!) 71
XI. References 81
XII. Appendices 85
Introductory Essay
For my capstone project I chose to complete a curriculum design project on popular
music designed for the eighth grade level. I selected this option after three years of
contemplation and sorting through several different capstone possibilities. Ultimately, I realized
that the one idea I kept coming back to was a popular music curriculum that I could utilize in my
middle school classroom. I chose to focus on the eighth grade because, in my experience, it is the
most challenging grade level to motivate and engage in the general music classroom.
I have been teaching general and vocal music at the Sussex School in Sussex, NJ for four
years. During that time, I have been continuously adjusting the general music curriculum. I have
a very supportive administration that has provided my classroom with iMacs and iPads and a
supportive parent teacher organization that has supplied my classroom with guitars and ukuleles.
However, one challenge is that I am the only middle school general music teacher in my district
and there is no supervisor of the arts. In regards to curriculum, it has been up to me to establish a
new program while following state and national standards. I see this as an amazing opportunity
to design my own program, but it can also be overwhelming since I am still fairly new to
teaching middle school. The desire to create an effective program and have the knowledge to
support my curricular decisions led to my pursuit of the Master of Music Education degree from
Kent State University.
One of my strongest beliefs since completing my undergraduate degree is that popular
music should be a part of the music curriculum. I believe it can engage, motivate, and help
students make connections between school and home music. I believe that allowing students to
study the history of popular music and learn how the music they love has developed over time
will establish in them a lifelong appreciation of music. I describe my class to parents and
students as a music experience where we explore a wide variety of music activities, genres, and
instruments. I hope that this approach will allow students to find an aspect of music that they
enjoy even if they typically do not think of themselves as a musician. They may even discover a
lifelong hobby or career path.
Even with all these passions and beliefs, I have been hesitant to use popular music in my
class due to the fear of my ability to support these curricular decisions if ever questioned by
administration or parents. I learned through my undergraduate training that instructing with
music technology is effective for middle school general music, but I did not receive training in
popular music pedagogy. Throughout my graduate studies at Kent State University, I began to
read articles and participate in discussions with classmates about popular music education that
showed there was a wealth of knowledge and literature written about teaching with popular
music. The desire to have a curriculum that was based on, and supported by, research that
aligned with the national and New Jersey state standards led me to create this curriculum design
project. I now know that I will have enough knowledge and access to academic research to
continue to support and develop my program for many years.
I completed the work for this project in multiple steps. First, I did several weeks of
research reading everything I could find about popular music pedagogy. Next, I organized and
drafted a literature review with all the materials I discovered. After completing the review, I
outlined the lessons, goals, and objectives of the curriculum project. Next, I focused on drafting
the lesson plans and aligning each lesson to national and state standards. Throughout the process,
I continued to find additional resources to incorporate into my literature review and continued to
refine my writing and plans.

My overall goal for the curriculum is to provide lessons based on popular music where
students can experience creating and performing using a hybrid approach where the students
engage in project-based activities that require numerous ways of being musical (Tobias, 2016).
The curriculum incorporates many informal learning strategies similar to how students often
learn popular music outside of school including using alternate forms of notation such as
tablature and chord symbol notation sometimes referred to as fake music (Green, 2006). Another
goal is to show the progression of popular music throughout history so that students will have
historical context for the music that they enjoy today. This unit starts with 1950s rock because
the artists and songs of this decade established many of the song structures, chord progressions,
and instrumentations that are still utilized today. The unit progresses through decades and genres
leading to the final two culminating lessons where students apply what they have learned in the
unit while still having choice in the activities they complete.
Through this experience, I have gained a solid curriculum to use in my classroom and
confidence in knowing that my lessons are supported by academic research. I now know that I
could easily defend these additions to my program to parents or administration. Most
importantly, I gained the ability to write and design a curriculum, which is extremely important
since I am the only music educator in my position for my district. I have a wealth of resources to
continue to reference and an even stronger desire to continue improving the general music
program at my school. I hope to make general music class a memorable and fun experience for
every student that comes through the program.

Abstract
This curriculum design project examines the benefits of teaching with popular music while
utilizing technology, informal teaching strategies, and a variety of popular music genres.
Teaching with popular music has been found to motivate students, provide opportunities for
creativity, and allow for improvisation and music arrangement experience. Including popular
music in the classroom makes music instruction meaningful and relevant to students’ lives and
increases participation in school music programs. Utilizing popular music can also help
educators rethink music literacy, create democratic learning opportunities, and help students
have more ownership of their learning. The curriculum is a six-week unit consisting of twelve
lessons aimed at providing hands-on and collaborative activities for eighth grade general music
classes. Students will learn about the history of popular music, learn to perform songs on the
guitar, compose music with GarageBand (a digital audio workstation) and iPad applications,
create music videos and radio broadcasts, explore songwriting and a variety of roles involved in
making music, analyze music samples in popular songs, evaluate popular music from different
decades, and complete a self-led project of their choice.
Keywords: popular music, curriculum, technology, general music, middle school

Define the Project
The Sussex School Popular Music Curriculum Design Project is a six-week course
consisting of twelve lessons aimed at providing hands-on, collaborative activities utilizing
technology and informal teaching practices to teach students about popular music history, as well
as engage in creating and performing music relevant to their lives. Students will gain valuable
experience in composing, arranging, listening, analyzing, evaluating, and performing popular
music. Students will work with their peers in activities designed to motivate and engage even the
most apprehensive music student. Lessons are designed to be accessible to all students regardless
of their musical backgrounds and abilities. The frequent use of music technology throughout the
unit will allow students who are not comfortable singing or playing an instrument to express
their musical creativity (Bauer, 2014). Guitar instruction is another component of the unit
because of its status as “the defining musical instrument in American popular music for the past
six decades” (Thompson, 2011, p. 54). The unit is designed around the idea that music education
is an open-ended journey where engagement in play is beneficial to the overall development of
the music student (Lum, 2016).
New and Innovative
This curriculum is new and innovative because a unit like this has not been completed
before at the Sussex School. The previous general music program primarily focused on
traditional music pedagogy and Western Art music. Since I began teaching at the school, I have
started to introduce more popular music pedagogy in general music class through listening
activities and choral performances but have not completed an in depth curriculum due to the time
restraints and challenges associated with starting a new teaching position.

The goal of this unit is to utilize a hybrid approach to music education where “learners
are involved in varied projects and musical inquiry that involve multiple ways of being musical”
(Tobias, 2016, p. 114). The lessons are designed to utilize technology and digital media, embrace
interrelated but varied ways of making music, and foster collaboration and musical discovery
(Tobias, 2016). I hope to create a program that students can identify with and be excited to be a
part of because it includes music from their lives outside of school and gives them a voice in the
classroom. This unit utilizes new teaching strategies, allowing students to be creative while still
having fun in music class. The curriculum is new and innovative because it uses newer music
technology, which allows individualized instruction based on students’ learning styles (Bauer,
2014).
Review of Literature
It has been fifty-two years since the Music Educators National Conference declared at the
Tanglewood Symposium that popular music should be included in the curriculum to provide
students with a rich and varied music experience (Choate, 1968). This historic symposium is
frequently referenced in articles on popular music pedagogy because it was the first time that
popular music was recognized as worthy of inclusion in public schools’ music programs
(Humphreys, 2004). However, even with this declaration being made so long ago, there is still a
lack of consistent popular music instruction happening in American schools. While other
countries around the world such as Finland, Sweden, United Kingdom, Scandinavia, and
Australia have actively embraced the inclusion of popular music into their curricula, many
teachers in the United States still do not see a need to use popular music in their classrooms
(Allsup, 2011; Dunbar-Hall & Wemyss, 2000; Green, 2006).

In Finland and Sweden, they have had robust teacher education programs at their
universities on the pedagogies of popular music for several decades (Allsup, 2011). Australia
might have the most thriving popular music curricula in the world having added popular music to
their programs in the 1970s (Dunbar-Hall & Wemyss, 2000). This is not the case in America
where many teachers cite the lack of training in popular music as a reason to avoid teaching it to
students (Springer & Gooding, 2013). In one study, 86% percent of music teachers stated that
they had one or zero undergraduate courses that included techniques for teaching popular music,
and none of the participants stated that they felt prepared to teach popular music after college
(Springer & Gooding, 2013).
Another reason music educators avoid teaching today’s music is because music trends are
constantly evolving and require teachers to continuously be studying new music and sometimes
even new instruments or production styles to provide instruction in it (Pembrook, 1991). It
certainly requires less preparation to teach the same Mozart symphony each year using decades
of curriculum resources and activities already available for the classroom. Love (1991) pointed
out that most teachers model their teaching style based on their own experiences, and it is a real
challenge to be creative in new areas of teaching. In addition, some schools that teach popular
music do so for the wrong reasons using it to bait-and-switch students into learning classical
music (Cutietta, 1991). A review of literature on the topic shows that there is a lot of support for
and positive outcomes from including popular music in the curriculum including democratizing
the music classroom, making school music relevant for students, rethinking music literacy, and
modernizing music instruction.

Democratizing the Music Room
While the inclusion of popular music in music education may vary greatly from school to
school, support for its inclusion among academics and researchers is strong. At Teachers
College, Columbia University in New York City, Randall Allsup (2011) teaches a course to
music education students on popular music instruction with the goal of diversifying and
revitalizing how music is taught in public schools. Allsup (2011) found that teaching popular
music can provide democratic learning opportunities for students as they work with their teacher,
who acts as a facilitator, and have input into the musical repertoire being studied. Kallio (2017)
reinforced this idea by stating, “with schools increasingly aiming towards democratic and
inclusive practices and policies, the music teacher is no longer restricted to teaching a narrow
selection of repertoire” (p. 319). Varied repertoire can lead to discussions on social issues,
ethics, gender representation, violence, and commercialism, which will make students more
aware of the societal impact of music and help students make sense of the world (Allsup, 2011).
Popular music’s inclusion in the curriculum can also be seen as a form of multiculturalism as
each genre is connected to lifestyle choices and may be linked to specific ethnicities (Dunbar-
Hall & Wemyss, 2000).
Making School Relevant and Meaningful for Students
Students learn best when new concepts are presented within a familiar context that is
already understood (Wiggins, 2015). Including popular music in the curriculum makes school
music relevant to students and allows them to make these connections between school music and
the music they listen to at home (Mills, 2000). Studying students’ favorite music will also
encourage open conversations in the classroom, generate enthusiasm, increase the time they
spend studying music, and allow them to believe that they can become true musicians (Mills,
2000). Popular music can bring valuable music listening experiences to the music room by
having students analyze lyrics, imagery, musical moods, and emotional affect (Kaillio, 2017).
Bringing students’ musical experiences into the classroom creates an “environment in which
students are able to generate, explore, and process knowledge” (Kallio, 2017, p. 320).
Perhaps the most compelling support for including popular music in the classroom comes
from research conducted by Green (2006). Green (2006) proposed that students become
disinterested and have negative responses to music that they do not find meaningful to their lives.
This lack of meaning leads students to learn music on their own using informal learning
techniques. Some of these informal strategies include choosing music themselves, copying
recordings by ear, working in groups, learning in individualized ways, and through a mixture of
listening, performing, improvising, and composing music (Green, 2006). Green (2006) brought
these informal learning practices into the classroom and found students were able to successfully
create and perform music with minimal guidance from their teacher. Students liked being
afforded the opportunity to create music relevant to their lives, learned more about music
making, improved their music listening skills, and enjoyed having their teachers only provide
assistance as needed (Green, 2006). Teachers found that students were highly cooperative,
applied themselves, and that they learned more about their students’ abilities and characteristics
(Green, 2006).
In addition, Green (2004) and Bledsoe (2015) interviewed several successful popular
musicians and found that they reported feeling alienated during traditional classroom music
instruction when they were in school. These musicians reported that their schools and their
teachers did not recognize, reward, or help them pursue popular music (Green, 2004). They felt
that their teachers were oblivious to their enthusiasm for music learning outside of school
(Green, 2004). These students taught themselves and learned from their peers to play guitar,
created their own bands, and developed negative feelings toward their school music programs
(Bledsoe, 2015). By creating a space for students who learn music informally, educators can
provide students with meaningful experiences using music they can recognize and avoid having
young students who do not identify with traditional music instruction quit their programs (Green,
2004).
Rethinking Music Literacy
Popular music is not commonly notated with the traditional notation that music educators
are accustomed to teaching (Dunbar-Hall & Wemyss, 2000). To teach this kind of music,
teachers must accept tablature, fake music, or instructional videos as acceptable methods of
learning to play an instrument (Abrahams, 2015; Thompson, 2011). Thompson (2011) stated,
“the use of tablature would build a vital bridge between informal and formal music instruction,
and empower students to engage the range of their musical learning in both settings” (p. 53). In
addition, notation using chord symbols and lyrics, sometimes called fake music, is another type
of informal music reading that requires the performer to improvise an accompaniment based on
chords and make decisions about how the chords will be performed regarding inversions,
arpeggiation, and voice-leading. The performer might not even be aware that they are making
these musical decisions as they aim to play what sounds the most aesthetically pleasing. Fake
music is not all that different from lead sheet notation used in jazz. However, one difference is
that fake music requires the performer to learn the melody by ear, because the notation does not
provide any indication of the melody. This required ear training is another musical skill being
developed by using the fake music method of music notation. Dunbar-Hall and Wemyss (2000)
stated that turning “lead sheet into a performance requires mastery of numerous musical skills
and knowledge of music theory which the passive observation of a full score cannot teach” (p.
25).
The use of instructional tutorial videos on sites like YouTube is another way that students
are learning to play music today. With this method, students can completely bypass all music
notation forms and simply watch and learn how to perform their favorite music. Teachers can
capitalize on students’ enthusiasm for learning music this way by allowing class time to help
students find and use instructional videos. Abrahams (2015) pointed out that since students are
more likely to search online for answers to musical questions rather than ask their teachers, it is
important for teachers to show students how to navigate the resources that are available to them
and encourage independent learning. Tobias (2013) even suggested that the idea of music
notation should be expanded to include the visual aspects of MIDI data, equalization levels, and
waveforms as many students use these features to create their own music at home. Teachers may
argue that music literacy is one of the most important aspects of music education, but classical
musicians often wish they had the ability to improvise and not feel tethered to sheet music,
which are skills that are developed informally by popular musicians (Rodriguez, 2004).
Modernizing Music Instruction
Allsup (2011) preferred to think positively and view the lack of established popular
music pedagogy as an opportunity to create new ways of teaching music because it would be a
failure to try and force these new music styles into the same old teaching practices. For example,
recent popular music has placed a large focus on DJs and producers. Colquhoum (2018) believes
music educators can benefit from these new trends by having students study production
techniques and having them distinguish if a song is a sample, remix, remake, original or cover.
This allows students to understand the importance of the different roles in music and possible
future career paths.
In addition, students can learn a lot of musical concepts through the study of the popular
music genre hip-hop. Students can learn from hip-hop by expressing individually as recreating
others’ music is not a common practice in the hip-hop community (Kruse, 2016). If previously
created music is being used in hip-hop, it is in the form of a remix, sample, or in other innovative
ways because “to be a rapper, producer, or DJ in hip-hop is to always be creating unique work”
(Kruse, 2016, p. 54). Hip-hop is often stereotyped as being inappropriate for the school
environment, however, there are plenty of hip-hop songs that do not include profanity and edited
versions of tracks are available (Kruse, 2016). This idea aligns well with the music education
national standards where creating is a major component. It is more plausible to have young
music students create a remix or use a sample than expect them to be able to compose a classical
symphony using music notation. The concept of sampling can lead to cross-curricular activities
where students sample content from other subject areas such as history or language arts (Kruse,
2016).
Electronic Dance Music (EDM) is another form of music that can teach many valuable
concepts to students as its creation relies heavily on collaboration, creativity, individuality,
improvisation, and musicianship (Halick, 2016). These are all areas that music educators have
always strived to include in their classrooms and major focal points of the national standards for
music education. By reviewing current EDM hit songs, students will see multiple artists credited
with the creation of the music. This can encourage students to work together and learn from each
other. EDM is created mostly with electronic instruments, computers, sequencers, drum
machines, synths and other digital instruments. Exploring these instruments introduces a whole
new world of possibilities for students to create music and replicate the sounds they love to listen
to at home. Using technology makes music making accessible by allowing all students to be able
to create music, regardless of perceived ability in the traditional methods of music making or
notational literacy (Dunbar-Hall & Wemyss, 2000).
Other musical concepts that EDM teaches include layering, the use of repeated patterns
or loops, and intricate rhythms. EDM can even be discussed in relation to other dance-based
genres in history such as swing. Halick (2016) stated that EDM provides opportunities for
students to explore creative movement and possibly perform as DJs at school dances or other
events to debut original tracks created in music class. This is a great way to connect music class
with the larger school community.
Tobias (2015) points out that music educators often overlook the fact that most of the
music we listen to is recorded, which allows for different types of aural analysis. For example,
students can analyze digital effects, the balance between instruments, the placement of
instruments in the stereo field, vocal processing, and production techniques (Tobias, 2015). A
study conducted by Tobias (2013) supports the idea of incorporating production into school
music programs to teach students how to make informed decisions when recording their own
music. Students can benefit from expanding ear training from intervals and solfege to being able
to recreate equalization, effects, and other sonic elements of recordings (Tobias, 2013).
Other ways students might engage with popular music include recreating songs or beats
using technology, curating playlists by connecting musical themes and styles, beat matching to
allow the switching between, and mixing between songs as done by DJs (Tobias, 2015). All of
these activities require students to analyze tempo, dynamics, style and tonality. The national
standards for music education specify analysis as essential to a strong music education, and this
should not be limited to the Roman numeral analysis that most undergraduate music majors
study.
Contribution to the Curriculum
This project will contribute to my school curriculum by making general music
meaningful and relevant to students, allowing students to have a voice in the music room,
engaging students in hands-on music activities that include composition, arrangement, and
improvisation, and by giving students a historical overview of the development of popular music.
Using music that students enjoy and are familiar with will peak their interest in music learning
(Green, 2004). Furthermore, popular music can be used to motivate, grab and maintain students’
attention, and increase student involvement in the classroom (Springer & Gooding, 2013). By
bringing informal learning techniques into the classroom, the curriculum will help students
participate in the “culture by contributing artifacts, influencing others, and determining new
artistic directions for the future” (Rodriguez, 2004, p. 21).
Practical Implications
The practical implications of launching this curriculum are to change students’ attitudes
toward music in school and reach a broader portion of the school population other than the
twenty percent of students that typically participate in band or chorus (Dammers, 2010). This
project-based curriculum provides opportunities for students to “explore, experiment with,
engage in inquiry about, and be creative with sound in ways that might not fit within preplanned
curricular structures” (Tobias, 2016, p. 118). Hopefully, students will look forward to music
class at Sussex School and become lifelong music appreciators as a result of this curriculum
being implemented.
Another implication of launching this curriculum is to increase participation and student
retention in the music program. A study by Kuzmich (1991) demonstrated the impact that
popular music can have on enrollment in music programs. After noticing that many young
students studied popular music outside of school but were not participating in the school
program, Kuzmich (1991) added instruction in electric guitar, drums, electric bass, and had the
pep band perform popular songs. The results were a surge in enrollment in his music classes
(Kuzmich, 1991).
Long-Term Values
Long-term values of this curriculum project are to discover new methods and techniques
for teaching not based on the Western Art music tradition, create a democratic classroom
environment, and to motivate students to continue to participate in music education. Students’
increased interaction with technology and digital media in this unit will help establish a
foundation for lifelong exploration and engagement in music creation (Tobias, 2016). This
project will start the process of re-thinking my approach to music instruction, which should
always be the goal of educators when creating curriculum. Music educators have a responsibility
to prepare students for the world around them and not a world that once was. Dunbar-Hall and
Wemyss (2000) stated, “advances in music education through the acceptance of popular music
are emblematic of a music education futurism and a period in which philosophies of music
education continue to evolve” (p. 31).
This project and its implementation may help educators realize that instruction should be
based on all music and not personal comfort. Allsup (2011) argued that there is no value in
debating over musical preferences. The goal should be to help students grow and to provide them
with positive experiences with all forms of music (Allsup, 2011). I hope that one day my music
program will provide “a window into the cultural history of the past, record the cultural history
of the present, and set a foundation for a cultural history of the future” (Abrahams, 2015, p. 98).
It is also the hope to create music students who show “balanced judgment, allowing considered
responses and evaluation of different music in relation to a variety of criteria” (Green, 2006, p.
104).
Standards
The main anchors of the National Standards created in 2014 by the National Association
for Music Education are creating, performing, responding, and connecting (Schuler, Norgaard, &
Blakeslee, 2014). Each anchor has subcategories that focus on presenting, analyzing, and
evaluating music. The main anchors for the New Jersey state standards include performance,
history of the arts and culture, aesthetic responses and critique methodologies, and the creative
process (Schmid, 2009). Popular music is useful for promoting evaluation and analysis because
the music can be evaluated in many different ways. All music genres have different singing and
musical styles that are accepted by different audiences, which can lead to in-depth analysis,
comparisons, and discussions (Rodriguez, 2004). The results of a study conducted by Springer
and Gooding (2013) showed that teachers found popular music to be an effective tool for
addressing the National Music Standards especially the standards that involve listening and
singing. Pembrook (1991) pointed out that popular music can be effectively used to study all the
elements of music including melody, rhythm, harmony, and timbre, which are all areas of focus
in the national standards and the NJ state standards. This popular music curriculum will address
the performance standards by having students learn and perform songs on the guitar as well as
perform live versions of songs they write. Creating is a large focus of the curriculum and almost
every lesson aligns with this standard by having students compose melodies, backing tracks,
beats, songs, lyrics, and music videos. Each lesson requires students to respond to music as they
listen to a variety of genres from different decades, discuss the music with their peers, and apply
what they have learned to the music that they compose. Students will also be making connections
between music and history of the arts and culture by listening and discussing popular music from
the 1950s until present day. Lastly, each lesson asks students to evaluate and critique music
made by their peers as well as presenting their opinions on music throughout history.
Intended Audience
The intended audience for this curriculum is all eighth grade general music students at the
Sussex School. All students at the Sussex School are required to take general music class for one
marking period, which last for nine weeks. Students taking the class have all different musical
backgrounds. In addition to general music class, approximately a quarter of the students
participate in band and/or chorus. This six-week unit will be completed following the previously
established three-week guitar unit to complete the eighth grade general music curriculum.
Students in sixth and seventh grade music class study Western Art music and other periods of
music history so that this eighth grade curriculum is sequenced appropriately.

Curriculum Chart
Lesson 1: Don’t Touch the Dial! - 1950s

Teaching Focus:
 Students will learn about the popular music and artists of the 1950s.
 Students will learn how to record/edit their voices, add sound effects, and insert clips of
songs within GarageBand.
Learning Goals:
 Students will be able to demonstrate knowledge of a 1950s Rock and Roll artist and his
music through the creation of a radio-style podcast.
 Students will be able to record their voices, edit their voices, add sound effects, and insert
audio clips into a podcast.
 Students will be able to conduct research on a musician’s life then analyze and discuss
the information with their peers.
National Standards: NJ State Standards:
 MU:Re7.1.8a  1.2
 MU:Re9.1.8a  1.3
 MU:Cn11.0.8a
Assessment Methods:
 Teacher Observation
 Peer Review
 Project Rubric
Lesson 2: Rockin’ Round the Clock - 1950s

Teaching Focus:
 Students will learn to play a 1950s Rock and Roll song (transposed to the key of G) on
the guitar.
 Students will become familiar with chord progressions and song structures.
Learning Goals:
 Students will be able to perform a verse of a 1950s rock song of their choice on guitar
using the chords G, C, and D.
 Students will be able to utilize GarageBand to record a performance of their chosen song.
 Students will be able demonstrate proper guitar playing technique and apply a basic
strumming pattern to their performances.
 MU:Pr6.1.8a  1.3
 MU:Pr4.2.8b
Assessment Methods:
 Project Rubric
Lesson 3: Surfin’ Safari - 1960s

Teaching Focus:
 Students will become familiar with a popular genre of the 1960s (Surf Rock), and gain
experience reading and playing guitar from tablature notation.
 Students will understand the different between using chords for an accompaniment and
playing a melody using tablature.
Learning Goals:
 Using tablature notation students will be able to perform the main riff of the song “Wipe
Out” by the Surfaris.
 Students will be able to demonstrate proper guitar playing technique.
 Students will be able to compare and contrast instrumental surf rock songs and vocal surf
rock songs.
 MU:Pr6.1.8a  1.3
 MU:Pr4.2.8b
Assessment Methods:
 Performance Rubric
Lesson 4: Peace, Love, and Music - 1960s

Teaching Focus:
 Students will learn about the popular music and artists of the 1960s and create a backing
track recreating the sound of 1960s popular music.
 Students will also learn how to use and edit loops in GarageBand, become familiar with
basic song structure, and experience arranging instruments for a track.
Learning Goals:
 Using loops in GarageBand, students will be able to compose a backing track in the style
of a 1960s popular music genre of their choice (modeled after a song from a teacher-
provided playlist).
 Students will be able to demonstrate knowledge of the musical elements in different
1960s music genres.
 Students will be able to utilize the ABABCB song structure in their compositions.
 Students will be able to list and discuss the popular music genres of the 1960s.
 MU:Cr1.1.T.IIa  1.1
 MU:Cr2.1.8a
 MU:Cr3.1.8a
 MU:Cr3.2.8a
Assessment Methods:
 Peer Review
 Project Rubric
Lesson 5: The Songwriter - 1970s

Teaching Focus:
 Students will learn about songwriting and popular music songwriters of the 1970s.
 Students will learn how to use a chord wheel, create a chord progression, and become
familiar with different accompaniment patterns.
Learning Goals:
 Using Chrome Music Lab’s arpeggios app, students will be able to arrange a chord
progression in a key of their choice.
 Students will be able to identify songwriters of the 1970s.
 Students will be able to select a tempo, instrument, and accompaniment style for their
chord progressions.
 Students will be able to outline their chord progressions using lead sheet style music
notation.
 MU:Cr1.1.T.IIa  1.1
 MU:Cr2.1.8a
 MU:Cr2.1.8b
Assessment Methods:
 Self-Reflection
 Project Rubric
Lesson 6: Feeling the Disco Beat - 1970s

Teaching Focus:
 Students will learn how to create a standard four beat drum pattern in a disco style. This
activity will familiarize students with the disco sound, which was a popular music style in
the 1970s and is sometimes applied to new music today.
 Students will learn how to use a drum machine.
Learning Goals:
 Using the drum machine app DM1 on iPads, students will be able to create a disco beat.
 Students will be able to identify musical elements of the disco style.
 Students will be able to arrange drum sounds into a four beat pattern.
 Students will be able to critique and analyze disco musical elements and identify them in
current popular music.
 MU:Cr1.1.T.IIa  1.1
 MU:Cr2.1.8a
 MU:Cr2.1.8b
Assessment Methods:
 Self-Reflection
 Project Rubric
Lesson 7: I Want my MTV! - 1980s

Teaching Focus:
 Students will learn about the influence of MTV on popular music, pop culture, and the
music industry.
 Students will also learn how to create and edit their own music videos using iMovie.
Learning Goals:
 Using iMovie and a 1980s popular song of their choice, students will be able to create a
music video with an introduction in the style of an MTV VJ.
 Students will be able to demonstrate knowledge of movie editing techniques and iMovie
features.
 Students will be able to describe MTV’s impact on music and popular culture.
 Students will be able to analyze how visual media impacts their own view of music.
 MU:Re8.1.T.IIa  1.2
 MU:Cn11.0.8a
Assessment Methods:
 Peer Reflection
 Project Rubric
Lesson 8: A Song Can Change the World - 1980s

Teaching Focus:
 Students will learn about and experience writing lyrics. This is a good entry point into
songwriting, which students will be working on in a future lesson.
 Students will learn about historical music events that took place during the 1980s.
Learning Goals:
 Students will be able to write lyrics to a charity song for a cause of their choice.
 Students will be able to identify musical charity events from the 1980s.
 Students will be able to reflect on the ability of music to convey a message, unite people,
and contribute to a cause.
 MU:Cr2.1.8a  1.1
 1.2
Assessment Methods:
 Peer Review
 Project Rubric
Lesson 9: Music Sampling 101 - Music Today

Teaching Focus:
 Students will learn about sampling in music so that they can utilize samples in music they
create in the future.
Learning Goals:
 Students will be able to critique and analyze samples used in various songs
 Students will be able to compare music samples with the original source material.
 Students will be able to identify sampling techniques used throughout music history.
 MU:Re9.1.8a  1.4
 MU:Re7.1.6a
 MU:Re7.2.8b
Assessment Methods:
 Self-Reflection
 Project Rubric
Lesson 10: Sampling a Dream - Music Today

Teaching Focus:
 Students will experience sampling using Martin Luther King Jr.’s “I Have a Dream
Speech” and compose music reflective of the message in the speech.
Learning Goals:
 Students will be able to select samples from Martin Luther King Jr.’s “I Have a Dream
Speech” and use them for musical purposes.
 Students will be able to compose music reflective of a major historical speech.
 Students will be able to apply effects and manipulate audio.
 Students will be able to arrange, mix, and layer music with audio samples using
GarageBand.
 MU:Cr1.1.T.IIa  1.1
 MU:Cr2.1.8a  1.2
 MU:Cr3.1.8a
 MU:Cr3.2.8a
Assessment Methods:
 Peer Review
 Project Rubric
Lesson 11: Brought to You By! - Music Roles

Teaching Focus:
 Students will learn about and experience the different roles involved in the creation of
popular music including songwriter, audio engineer, producer and performer.
 Students will gain experience in recording, songwriting, and performing original music.
Learning Goals:
 Students will be able to work collaboratively in various music roles including audio
engineer, songwriter, producer and performer to create and record at least one verse or
chorus of a song.
 Students will be able to compose lyrics and music for a song.
 Students will be able to demonstrate knowledge of song structure, chord progressions,
and beat creation.
 Students will be able to discuss the differences between various roles in the music
creation process.
 Students will be able to perform the song that they compose.
 MU:Cr1.1.T.IIa, MU:Cr2.1.8a  1.1
 MU:Cr3.1.8a , MU:Cr3.2.8a  1.3
Assessment Methods:
 Group Reflection
 Project Rubric
Lesson 12: You Can Do it! - Choice Project

Teaching Focus:
 Students will complete a self-led project based on one of the previously learned activities
from this unit. This could include learning a new song on guitar or piano, writing a song
or music utilizing GarageBand, or creating a music video.
Learning Goals:
 Students will be able to work individually or with a small group to complete a project of
their choice based on a music activity from this unit.
 Students will be able to construct their own musical learning experience.
 Students will be able to perform, compose, and/or record music.
 Students will be able to demonstrate knowledge gained from this unit by presenting their
completed projects.
 MU:Cr3.2.8a, MU:Pr4.2.8b  1.1
 MU:Pr4.3.8a , MU:Pr6.1.8a  1.3
Assessment:
 Self-Reflection
 Project Rubric
Projected Learning Outcomes
The learning outcomes presented on the curriculum chart (modeled after the capstone
course curriculum project sample on Blackboard) are designed to align with music standards and
engage students in a variety of music activities related to popular music. The curriculum is
heavily focused on project-based learning and actively creating music. Learning goals were
modeled after the hybrid music classroom approach as presented by Tobias (2016) where
“students engaged in multiple projects and forms of musical engagement, some designed by a
music educator, some co-created by a teacher and students, and some that emerge out of students
inquiry, experimentation, and musical play” (p. 118). One projected learning outcome is to
empower students with musical understanding so that they can become independent music
learners in the future (Wiggins, 2016). In addition, students will have an understanding of
popular music history and how music has evolved overtime. Many of the lessons are
composition-based because creating music allows students to personally express themselves,
which will make them excited about participating in general music class (Wiggins, 2016).
Hopefully this curriculum will help inspire students to continue to create music, and instill in
them a lifelong appreciation of music.

Lesson Plans
Lesson 1: Don’t Touch that Dial! – 1950s
Class Information
 Grade level: 8th Grade
 Time Length: Three 40-minute periods.
 Prior Learning: No prior knowledge is required.
Special Modifications and/or Accommodations for Exceptionalities
 Struggling students will be placed with a group of students that can help guide them
through the project. Students having difficulty completing the research portion of this
assignment will be give a brief, teacher-created biography that they can record for their
podcast.
 Advanced students will be given the opportunity to assist other classmates when their
project is complete.
 Student work will be additionally modified as needed to follow student’s individual
education plans (IEPs) and 504 plans.
Central Focus (Teaching Objective)
 Students will learn about the popular music and artists of the 1950s.
 Students will also learn how to record/edit their voices, add sound effects, and insert clips
of songs within GarageBand, which will be useful for future lessons in this unit.
Standards for this Lesson
 National Music Core Standards addressed:

o MU:Re7.1.8a Select programs of music (such as a CD mix or live performances)
and demonstrate the connections to an interest or experience for a specific
purpose.
o MU:Re9.1.8a Apply appropriate personally developed criteria to evaluate musical
works or performances.
o MU:Cn11.0.8a Demonstrate understanding of relationships between music and
the other arts, other disciplines, varied contexts, and daily life.
 NJ state music standards addressed:
o 1.2 History of the Arts and Culture: All students will understand the role,
development, and influence of the arts throughout history and across cultures.
o 1.3 Performing: All students will synthesize skills, media, methods, and
technologies that are appropriate to creating, performing, and/or presenting works
of art in dance, music, theatre, and visual art
Behavioral Objectives for this Lesson
 Students will be able to demonstrate knowledge of a 1950s Rock and Roll artist and his
music through the creation of a radio-style podcast.
 Students will be able to record their voices, edit their voices, add sound effects, and insert
audio clips into a podcast.
 Students will be able to conduct research on a musician’s life then analyze and discuss
the information with their peers.
Teaching Materials
 iMacs with GarageBand

 Classics for Kids Mozart podcast:
https://www.classicsforkids.com/shows/shows.php?id=65
 “Elvis Presley: From Rock-a-Billy to the King” article (see Appendix A) from
Ammons, M. (2010). American popular music. Greensboro, NC: Carson-Dellosa.
 Top 10 Rock and Roll Pioneers YouTube video: https://youtu.be/lYy-wU1e2tU
 1950s Rock Music Spotify Playlist: https://goo.gl/8n6H3N
 Research guide (See Appendix B)
 Peer review sheet (See Appendix C)
Procedures
I. Introduction
 Ask the class to identify any band or musician that created rock and roll and write their
responses on the board.
 Ask the class which decade they think started rock and roll and write response on the
board.
 Circle the correct responses and erase any incorrect ones.
 Continue by having students read the article “Elvis Presley: From Rock-a-Billy to the
King” and have students write down any artist they read about in article.
 As a class view the video “Top 10 Rock and Roll Pioneers” and have students add to
their notes any additional artist that they learn about.
 After reading the article and viewing the video discuss as a class the artists they learned
about and add them to the list on the board.

 The final list on the board should read: Chuck Berry, Elvis Presley, Little Richard, Jerry
Lee Lewis, Fats Domino, Bo Diddley, Buddy Holly, Ritchie Valens, Carl Perkins, Bill
Haley & his Comets.
 Think-Pair-Share: Ask students to share additional facts with a partner/group that they
learned from video and article.
II. Central Part of Lesson
 Explain the project directions
o Working with a partner or group of three, students should pick one of the artists
and create a radio show style podcast about the artist’s life.
o The podcast should include a spoken biography and at least three clips of the
musician’s music.
o Students should use the teacher-curated 1950s rock playlist to listen to music by
the artist and select songs to use clips of in their podcast.
o Play the Mozart Classics for Kids podcast as an example for the class.
 Demonstrate the following:
o Opening a new file in GarageBand and selecting voice track.
o Recording vocal audio, editing it, and adding effects.
o Importing songs and creating clips.
o Adjusting volume by using automation.
 After the demonstration, pass out the research guide and allow students to research their
chosen artist.
 Once the research is complete they should organize the information into paragraphs that
they can read for their podcasts.

 Monitor student progress and provide assistance as needed.
III. Closure
 Once the radio show podcasts are complete, each group will review several of their peers’
projects using the peer review sheet. After the review process, students will make
adjustments to their projects based on their classmates’ suggestions.
 Share the final podcasts with the class.
 The podcast will be posted on the class site for students’ parents to access and they will
be graded using the rubric.
Assessment
 The teacher will assess the students informally through observation during the lesson.
 Upon completion, students will review their peers’ podcasts using the peer review sheet.
 The podcasts will further by assessed by the teacher using the project rubric.
Project Rubric
Excellent Good Average Fair Fail

(90-100) (76-89) (61-75) (41-60) (0-40)
Completed Podcast includes all the Podcast includes Podcast is missing Podcast is Project not
Podcast required facts about the most of the required several of the missing many of complete.
artist’s life, the recorded facts about the required facts about the required facts (0-30 points)
audio is clear, includes 3 artist’s life, the the artist’s life, the about the artist’s
clips of songs by the recorded audio is recorded audio is life, the recorded
artist, and makes use of clear, includes 2 mostly clear, audio is fuzzy or
audio effects and clips of songs by the includes 1 clip of a inaudible,
automation in artist, and makes use song by the artist, includes 1 clip of
GarageBand. of minimal audio and makes use of a song by the
(61-70 points) effects and minimal audio artist, and does
automation in effects and not make use of
GarageBand. automation in sound effects or
(51-60 points) GarageBand. automation in
(41-50 points) GarageBand.
(31-40 points)
Individual Student participates fully Student participates Student participates Student lacks Student does
Participation in all aspects of the in all aspects of in some parts of the participation and not
lesson. Student shows lesson but does not lesson but is easily only completes participate in
enthusiasm and works apply their best distracted. parts of the the lesson.
hard. effort. (20-24 points) project. (0 Points)
(30 points) (25-29 points) (15-19 points)
Lesson 2: Rockin’ ‘Round the Clock – 1950s
Class Information
 Time Length: Two, 40-minute periods.
 Prior Learning: Students will need the knowledge of reading chord charts, strumming the
guitar, and the G, C, and D chords learned about in their previous guitar unit (as part of
Sussex Schools eighth grade general music curriculum).
 Struggling students can use a chord buddy learning system to help them perform the
songs on guitar.
 Advanced students will be given the opportunity to learn additional songs or assistant
other students.
 Students will learn to play a 1950s Rock and Roll song (transposed to the key of G) on
the guitar.
 Students will also become familiar with chord progressions and song structure, which
will be helpful for future lessons in this unit.
o MU:Pr6.1.8a: Perform the music with technical accuracy, stylistic expression, and
culturally authentic practices in music to convey the creator’s intent.

o MU:Pr4.2.8b When analyzing selected music, sight-read in treble or bass clef
simple rhythmic, melodic, and/or harmonic notation.
of art in dance, music, theatre, and visual art.
 Students will be able to perform a verse of a 1950s rock song of their choice on guitar
using the chords G, C, and D.
 Students will be able to utilize GarageBand to record a performance of their chosen song.
 Students will be able demonstrate proper guitar playing technique and apply a basic
strumming pattern to their performances.
Teaching Materials
 Chord sheet with several rock songs (see Appendix D):
o “Rock Around the Clock”
o “Hound Dog”
o “That’ll Be the Day”
o “Johnny B. Goode”
 Capos
 Guitars
 Chord Buddy (www.chordbuddy.com)
 1950s Rock Music Spotify Playlist: https://goo.gl/8n6H3N

Procedures
I. Introduction
 After the previous lesson where students created podcast on 1950s musicians students
should have a basic understanding of the music and artists from that time period.
 Have one of the four song options playing while students enter the classroom.
 Allow students to listen and ask them if they can name the song/artist that is playing.
 Explain that one aspect of early rock and roll that made it so appealing to the youth was
its simplicity. Many of the songs use only three chords.
 Explain that for today’s lesson students will be learning how to play a verse from one of
four 1950s rock songs.
 Review the basics of reading chord diagrams for the chords G, C, and D.
 Allow the class time to listen to the four song options so that they can each select the
song they want to learn.
o “That’ll Be the Day” by Buddy Holly
o “Johnny B. Goode” by Chuck Berry
o “Rock Around the Clock” by Billy Haley and his Comets.
o “Hound Dog” by Elvis Presley
 Demonstrate how to read the chord lead sheet notation (fake music) consisting of chords
over the lyrics.
 Also demonstrate the strumming pattern. Students may either use a four beat, quarter note
downward strum or an eighth note down-up strum, whichever they feel more comfortable
performing.
 Provide students with the chord sheets for each song all transposed to the key of G.
o Once students have learned the song, they can use the capo (as noted on the chord
sheet) to play along with the recordings.
o Demonstrate how to use the capo.
 Demonstrate how to record the guitar part into GarageBand and use different amplifiers
in the program. Singing is not required but highly recommended.
 Allow students time to practice individually and assist as needed.
III. Closure
 Once students are comfortable with performing the verse they can go to a computer and
record themselves playing the chord progression in GarageBand. They are encouraged to
experiment with different amplifiers in the program to see how the sound changes.
 Performances will be played for the class to hear students’ different versions of the songs.
 Students can download an mp3 of their performance and submit for review based on the
rubric.
 Extension: Using GarageBand, add a drum loop to their recording.
Assessment
 The teacher will assess the students informally through observation during the entirety of
the lesson.
 The recorded performance will further by assessed by the teacher using the project rubric.
Project Rubric

(90-100) (76-89) (61-75) (41-60) (0-40)
‘50s rock song The performance The performance The beat and The beat and Student
performance maintains a steady beat maintains a fairly tempo of the tempo of the does not
and tempo. Chords, steady beat and performance is performance is learn song
chord changes, and tempo. Chords, chord inconsistent but continually or does not
strumming pattern are changes, and the chords, chord varying. The submit
smooth and consistent. strumming pattern changes, and chords, chord recording.
Student used a rock are mostly smooth strumming pattern changes, and (0-30
amplifier in and consistent. sound fairly strumming pattern points)
GarageBand. Student used a rock smooth. Student are sloppy.
(61-70 points) amplifier in used a rock Student may or
GarageBand. amplifier in may not have
(51-60 points) GarageBand. used a rock
(41-50 points) amplifier in
GarageBand.
(31-40 points)
Individual Student participates Student participates Student Student lacks Student

Participation fully in all aspects of in all aspects of participates in participation and does not
the lesson. Student lesson but does not some parts of the only completes participate
shows enthusiasm and apply their best lesson but is parts of the in the
works hard. effort. easily distracted. project. lesson.
(30 points) (25-29 points) (20-24 points) (15-19 points) (0 points)
Lesson 3: Surfin’ Safari – 1960s
Class Information
 Prior Learning: Students will need the knowledge of reading guitar tablature that was
learned in their previous guitar unit (as part of Sussex Schools eighth grade, general
music curriculum).
 Struggling students will only be required to learn the first line of tab and may perform it
on any string.
 Advanced students will be given the opportunity to learn additional surf rock songs such
as “Misterlou” or help other students.
 Students will become familiar with a popular genre of the 1960s (Surf Rock), and gain
experience reading and playing guitar from tablature notation.
 Students will understand the different between using chords for an accompaniment and
playing a melody using tablature, which will be useful as they craft songs in future
lessons.

o MU:Pr6.1.8a: Perform the music with technical accuracy, stylistic expression, and
 Using tablature notation students will be able to perform the main riff of the song “Wipe
Out” by the Surfaris.
 Students will be able to demonstrate proper guitar playing technique.
 Students will be able to compare and contrast instrumental surf rock songs and vocal surf
rock songs.
Teaching Materials, Repertoire, Equipment &/or Technology to be Used
 Guitar Tablature for “Wipe Out” (see Appendix E) from
Schroedi. J. (2012). Guitar tab method. Milwaukee, WI: Hal Leonard.
 Spotify playlist of surf rock songs: https://goo.gl/DM4qpm
 Electric guitars and headphone amps
 “The Origins of Surf Rock” article (see Appendix F) from https://bit.ly/2V9XmsK
Procedures
I. Introduction
 While the students enter the classroom have “Wipe Out” by The Surfaris playing.
 Once they are settled, ask the students what this music makes them think or? Listen to
responses.
 Identify the song as “Wipe Out” by the Surfaris, the genre as surf rock, and the time
period as the early 1960s.
o Ask the students to identify something unique about the song? (it is instrumental)
 Ask the class why they think the genre was called surf rock and listen to responses.
 Explain that surf rock songs were usually about surfing and the beach.
 Explain that not all surf rock songs were instrumental and play clips of various popular
surf rock songs including:
o Dick Dale and the Del-Tones: “Miserlou”
o Chantays: “Pipeline”
o Duane Eddy: “Rebel Rouser”
o The Ventures: “Walk Don’t Run”
o The Beach Boys: “Surfin’ Safari” and “Surfin’ USA”
o Jan and Dean: “Little Old Lady from Pasadena”
 Read “The Origins of Surf Music” as a class and have the students share something they
learned from the article.
 Explain that for this lesson, students will be learning how to play the main riff to “Wipe
Out.”
 Display the tablature on the board and review how to read this form of notation. Provide
the class with printed copies.
 Allow students to get guitars and begin practicing the song.

 Students can access a recording of the song online and work with a partner.
 Monitor student progress and assist as needed.
III. Closure
 Once students are comfortable with the riff they can perform it individually for the
teacher for assessment using the performance rubric.
 Volunteer students may perform the riff for the class.
 Extension: Students that finish early can experiment with recording the riff in
GarageBand and adding different drum beats to it or learn “Miserlou” on the guitar. Tabs
for this song can be found online.
Assessment
 The live performance will further by assessed by the teacher using the performance
rubric.
Performance Rubric

(90-100) (76-89) (61-75) (41-60) (0-40)
Performance of “Wipe Performance Performance Performance Performance Student refuses to
Out” riff. shows practice, shows practice, shows some shows minimum learn melody.
proper playing adequate playing practice, messy practice, messy (0-30 points)
technique and technique and playing playing
correct rhythm. mostly correct technique and technique and
Student uses class rhythm. Student irregular irregular
time to practice uses class time rhythm. Student rhythm. Student
riff. to practice riff. is sometimes off is continually
(61-70 points) (51-60 points) task during off task during
class. class.
(41-50 points) (31-40 points)
Individual Student Student Student Student lacks Student does not
Participation participates fully in participates in participates in participation participate in the class.
all aspects of the all aspects of some parts of and only (0 points)
lesson. Student lesson but does the lesson but is completes parts
shows enthusiasm not apply their easily of the melody.
and works hard. best effort. distracted. (15-19 points)
(30 points) (25-29 points) (20-24 points)
Lesson 4: Peace, Love and Music – 1960s
Class Information
 Time Length: Three, 40-minute periods.
 Prior Learning: No prior learning is required.
 Struggling students may use the live loops feature in the iOS version of GarageBand
which simplifies the process by allowing students to turn loops on and off in a premade
template then record it.
 Advanced students will complete the lesson extension where they create a melody on the
guitar to record over their newly created backing track.
 Students will learn about the popular music and artists of the 1960s and create a backing
track recreating the sound of 1960s popular music.
 Students will also learn how to use and edit loops in GarageBand, become familiar with
basic song structure, and experience arranging instruments for a track. All of these skills
will be useful for future lessons in the unit.
o MU:Cr1.1.T.IIa Generate melodic, rhythmic, and harmonic ideas for
compositions and improvisations using digital tools and resources.

o MU:Cr2.1.8a: Select, organize, and document personal musical ideas for
arrangements, songs, and compositions within expanded forms that demonstrate
tension and release, unity and variety, balance, and convey expressive intent.
o MU:Cr3.1.8a Evaluate their own work by selecting and applying criteria
including appropriate application of compositional techniques, style, form, and
use of sound sources.
o MU:Cr3.2.8a Present the final version of their documented personal composition,
song, or arrangement, using craftsmanship and originality to demonstrate the
application of compositional techniques for creating unity and variety, tension and
release, and balance to convey expressive intent
o 1.1 The Creative Process: All students will demonstrate an understanding of the
elements and principles that govern the creation of works of art in dance, music,
theatre, and visual art.
 Using loops in GarageBand, students will be able to compose a backing track in the style
of a 1960s popular music genre of their choice (modeled after a song from a teacher-
provided playlist).
 Students will be able to demonstrate knowledge of the musical elements of different
1960s music genres.
 Students will be able to utilize the ABABCB song structure in their compositions.
 Students will be able to list and discuss the popular music genres of the 1960s.
Teaching Materials
 iMacs with GarageBand
 Top Ten Decade Defining Songs: 1960s YouTube video https://youtu.be/SXaZi1rkfOU
 Spotify Playlist of songs from the video: https://goo.gl/Wpb5Tc
 “Peace, Love, and War: The Sounds of the Sixties” article (see Appendix G) from
 Peer review sheet (see Appendix C)
Procedures
I. Introduction
 Explain that Surf Rock was not the only popular style of music during the 1960s.
 Watch the video: “Top Ten Decade Defining Songs: 1960s”
 Ask students if they can identify any of the styles heard in the video?
 Explain that soul, rock, and folk were also all popular genres of the decade.
 Think-Pair-Share: Have students read the article “Peace, Love, and War: The Sounds of
the Sixties” and share something they learned from it with a nearby classmate.
 Explain that for today’s lesson students will be working in a small group or individually
to create a backing track in a 1960s popular music styled after a song from the playlist.
o The track should be in ABABCB (Verse Chorus Verse Chorus Bridge Chorus),
which is a common song structure.
o Each section should be at least 16 measures in length.
o The song should use instrument loops that resemble their chosen 1960s popular
music genre.
o The beat should be created from loops or the GarageBand drummer feature.
 Provide the students with a playlist of all the songs they heard in the video so that they
can listen and determine what style they’d like to recreate.
 In GarageBand demonstrate the following:
o Finding, using, and editing loops
o Using and editing the drummer feature
o Copying and pasting sections
o Counting measures
 Allow students to select partners and begin working on their tracks.
III. Closure
 Once the tracks are complete, each group will review several of their peers’ projects
using the peer review sheet. After the review process, students will make adjustments to
their projects based on their classmates’ suggestions.
 Students will then play their final tracks for the class.
 Extension: Once students are finished they may use a guitar to create a riff/melody to
record over their created backing track. This will create an instrumental track similar to
“Wipe Out,” which they learned about previously.
Assessment
the project.
 Upon completion, students will review their classmates’ lyrics using the peer review
sheet.
 The track will further by assessed by the teacher using the project rubric.
Project Rubric

(90-100) (76-89) (61-75) (41-60) (0-40)
Completed The track is in the style The track is in the The track closely The track closely Project not
1960’s Backing of a 1960s popular music style of a 1960s resembles a 1960s resembles a complete or
Track genre. The track is in popular music popular music 1960s popular track does
ABABCB form with genre. The track is style. The track is music style. The not
each section at least 16 in ABABCB form in ABABCB form tracks form is following
measures long. Smooth with each section at or a closely incorrect or any of the
transitions between least 16 measures related form. section lengths guidelines.
sections. Instrumentation long. Transitions are Sections are not are shorter than 8 (0-30 points)
is reflective of the not always smooth all 16 measures measures.
chosen genre. between sections. long. Transitions Transitions are
(61-70 points) Instrumentation is are not always not smooth.
mostly reflective of smooth. Instrumentation
the chosen genre. Instrumentation is is only a little
(51-60 points) somewhat reflective of the
reflective of the chosen genre.
chosen genre. (31-40 points)
(41-50 points)
Individual Student participates fully Student participates Student Student lacks Student does
Participation in all aspects of the in all aspects of participates in participation and not
lesson. Student shows lesson but does not some parts of the only completes participate
enthusiasm and works apply their best lesson but is parts of the in the
hard. effort. easily distracted. project. lesson.
Lesson 5: The Songwriter – 1970s
Class Information
 Time Length: Tow, 40-minute periods.
 Prior Learning: The knowledge of song structures and chord progressions gained in
previous lessons in this unit will be useful for this lesson.
 Struggling students will be asked to complete only eight to sixteen measures of the
project.
 Advanced students will complete the lesson extension where they create a melody on the
guitar or singing with their voice.
 Students will learn about songwriting and popular music songwriters of the 1970s.
 Students will learn how to use a chord wheel, create a chord progression, and become
familiar with different accompaniment patterns.

o MU:Cr2.1.8a Select, organize, and document personal musical ideas for
o MU:Cr2.1.8b Use standard and/or iconic notation and/or audio/ video recording to
document personal rhythmic phrases, melodic phrases, and harmonic sequence.
 Using Chrome Music Lab’s arpeggios app, students will be able to arrange a chord
progression in a key of their choice.
 Students will be able to identify songwriters of the 1970s.
 Students will be able to select a tempo, instrument, and accompaniment style for their
chord progressions.
 Students will be able to outline their chord progressions using lead sheet style music
notation.
Teaching Materials
 Chromebooks or iMacs
 Top 10 Critically Acclaimed Songwriters YouTube video:
https://youtu.be/2QYqxZmvEK4
 Chrome Music Lab Arpeggios app:
https://musiclab.chromeexperiments.com/Arpeggios/
 E-chords.com
 1970s Songwriter Spotify playlist: https://goo.gl/94kLof
 Chord progression worksheet (see Appendix H)
 Self-reflection sheet (see Appendix I)
Procedures
I. Introduction
 Discuss the concept of a singer-songwriter, which was especially popular in the 1970s.
 Define a singer-songwriter as an artist who writes and sings his or her own songs.
 Watch the video the “Top 10 Critically and Commercially Acclaimed Songwriters”
 Explain that while many of the artists mentioned in the video were active in bands or
duos during the 1960s, much of their solo work was established during the 1970s.
 Play clips of other singer-songwriters songs from the 1970s including James Taylor,
Elton John (point out that he has a partner who writes the lyrics and this is another way to
write songs), Jackson Browne, Carole King, and Joni Mitchell.
 Explain that in honor of the singer-songwriters of the 1970s students will be creating their
own chord progressions like songwriters do when they write songs.
 Explain that a chord progression is essential to writing a song (remind the students of the
chord progressions they used to learn a 1950s song in a prior lesson)
 One way to ensure that the chords progress smoothly into each other is to use a chord
wheel like the Chrome Music Lab Arpeggios app.
 Demonstrate how to change the instrument, tempo, and accompaniment pattern.

o Explain that the capitol letters (outer wheel) are major chords and lower case
letters (inner wheel) are minor chords.
o Ask students to describe the difference in sound between major and minor chords.
o Explain that to select a key for their chord progression they should pick a letter
then use any chord that touches that letter to create a chord progression.
 To get comfortable with chord progressions have students use the site e-chords.com to
look up chord progressions for some of their favorite songs and then they can perform
them using the arpeggios app.
 Demonstrate how to write out the progression using the chord worksheet.
 Once they feel comfortable, they should individually work on their own chord
progressions.
o They should use 4 or 5 chords and make one progression as if writing a verse or
chorus of a song. It should be 32 measures long.
o The students should write out the progression on the teacher-supplied chord
worksheet.
III. Closure
 Once complete, students will perform their chord progression live for the class using the
arpeggios app. Assess the chord progression using the rubric during the performance.
 Students will also complete a self-reflection sheet.
 Extension: Have students create a melody for their chord progression using either a guitar
or their voice.
Assessment
the lesson.
 The teacher using the project rubric will further assess the live performance.
 Students will also complete a self-reflection sheet.
Project Rubric

(90-100) (76-89) (61-75) (41-60) (0-40)
Chord The chord progression The chord The chord The chord Project not
Progression uses at least four chords progression uses at progression uses progression is complete or
and is 32 measures long. least four chords and at least three not the correct chord
The chord changes are is 32 measures long. chords and is length and/or progression
evenly spaced and There are some about 32 measures does not use does not
written out. The student errors in the chord long. There are enough chords. follow any
spent time changing the spacing and/or the some errors in the There are many of the
tempo, picking an written score. The chord spacing errors in the guidelines.
instrument, and selecting student spent time and/or the written chord spacing (0-30 points)
an accompaniment changing the tempo, score. The student and/or the
pattern. The performance picking an spent time written score.
of the chord progression instrument, and changing the The student left
shows practice. selecting an tempo, picking an the default
(61-70 points) accompaniment instrument, and settings when
pattern. The selecting an creating
performance of the accompaniment progression. The
chord progression pattern. The performance of
has minimal errors. performance of the chord
(51-60 points) the chord progression has
progression has many errors.
many errors. (31-40 points)
(41-50 points)
Lesson 6: Feeling the Disco Beat – 1970s
Class Information
 Prior Learning: Students should be familiar with the different drums/cymbals that make
up a drum set.
 Struggling students will be allowed to use Splice Beat Maker to create their beat, which is
a simplified online drum machine.
 Advanced students will complete the lesson extension by importing their beat into
GarageBand and adding additional disco loops.
 Students will learn how to create a standard four beat drum pattern in a disco style. This
activity will familiarize students with the disco sound, which was a popular music style in
the 1970s and is sometimes applied to new music today.
 Students will learn how to use a drum machine app (DM1), which will be useful in future
lessons when they create their own songs.

o MU:Cr2.1.8b Use standard and/or iconic notation and/or audio/ video recording to
document personal rhythmic phrases, melodic phrases, and harmonic sequence.
 Using the drum machine app DM1 on iPads, students will create a disco beat.
 Students will be able to identify musical elements of the disco style.
 Students will be able to arrange drum sounds into a four beat pattern.
 Students will be able to critique and analyze disco musical elements in current popular
music.
Teaching Materials
 DM1 app
 iPads
 “Disco and Funk” article (see Appendix J) from
 Disco Spotify playlist: https://goo.gl/XQM5am
 Splice Beat Maker (www.splice.com/sounds/beatmaker)

Procedures
I. Introduction
 While students are entering class have the song “Stayin’ Alive” by the Bee Gees playing.
 Once the class is settled ask and discuss the following questions:
o “What style of music is this?”
o “What decade was this music popular during?”
o “Can you name any recent songs that incorporated the disco sound?”
 Play clips of newer songs such as “High Horse” by Kacey Musgraves,
“Get Lucky” by Daft Punk, and “Adventures of a Lifetime” by Coldplay.
All of these songs used elements of disco.
 Think-Pair-Share: Have students read the “Disco and Funk” article then have each
student share with a peer something they learned from the article.
 Next, point out that one fairly consistent aspect of all disco songs is the driving beat and
consistent tempo. The purpose of this was to make the music easy and fun to dance to
continually.
 Play clips of several disco songs and ask students to specifically focus on the beat.
 Help the class count along with the beat then have them describe any specific elements
that they notice about the beat.
 Introduce the drum machine app DM1 on the iPad.
 Demonstrate the following features of the app:
o Using the grid system to input drum sounds. (i.e. where beats 1-2-3-4 fall on grid)
o Turning on and off sounds.

o Adjusting effects.
 Have students get an iPad and work with a partner to recreate a disco beat.
 Allow students to access a playlist of disco songs that they can reference for guidance.
 Monitor and provide assistance to students as needed.
III. Closure
 Once they have recreated a beat and showed the teacher they should then build on the
beat to make it their own.
 Students will complete the self-reflection sheet and play their disco beats for the class.
 Extension: Students can import their disco beat into GarageBand and add other disco
instrument loops to complete a disco track.
Assessment
 The students will assess their own work using the self-reflection sheet.
 Using the project rubric, the teacher will assess the final completed beat.
Project Rubric

(90-100) (76-89) (61-75) (41-60) (0-40)
Disco Beat The students accurately The students The students The beat seems Student did
recreated a disco beat accurately recreated created a beat randomized and not create a
using DM1 and a disco beat using similar to disco has many errors beat.
customized the beat in DM1 but did not but there are some in structure. The (0-30 points)
someway. customize the beat. errors in the beat does not
(61-70 points) (51-60 points) placement of show effort to
snare/bass or recreate the disco
other drums. sound.
Lesson 7: I Want My MTV – 1980s
Class Information
 Prior Learning: Basic knowledge of music iMovie.
 Struggling students can use the trailer feature in iMovie to make their music videos which
guides them through the video making process and only requires short clips / photos.
 Advanced students may assist other students or choose to make a longer music video.
 Students will learn about the influence of MTV on popular music, pop culture, and the
music industry.
 Students will learn how to create and edit their own music videos using iMovie.
o MU:Re8.1.T.IIa Connect the influence of the treatment of the elements of music,
digital and electronic features, context, purpose, and other art forms to the
expressive intent of musical works.
o MU:Cn11.0.8a Demonstrate understanding of relationships between music and
the other arts, other disciplines, varied contexts, and daily life.

 Using iMovie and a 1980s popular song of their choice, students will be able to create a
music video with an introduction in the style of an MTV VJ.
 Students will be able to demonstrate knowledge of movie editing techniques and iMovie
features.
 Students will be able to describe MTV’s impact on music and popular culture.
 Students will be able to analyze how visual media impacts their own view of music.
Teaching Materials
 iMovie and iMacs
 iPads for filming
 History of MTV YouTube video: https://youtu.be/Y6jz65YRCy8
 1980s music Spotify playlist: https://goo.gl/7MbXeP
 “MTV and the Influence of Television” article (see Appendix K) from
Procedures
I. Introduction
 Ask the class if the enjoy watching music videos of their favorite songs?
 Have a discussion with the class using the following questions:
o Do music videos impact your opinion of a song?
o Have you ever liked a song more or less after viewing the video?
o What platform do you use to view music videos?
 Explain how the TV station MTV stands for Music Television and started as a platform
for airing music videos.
 Watch the video “The History of MTV” and read the article “MTV and the influence of
Television”
 Think-Pair-Share: Have students share some things the learned from the video with a
neighbor.
 Explain that for this lesson students will be creating their own music video using a 1980s
song of their choice (selected from the teacher-created playlist).
 Provide the students with a playlist of school appropriate ‘80s songs to select from.
 Using an iPad students will film footage for at least two minutes of the song and edit it
using iMovie.
 They will also film an introduction for the video acting as an MTV VJ.
 Demonstrate the following:
o Using the iPad to film.
o Importing footage into iMovie.
o Editing footage in iMovie and removing audio.
o Importing a song into iMovie.
o Exporting the completed file.
 Allow students to select a small group and begin creating their videos.

III. Closure
 Once the videos are complete, each group will review several of their peers’ projects
using the peer review sheet. After the review process, students will make adjustments to
their projects based on their classmates’ suggestions.
 Each group will then play their final videos for the class.
Assessment
the project.
 Upon completion, students will review their classmates’ videos using the peer review
sheet.
 Using the project rubric, the teacher will assess the final completed video.
Project Rubric

(90-100) (76-89) (61-75) (41-60) (0-40)
Completed The video includes The video includes The video The video shows Student did
Music video quality and creative quality footage includes simple an overall lack of not complete
footage recorded by the recorded by the footage recorded effort in footage, the video.
students with smooth students and decent by the students editing, music (0-30 points)
editing. The VJ editing. The VJ but the editing is alignment, and
introduction shows effort introduction shows sloppy. The VJ VJ introduction.
and is free of errors. The effort but may have introduction (31-40 points)
music aligns with the some errors. The shows a lack of
video footage. music mostly aligns effort. The music
(61-70 points) with the video mostly aligns with
footage. the video footage.
(30 points (25-29 points) (20-24 points) (15-19 points) (0 points)
Lesson 8: A Song Can Change the World – 1980s
Class Information
 Prior Learning: No prior knowledge required.
 Struggling students can write their lyrics using a piggyback song such as “Mary Had a
Little Lamb” or “Twinkle, Twinkle Little Star,” and will only be required to write a few
lines.
 Advanced students may assist other students or compose music for their lyrics.
 Students will learn about and experience writing lyrics. This is a good entry point into
songwriting, which students will be working on in a future lesson.
 Students will also learn about historical music events that took place during the 1980s.

 Students will be able to write lyrics to a charity style song for a cause of their choice.
 Students will be able to identify musical charity events from the 1980s.
 Students will be able to reflect on the ability of music to convey a message, unite people,
and contribute to a cause.
Teaching Materials
 Charity music article: http://www.thepeoplehistory.com/80smusic.html
 YouTube video playlist of charity songs and Live Aid: https://goo.gl/jQzEgD
 Complete guide to ‘80s charity songs:
http://www.vh1.com/news/228451/complete-guide-to-80s-charity-singles/
Procedures
I. Introduction
 Begin class by showing a clip of the historic performance by Queen at Live Aid. Many
students will be familiar with this due to Queen’s recent biopic.
 Ask students to identify the band and allow students to share any comments about
Queen’s music.
 Explain that this video was a clip from their performance at Live Aid, which was a
charity music event in the 1980s. This benefit took place in 1985 to raise money for the
Ethiopian famine.
 Have students read the brief article charity music article online.
 After reading the article discuss the following:
o What causes were “Do They Know it’s Christmastime and “We Are the World”
recorded for?
o What live benefit events took place in the 1980s?
o What artists help create these charities?
 Show students the music videos for “Do They Know it’s Christmastime” and “We Are
the World.”
 As they watch have students write down as many of the famous musicians that they can
identify in each video.
 Allow students to share their reactions to the videos with their peers and the class.
 Have students review the VH1 guide to 1980s charity singles to get inspiration for their
lyrics.
 Explain the project: Students will work in small groups of their choice to write lyrics for
a benefit song. Students must select a charitable cause for their song such as protecting
animal rights or stopping homelessness. They should complete lyrics for at least two
verses and a chorus. Once the lyrics are written students should make a list of famous
artists who they would like to perform the song.

III. Closure
 Once the lyrics are complete each group will pass their lyric sheets to another group for
peer review. Each peer group will write down some constructive criticism for ways the
lyrics can be improved using the peer review sheet. Students can refine lyrics based on
suggestions and then submit to the teacher for grading.
 Extension: Students can complete their songs by creating a melody for their lyrics and
setting it to the 1960s backing track or the Chrome Music Lab arpeggio chord
accompaniment they created in the previous lessons of this unit.
Assessment
 Students will review their classmates’ lyrics using the peer review sheet.
 Using the project rubric, the teacher will further assess the completed lyrics.
Project Rubric

(90-100) (76-89) (61-75) (41-60) (0-40)
Completed The lyrics contain at The lyrics contain at The lyrics contain The lyrics Students did
Charity Song least two verses and a least two verses and at least one verse contain at least not complete
Lyrics chorus. The lyrics a chorus. The lyrics and a chorus. The one verse or a the lyrics.
address a specific cause address a specific lyrics address a chorus. The (0-30 points)
and are well written. cause and are specific cause but lyrics vaguely
There are no somewhat well need more address a cause.
grammatical errors. The written. There are thought. There are There are many
lyrics include a list of some grammatical grammatical grammatical
desired performers for errors. The lyrics errors. The lyrics errors. The lyrics
the song. include a list of include a list of do not include a
(61-70 points) desired performers desired list of desired
for the song. performers for the performers for
(51-60 points) song. the song.
Lesson 9: Music Sampling 101 – Music Today
Class Information
 Prior Learning: No prior knowledge required.
 Struggling students will only be required to review two or three samples and the teacher
can guide them to songs if needed.
 Advanced students can research and write about up to ten music sampling examples.
 Students will learn about sampling in music so that they can utilize samples in music they
create in the future.
o MU MU:Re9.1.8a Apply appropriate personally developed criteria to evaluate
musical works or performances.
o MU:Re7.1.6a Select or choose music to listen to and explain the connections to
specific interests or experiences for a specific purpose.
o MU:Re7.2.8b Identify and compare the context of programs of music from a
variety of genres, cultures, and historical periods.

o 1.4 Aesthetic Responses & Critique Methodologies: All students will demonstrate
and apply an understanding of arts philosophies, judgment, and analysis to works
 Students will be able to compare music samples with the original source material.
 Students will be able to identify sampling techniques used throughout music history.
 Students will be able to critique and analyze samples used in various songs.
Teaching Materials
 Whosampled.com
 Sampling examples Spotify playlist: https://goo.gl/SuT1HH
 Mark Ronson Ted Talk YouTube video: https://youtu.be/H3TF-hI7zKc
Procedures
I. Introduction
 Ask the class if they know what in means to use a sample in music?
 View Mark Ronson’s “How Sampling Transformed Music” Ted Talk video.
 Ask the class to share any songs they know that include samples.
 Play examples of sampling used in four different genres of music:
o Beyoncé – “Crazy in Love” sample of “Are You My Woman”
o Ariana Grande – “7 Rings” sample of “My Favorite Things”
o Vanilla Ice – “Ice, Ice Baby” sample of “Under Pressure”
o Vitamin C – “Graduation Song sample of “Pachelbel’s Canon in D”

 Display whosampled.com on whiteboard and explain that this is a website that identifies
samples used in songs and allows the user to compare the original song with the sampled
version. Use the songs above to demonstrate the process of researching songs.
 Have students search their favorite songs to find out if any samples were used in them.
 When a sample is discovered, students should explain in writing the following
information about the sample.
o What was the original song?
o How was it sampled?
o Was the sample changed in anyway or used as is?
o If it was changed, how?
o Where you previously aware that this song contained a sample?
o What is your reaction / opinion of how the sample was used?
 This process should be completed for at least six different songs.
III. Closure
 Once students have found examples of six samples, they should each pick their favorite
to share with the class.
 Each student will share their favorite discovered sample and submit their written
document to the teacher for grading.
Assessment
the project.
 Using the project rubric, the teacher will further assess the final completed work.
Project Rubric

(90-100) (76-89) (61-75) (41-60) (0-40)
Whosampled.co Six samples were At least five At least four At least three Students did
m Researh discovered and analyzed. samples were samples were samples were not complete
Student answered all the discovered and discovered and discovered and the project
required questions in analyzed. Student analyzed. Student analyzed. or only
writing. Student shared answered all the answered most of Student reviewed
their favorite discovered required questions the required answered some two samples.
sample with the class. in writing. Student questions in of the required (0-30 points)
(61-70 points) shared their favorite writing. Student questions in
discovered sample shared their writing. Student
with the class. favorite shared their
(51-60 points) discovered sample favorite
with the class. discovered
(41-50 points) sample with the
class.
(31-40 points)
Lesson 10: Sampling a Dream – Music Today
Class Information
 Prior Learning: No knowledge gained on sampling in the previous lesson is required.
 Struggling students will be provided with pre-selected samples from the speech to use in
their music.
 Advanced students can incorporate additional samples into their projects. The teacher
will help them download source material for the samples.
 Students will experience sampling using Martin Luther King Jr.’s “I Have a Dream
Speech” and compose music reflective of the message in the speech.
MU:Cr1.1.T.IIa Generate melodic, rhythmic, and harmonic ideas for
 Students will be able to select samples from Martin Luther King Jr.’s “I Have a Dream
Speech” and use them for musical purposes.
 Students will be able to compose music reflective of a major historical speech.
 Students will be able to apply effects and manipulate audio.
 Students will be able to arrange, mix, and layer music with audio samples using
GarageBand.
Teaching Materials
 GarageBand and iMacs
 Recording of the “I Have a Dream” speech: https://youtu.be/ARvrvJV4th4

 Speech transcript (see Appendix L)
Procedures
I. Introduction
 Play a clip of MLK Jr.’s “I Have a Dream” speech and ask students to identify the
speaker.
 Ask student to share something they learned in the previous lesson about sampling.
 Handout transcripts from the last five minutes of the speech and have students underline
phrases that they think are powerful while listening to the speech.
 Explain that students will be selecting samples from the speech and using GarageBand to
create music with the samples. The music can be in any style.
 In GarageBand, demonstrate the following:
o Locating and inserting the speech audio.
o Splitting the audio and deleting sections.
o Applying effects to the audio.
o Adding music loops and beats.
o Adjusting volume using automation.
 Allow students to begin creating their music. The track should be at least two minutes in
length.
 Monitor students’ progress and assist as needed.

III. Closure
 Once the music is complete, each group will review several of their peers’ projects using
the peer review sheet. After the review process, students will make adjustments to their
projects based on their classmates’ suggestions and then play the final version for the
class.
Assessment
 Upon completion, students will review their classmates’ music using the peer review
sheet.
 Using the project rubric, the teacher will further assess the final completed music.
Project Rubric

(90-100) (76-89) (61-75) (41-60) (0-40)
MLK sample The music includes The music includes The music The music Students did
music samples of MLK Jr.’s samples of MLK includes few includes few not complete
speech and is at least two Jr.’s speech and is at samples of MLK samples of MLK the project
minutes in length. The least two minutes in Jr.’s speech and is Jr.’s speech and or only
music shows effort in length. The music less than two is less than one completed
layering, arranging, and shows some effort in minutes in length. minute in length. 30 seconds
mixing loops as well as layering, arranging, The music shows The music shows of music.
utilizing effects and and mixing loops as some effort in some effort in (0-30 points)
automation. well as utilizing layering, layering,
(61-70 points) effects and arranging, and arranging, and
automation. mixing loops as mixing loops.
(51-60 points) well as utilizing (31-40 points)
effects and
automation.
(41-50 points)
Lesson 11: Brought to You By – Music Roles
Class Information
 Time Length: three, 40-minute periods.
 Prior Learning: The knowledge gained from previous lessons on songwriting and
recording is needed for students to complete this activity successfully.
 Struggling students will be assigned to a music role that is aligned with their abilities and
assigned to a group that can provide assistance.
 Advanced students may create an additional section of the song.
 Students will learn about and experience the different roles involved in the creation of
popular music including songwriter, audio engineer, producer and performer.
 Students will gain experience in recording, songwriting, and performing original music.
 Students will be able to work collaboratively in various music roles including audio
engineer, songwriter, producer and performer to create and record at least one verse or
chorus of a song.
 Students will be able to compose lyrics and music for a song.
 Students will be able to demonstrate knowledge of song structure, chord progressions,
and beat creation.
 Students will be able to discuss the differences between various roles in the music
creation process.
 Students will be able to perform the song that they compose.
Teaching Materials
 Difference between audio engineers and producers YouTube video:
https://youtu.be/lDBaTI32bMM
 Group reflection sheet (see Appendix M)
 Instruments (guitars / keyboards)
Procedures
I. Introduction
 Ask students to name the different roles involved in creating music.
 Write the roles named by students on the board.
 If not already listed, add the following roles: producer, songwriter, performer, and audio
engineer.
 Explain that these are the roles we are going to be focusing on because they are essential
in the creation of most music recorded professionally.
 In previous lessons, students have experienced the roles of songwriter and performer.
Identify the activities where they acted in these roles.
 The roles of producer and audio engineer may be new concepts to many students in the
class.
 View the video on the differences between producers and audio engineers and have the
students take notes on the responsibilities of these two roles.
 After the video discuss everything students learned from video as a class.
 Explain that for this next lesson students will be assigned (or select) roles in the creation
of a chorus to an original song.
 Split the class into groups and let them select one of the four roles. If they cannot agree
then assign students to their roles.
 Students should work with their groups to create one section of a song (either a verse of
chorus). They will need to decide whether to use a guitar, GarageBand loops, or chrome
music lab for the accompaniment. They will also need to use one of the previously
learned methods for creating a beat such as the DM1 app. Lyrics are required and can be
rapped or sung.
 Monitor student progress and assist as needed. Review the responsibilities of each person
in the group, but point out that there is often overlap between each role.
III. Closure
 Once the songs are complete the groups will perform them for the class either in live or
recorded format.
 Have all the students share what they learned from the collaborated process by
completing the group reflection sheet.
Assessment
the lesson.
 The students will assess their group’s work using the group reflection sheet.
 Using the project rubric, the teacher will further assess the completed work.
Project Rubric

(90-100) (76-89) (61-75) (41-60) (0-40)
Songs The completed song The completed song The completed The completed The song is
includes one verse or includes one verse song includes one song includes not
chorus with lyrics. The or chorus with verse or chorus most of a verse completed
performance is clear and lyrics. The with lyrics. The or chorus with or only
well rehearsed. The performance is performance is lyrics. The partially
recording shows effort in mostly clear and somewhat messy performance is complete.
mixing and arranging the fairly well and not rehearsed. messy and not (0-30 points)
music whether digital or rehearsed. The The recording rehearsed. The
acoustic. The group recording shows shows some effort recording shows
worked well together in some effort in in mixing and a lack of effort in
their assigned roles. mixing and arranging the mixing and
(61-70 points) arranging the music music whether arranging the
whether digital or digital or acoustic. music whether
acoustic. The group The group had digital or
worked somewhat some issues acoustic. The
well together in their staying on task group had many
assigned roles. and working issues staying on
(51-60 points) together. task and working
(41-50 points) together.
(31-40 points)
hard. Student works in effort. Student easily distracted. project. Student lesson.
their assigned music role works in their Student somewhat does not work in (0 points)
effectively. assigned role. works in their their assigned
(30 points) (25-29 points) assigned role. role.
Lesson 12: You Can Do It! – Choice Project
Class Information
 Prior Learning: The knowledge gained from all previous lessons in this unit will be
applied to this lesson.
 Struggling students will be guided toward a self-led project that is aligned with their
abilities and the teacher will provide extra assistance as needed.
 Advanced students will be guided toward a self-led project that challenges them and
matches their abilities.
 Students will complete a self-led project based on one of the previously learned activities
from this unit. This could include learning a new song on guitar or piano, writing a song
or music utilizing GarageBand, or creating a music video.

o MU:Pr4.3.8a Perform contrasting pieces of music, demonstrating as well as
explaining how the music’s intent is conveyed by their interpretations of the
elements of music and expressive qualities (such as dynamics, tempo, timbre,
articulation/style, and phrasing).
o MU:Pr6.1.8a Perform the music with technical accuracy, stylistic expression, and
 Students will be able to work individually or with a small group to complete a project of
their choice based on a music activity from this unit.
 Students will be able to construct their own musical learning experience.
 Students will be able to perform, compose, and/or record music.
 Students will be able to demonstrate knowledge gained from this unit by presenting their
completed projects.
Teaching Materials
 DM1 / Chrome Music Lab
 Instruments (guitars / keyboards)
 iPads
 YouTube instructional video tutorials (of students choice)
 Ultimate-guitar.com
Procedures
I. Introduction
 Begin by asking the class to share their favorite lesson or activity that they completed
during this popular music unit and discuss as a class.
 Ask the students if there is anything they wish they had learned during the unit and take
note for future planning and updating of the curriculum.
 Explain that the goal of today's lesson is to allow the students to choose their own
learning experience and build on everything they learned during the unit.
 They have several options to select from for this self-led project:
o Learn a song on guitar using tabs or chords. Ultimate-guitar.com or YouTube
video tutorials can be used to find songs to learn. This should be completed
individually.
o Learn a song on keyboard using YouTube video tutorials. This should be
completed individually.
o Create new original music or a song (of at least 3 minutes in length) in a style of
their choice using GarageBand, DM1, Chrome Music Lab or guitar. This can be
completed with a small group.
o Create a music video for a song of their choice or for music they created in one of
the previous lessons. This can be completed with a small group.
 Ask and answer any questions students might have about their activity choices.
 Monitor student progress and help students as needed.
III. Closure
 When students have completed their activities they will present them to the class.
Assessment
 Using the project rubric, the teacher will further assess the final completed project.
Project Rubric

(90-100) (76-89) (61-75) (41-60) (0-40)
Self-led projects The student completed The student The student The student Project was
the project of their completed the completed the completed the not
choice and showed effort project of their project of their project of their complete.
throughout the entire choice and showed choice and choice but was (0-30 points)
process. Final project or decent effort showed some often off task.
song learned was throughout the effort throughout Final project or
performed for the class entire process. Final the entire process. song learned was
with minimal error. project or song Final project or not shown to
Musical concepts learned learned was song learned was class. Musical
during the unit were performed for the performed for the concepts learned
clearly applied to the class with some class with errors. during the unit
project. errors. Musical Musical concepts were not applied
(61-70 points) concepts learned learned during the project.
during the unit were unit were (31-40 points)
somewhat applied to minimally applied
the project. to the project.
hard. Student works in effort. Student easily distracted. project. Student lesson.
their assigned music role works in their Student somewhat does not work in (0 points)
effectively. assigned role. works in their their assigned
(30 points) (25-29 points) assigned role. role.
References
Abrahams, F. (2015). Another perspective: Teaching music to millennial students. Music
Educators Journal, 102(1), 97–100. doi:10.1177/0027432115590860
Allsup, R. E. (2011). Popular music and classical musicians. Music Educators Journal, 97(3),
30–34. doi:10.1177/0027432110391810
Bauer, W. I. (2014). Music learning today: Digital pedagogy for creating, performing, and
responding to music. New York, NY: Oxford University Press.
Bledsoe, R. N. (2015). Music education for all? General Music Today, 28(2), 18–22.
doi:10.1177/1048371314549888
Choate, R. (Ed.). (1968). Documentary report of the Tanglewood symposium. Washington, DC:
MENC.
Colquhoun, S. (2018). Popular music genres, music producers, and song creation in the
general music classroom. General Music Today, 31(2), 17-20.
doi:10.1177/1048371317710311
Cutietta, R. A. (1991). Popular music: An ongoing challenge. Music Educators Journal, 77(8),
26. doi:10.2307/3398149
Dammers, R. (2012). Technology-based music classes in high schools in the United
States. Bulletin of the Council for Research in Music Education, (194), 73-90.
Dunbar-Hall, P. G., & Wemyss, K. (2000). The effects of the study of popular music on music
education. International Journal of Music Education, 36(1), 23–34.
doi:10.1177/025576140003600104
Green, L. (2006). Popular music education in and for itself, and for “other” music: Current
research in the classroom. International Journal of Music Education, 24(2), 101–118.
doi:10.1177/0255761406065471
Green, L. (2004). What can music educators learn from popular musicians? In C. X. Rodriguez
(Ed.), Bridging the gap: Popular music and music education (pp. 224-240). Reston, VA:
MENC.
Halick, M. E. (2016). What can you teach with electronic dance music? A music teacher’s guide
to EDM. General Music Today, 30(1), 4–10. doi:10.1177/1048371316637887
Humphreys, J. T. (2004). Popular music in the American schools: What history tells us about the
present and the future. In C. X. Rodriguez (Ed.), Bridging the gap: Popular music and
music education (pp. 91-105). Reston, VA: MENC
Johnson, P. (n.d.). The origins of surf music [PDF file]. Retrieved from
http://www.pjmoto.com/prFiles/PR%20kit%20PDFs/surf%20music%20history.pdf
Kallio, A. A. (2017). Popular “problems”: Deviantization and teachers’ curation of popular
music. International Journal of Music Education, 35(3), 319–332.
doi:10.1177/0255761417725262
King, M. L. (1963). I have a dream [PDF file]. Retrieved from
https://www.archives.gov/files/press/exhibits/dream-speech.pdf
Kruse, A. J. (2016). Being hip-hop: Beyond skills and songs. General Music Today, 30(1), 53–
58. doi:10.1177/1048371316658931
Kruse, A. J. (2016). Featherless dinosaurs and the hip-hop simulacrum. Music Educators
Journal, 102(4), 13–21. doi:10.1177/0027432116638904
Kuzmich, J. (1991). Popular music in your program: Growing with the times. Music Educators
Journal, 77(8), 50-52. doi:10.2307/3398154

Love, R. D. (1991). Design and teach a popular music class. Music Educators Journal, 77(8), 46.
doi:10.2307/3398153
Lum, C. H. (2016). Shifting landscapes in the 21st century: Adaptability and flexibility in general
music teaching. In C. R. Abril & B. M. Gault (Eds.), Teaching general music (pp. 264-
285). New York, NY: Oxford University Press.
Mills, S. W. (2000). Recognizing middle school students’ taste for popular music. General
Music Today, 13(3), 3–6. doi:10.1177/104837130001300302
Pembrook, R. G. (1991). Exploring the musical side of pop. Music Educators Journal, 77(8),
30-34. doi:10.2307/3398150
Rodriguez, C. X. (2004). Popular music in music education: Toward a new conception of
musicality. In C. X. Rodriguez (Ed.), Bridging the gap: Popular music and music
education (pp. 13-27). Reston, VA: MENC.
Schmid, D. (2009). New Jersey visual and performing arts standards [PDF file]. Retrieved from
https://www.state.nj.us/education/cccs/2014/arts/standards.pdf
Schuler, S. C., Norgaard, M., & Blakeslee, M.J. (2014). The new national standards for music
educators. Music Educators Journal, 101(1), 41-49. doi:10.1177/0027432114540120
Springer, D. G., & Gooding, L. F. (2013). Preservice music teachers’ attitudes toward popular
music in the music classroom. UPDATE: Applications of Research in Music
Education, 32(1), 25–33. doi:10.1177/8755123313502349
Thompson, D. E. (2011). Speaking their language: Guitar tablature in the middle school
classroom. General Music Today, 24(3), 53–57. doi:10.1177/1048371310397190

Tobias, E. S. (2013). Composing, songwriting, and producing: Informing popular music
pedagogy. Research Studies in Music Education, 35(2), 213–237.
doi:10.1177/1321103X13487466
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through engaging popular music and culture. General Music Today, 28(3), 23–27.
doi:10.1177/1048371314558293
Tobias, E.S. (2016). Learning with digital media and technology in hybrid music classrooms. In
C. R. Abril & B. M. Gault (Eds.), Teaching general music (pp. 112-140). New York, NY:
Oxford University Press.
Wiggins, J. (2015). Teaching for musical understanding. New York, NY: Oxford University
Press.
Appendix A

Appendix B
1950s Musician Podcast Research Guide
Research the following questions online and include what you find in the narrative to your
podcast.
Biography:
1. When was the musician born?
2. Where was the musician born?
3. Where else did the musician live throughout his/her life?
4. What was their childhood life like?
5. Who was in their family?
6. Did they go to school? Where?
7. Were they married? Did they have children?
8. What challenges (if any) did this person overcome?
9. If they are no longer living, where and when did they die?
Music:
1. What type of music did this person perform?
2. What instrument(s) (including voice) did they play?
3. When (and what age) did they begin making music?
4. Where did they learn to play music?
5. Who did they learn music from?
6. How and when did they become famous?
7. What other musicians did they work with in their career? Did they have a band?
8. Have they won any awards for their music? If so, what are they?
9. What was their biggest accomplishment in music?

Appendix C
Peer Review Sheet
Write two positive comments about the project: Reviewer’s Name(s):
1.
2.
Write one suggestion to improve the project:
1.
1.
2.
1.
1.
2.
1.
Appendix D
1950s Rock Songs

Directions: First learn the song in the key of G, then add the capo to play along with recording

That’ll Be the Day (Capo 2)

C
That'll be the day when you say good-bye
G
Yes that'll be the day when you make me cry
C
Oh you say you're gonna leave you know it's a lie
G D G
‘Cause that'll be the day when I die
Johnny B. Goode (Capo 3)

G
Go! Go! Go, Johnny, go! Go!

Go, Johnny, go! Go!
G
Go, Johnny, go! Go!
D C G
Go, Johnny, go! Go! Johnny B. Goode
Rock Around the Clock (Capo 2)

G
When the clock strikes two, three and four, if the band slows down we'll yell for more
C G
We're gonna rock around the clock tonight, we're gonna rock, rock, rock, 'til broad daylight.
D C G
We're gonna rock, gonna rock, around the clock tonight.
Hound Dog (Capo 5)

G
You ain't nothin' but a hound dog, cryin' all the time.
C G
You ain't nothin' but a hound dog, cryin' all the time.
D C G
Well, you ain't never caught a rabbit and you ain't no friend of mine.
Appendix E

Appendix F
Johnson, P. (n.d.). The origins of surf music [PDF file]. Retrieved from
http://www.pjmoto.com/prFiles/PR%20kit%20PDFs/surf%20music%20history.pdf
Appendix G

Appendix H
Appendix I
Self-Reflection
1. What was the most important thing you learned from completing this project?
2. Were there any areas of the project that you did not understand?
3. What is something new you learned about music from this project?
4. What are some improvements you could make to the project if given more time?
5. How might you use what you learned from this project in the future?
*Adapted from: Denise White’s “Project Reflection” worksheet.

Appendix J

Appendix K

Appendix L
EXCERPT FROM MLK JR’S I HAVE A DREAM SPEECH

And so even though we face the difficulties of today and tomorrow, I still have a dream.
It is a dream deeply rooted in the American dream.
I have a dream that one day this nation will rise up and live out the true meaning of its creed: "We hold
these truths to be self-evident, that all men are created equal."
I have a dream that one day on the red hills of Georgia, the sons of former slaves and the sons of former
slave owners will be able to sit down together at the table of brotherhood.
I have a dream that one day even the state of Mississippi, a state sweltering with the heat of injustice,
sweltering with the heat of oppression, will be transformed into an oasis of freedom and justice.
I have a dream that my four little children will one day live in a nation where they will not be judged by
the color of their skin but by the content of their character.
I have a dream today!
I have a dream that one day, down in Alabama, with its vicious racists, with its governor having his lips
dripping with the words of "interposition" and "nullification" -- one day right there in Alabama little black
boys and black girls will be able to join hands with little white boys and white girls as sisters and
brothers. I have a dream today!
I have a dream that one day every valley shall be exalted, and every hill and mountain shall be made low,
the rough places will be made plain, and the crooked places will be made straight; "and the glory of the
Lord shall be revealed and all flesh shall see it together."
This is our hope, and this is the faith that I go back to the South with.
With this faith, we will be able to hew out of the mountain of despair a stone of hope. With this faith, we
will be able to transform the jangling discords of our nation into a beautiful symphony of brotherhood.
With this faith, we will be able to work together, to pray together, to struggle together, to go to jail
together, to stand up for freedom together, knowing that we will be free one day.
And this will be the day -- this will be the day when all of God's children will be able to sing with new
meaning: My country 'tis of thee, sweet land of liberty, of thee I sing.
Land where my fathers died, land of the Pilgrim's pride,
From every mountainside, let freedom ring!
And if America is to be a great nation, this must become true.
And so let freedom ring from the prodigious hilltops of New Hampshire.
Let freedom ring from the mighty mountains of New York.
Let freedom ring from the heightening Alleghenies of Pennsylvania.
Let freedom ring from the snow-capped Rockies of Colorado.
Let freedom ring from the curvaceous slopes of California.
But not only that: Let freedom ring from Stone Mountain of Georgia.
Let freedom ring from Lookout Mountain of Tennessee.
Let freedom ring from every hill and molehill of Mississippi.
From every mountainside, let freedom ring.
And when this happens, and when we allow freedom ring, when we let it ring from every village and
every hamlet, from every state and every city, we will be able to speed up that day when all of God's
children, black men and white men, Jews and Gentiles, Protestants and Catholics, will be able to join
hands and sing in the words of the old Negro spiritual: Free at last! Free at last!
Thank God Almighty, we are free at last!
King, M. L. (1963). I have a dream [PDF file]. Retrieved from
https://www.archives.gov/files/press/exhibits/dream-speech.pdf
Appendix M
Group Reflection
Please rate how well your group collaborated on this project. (5 = Always - 1 = Never).
1. Our group shared the work equally among group members.
5 4 3 2 1
2. Group members helped me learn throughout the project.
5 4 3 2 1
3. Group members listened to each other and had constructive conversations.
5 4 3 2 1
4. All group members were on task during the work.
5 4 3 2 1
5. What are some things you learned about creating music as a team from this project?
6. What are some ways your group could improve the project if you had more time?
7. How do you feel about the results of your group work?
8. Is there anything you could have done to contribute more to the team?
*Adapted from: Denise White’s “Project Peer Evaluation” worksheet.

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Running head: SUSSEX SCHOOL POP MUSIC CURRICULUM DESIGN PROJECT 1

Sussex School Pop Music Curriculum Design Project

Kent State University

II. Table of Contents 2

III. Introductory Essay 3

V. Define the Project 7

VI. New and Innovative 7

VII. Rationale / Review of Literature

b. Contribution to the Curriculum 16

VIII. Intended Audience 19

IX. Curriculum Chart 20

X. Curriculum / Lesson Plans

a. Week 1 (Don’t Touch that Dial! / Rockin’ ‘Round the Clock) 27

b. Week 2 (Surfin’ Safari / Peace, Love, and Music) 37

c. Week 3 (The Songwriter / Feeling the Disco Beat) 46

d. Week4 (I Want My MTV / A Song Can Change the World) 55

e. Week 5 (Music Sampling 101 / Sampling a Dream) 63

f. Week 6 (Brought to You By! / You Can Do it!) 71

For my capstone project I chose to complete a curriculum design project on popular

Kent State University.

One of my strongest beliefs since completing my undergraduate degree is that popular

lifelong hobby or career path.

administration or parents. I learned through my undergraduate training that instructing with

continue to support and develop my program for many years.

refine my writing and plans.

unit while still having choice in the activities they complete.

could easily defend these additions to my program to parents or administration. Most

every student that comes through the program.

decades, and complete a self-led project of their choice.

Keywords: popular music, curriculum, technology, general music, middle school

Define the Project

consisting of twelve lessons aimed at providing hands-on, collaborative activities utilizing

experience in composing, arranging, listening, analyzing, evaluating, and performing popular

is an open-ended journey where engagement in play is beneficial to the overall development of

the music student (Lum, 2016).

New and Innovative

restraints and challenges associated with starting a new teaching position.

(Allsup, 2011; Dunbar-Hall & Wemyss, 2000; Green, 2006).

(Springer & Gooding, 2013).

even new instruments or production styles to provide instruction in it (Pembrook, 1991). It

modernizing music instruction.

Democratizing the Music Room

Hall & Wemyss, 2000).

Making School Relevant and Meaningful for Students

Rethinking Music Literacy

Modernizing Music Instruction

future career paths.

concepts to students as its creation relies heavily on collaboration, creativity, individuality,

notational literacy (Dunbar-Hall & Wemyss, 2000).

with the larger school community.

Contribution to the Curriculum

This project will contribute to my school curriculum by making general music

artistic directions for the future” (Rodriguez, 2004, p. 21).

project-based curriculum provides opportunities for students to “explore, experiment with,

Another implication of launching this curriculum is to increase participation and student

environment, and to motivate students to continue to participate in music education. Students’

education continue to evolve” (p. 31).

backgrounds. In addition to general music class, approximately a quarter of the students

music history so that this eighth grade curriculum is sequenced appropriately.

Lesson 1: Don’t Touch the Dial! - 1950s

Lesson 2: Rockin’ Round the Clock - 1950s

Lesson 3: Surfin’ Safari - 1960s

Lesson 4: Peace, Love, and Music - 1960s