Year Curriculum

Kansas State University
Auditioned Treble Choir Curriculum
Erin Grochowsky
MUSIC 512
Dr. Payne
October 16, 2020
Table of Contents
Program Goals.................................................................................................................................4
Program Goal 1: Create...............................................................................................................4
Program Goal 2: Perform.............................................................................................................4
Program Goal 3: Perform.............................................................................................................4
Program Goal 4: Respond............................................................................................................4
Course Goals....................................................................................................................................5
Course Goal 1: Create..................................................................................................................5
Course Goal 2: Perform...............................................................................................................5
Course Goal 3: Respond..............................................................................................................5
Course Goal 4: Respond..............................................................................................................5
Scope and Sequence........................................................................................................................6
Course: Advanced Treble Choir......................................................................................................7
Course Description......................................................................................................................7
Course Objectives........................................................................................................................7
Performance 1 Overview.............................................................................................................7
Content Performed...................................................................................................................7
Skills Addressed......................................................................................................................8
Style, Historical Period, Culture, and National Standards Addressed.....................................8
Sample Lesson Plan: Sigh No More, Ladies...........................................................................9
Rationale for Song Selections and Skill Development..........................................................10
Performance 2 Overview...........................................................................................................11
Content Performed.................................................................................................................11
Skills Addressed....................................................................................................................11
Style, Historical Period, Culture, and National Standards Addressed...................................12
Sample Lesson Plan: Veni, Veni Emmanuel and See Amid the Winter’s Snow..................13
Sample Lesson Plan: The Seal Lullaby.................................................................................17
Sample Lesson Plan – Student’s Choice...............................................................................21
Assessment....................................................................................................................................24
Assessment Types......................................................................................................................24
Examples....................................................................................................................................24
Class Discussion....................................................................................................................24
Recording Assignments.........................................................................................................24
Music Marking.......................................................................................................................24
Notebook Reflections............................................................................................................24
Sight Singing.........................................................................................................................25
Written Exams.......................................................................................................................25
Rationale....................................................................................................................................25
Class Discussion....................................................................................................................25
Recording Assignments.........................................................................................................25
Music Marking.......................................................................................................................25
Notebook Reflections............................................................................................................25
Sight Singing.........................................................................................................................26
Written Exams.......................................................................................................................26
Program Goals
Program Goal 1: Create
Students will have the ability to compose and improvise small passages of music with rhythm
and melody by ear and with standard notation.
National Standard MU:Cr1.1.E.8a: Compose and improvise ideas for melodies and rhythmic
passages based on characteristic(s) of music or text(s) studied in rehearsal.
Program Goal 2: Perform
Students will have the ability to detect how the written aspects of music affect the performance
by reading and comprehending standard notation.
National Standard MU:Pr4.2.E.Ia: Demonstrate, using music reading skills where appropriate,
how compositional devices employed and theoretical and structural aspects of musical works
impact and inform prepared or improvised performances.
Program Goal 3: Perform
Students will have the ability to present music accurately from a variety of cultures, styles, and
genres with musical expression.
National Standard MU:Pr6.1.E.Ia: Demonstrate attention to technical accuracy and expressive
qualities in prepared and improvised performances of a varied repertoire of music representing
diverse cultures, styles, and genres.
Program Goal 4: Respond

Students will have the ability to analyze passages of music and respond accordingly and explain
how they chose that response.
National Standard MU:Re7.2.E.Ia: Explain how the analysis of passages and understanding the
way the elements of music are manipulated inform the response to music.
Course Goals
Course Goal 1: Create
Students will compose refined musical drafts of a melody with rhythm in standard notation and
improvisation by ear in a class project.
National Standard MU:Cr3.1.E.5a: Evaluate and refine draft compositions and improvisations
based on knowledge, skill, and teacher-provided criteria.
Course Goal 2: Perform
Students will be able to learn music through reading skills and understand what aspects affect the
performance of a piece of music.
National Standard MU:Pr4.2.E.5a: Demonstrate, using music reading skills where appropriate,
how knowledge of formal aspects in musical works inform prepared or improvised
performances.
Course Goal 3: Respond
Students will be able to identify the benefits of working on specific repertoire based on aspects
of the music, expressive content, and learning opportunity.
National Standard MU:Re7.1.E.5a: Identify reasons for selecting music based on characteristics
found in the music, connection to interest, and purpose or context.
Course Goal 4: Respond
Students will be able to identify the context of musical passages and allow that to affect their
response and performance in an accurate manner.
National Standard MU:Re7.2.E.5a: Identify how knowledge of context and the use of repetition,
similarities, and contrasts inform the response to music.
Scope and Sequence
Performance 1 Performance 2 Performance 3 Performance 4

Musical rhythmic accuracy syncopation text expression triplets
Elements glissando dynamic contrast large intervals syncopation
body percussion foreign language dynamic backing a soloist
foreign language dissonance expression modulation
polyphony ostinato vowel purity varying textures
dynamic contrasts text expression articulation rhythmic
tempo consistency modulation modulation accuracy
music literacy legato syllabic stress voice as
harmonic homophony rubato accompaniment
progression polyphony foreign language intonation in
rubato voice as dotted rhythms tight harmony
text expression accompaniment syncopation blending
syllabic stress intonation changing time swing rhythm
intonation articulation signatures cut offs
triplets breath support fast rhythms variation
articulation rubato note accuracy dynamic change
Styles/Genres Folk song Sacred Sacred Movie

Choral song Hymn Mass Movement soundtrack
German Lieder Carol Choral Song Pop
Ballet German Lieder Country
Choral Song Boogie Woogie
Historical Contemporary Contemporary Contemporary Contemporary:
Periods Traditional Medieval Traditional 2010s, 1970s,
Romantic Romantic Romantic 1940s
Cultures Pakpaknese Western: Western: Western:
Western: English, American, English, American,
German, Russian, English American, African
American German American
Course: Advanced Treble Choir
Course Description
The Advanced Treble Choir is an auditioned group of 12 to 20 treble singers. Students explore
and perform a variety of treble choir arrange repertoire from various time periods, styles, and
genres. Students develop music literacy and expressive skills during rehearsal and performance
through discussion and analysis of musical pieces.
Course Objectives
Students will perform and analyze pieces from a variety of styles, historical periods, and
cultures.
Students will compose short melodies utilizing musical elements studied in class repertoire.
Students will be able to sight read short melodies utilizing solfege with rhythmic and pitch
accuracy.
Students will learn to compare and contrast elements of in class repertoire and back their
findings with musical terminology.
Students will use self-assessment and peer assessment to reflect on performances and rehearsals
through discussion and written reflection.
Students will develop diagnosis skills to improve rehearsals based on musical knowledge and
cultivated instincts.
Students will demonstrate proficiency on in class repertoire passages by singing one-to-a-part
throughout the rehearsal process with fewer than four rhythmic and pitch mistakes.
Performance 1 Overview
Content Performed
Cikala le Pong Pong – arr. Ken Stevens

Sigh No More, Ladies – Ruth Morris Gray
Die Mainacht – Johannes Brahms, arr. James McCullough
Truth – Andrea Ramsey
Skills Addressed
Cikala le Pong Pong
Rhythmic accuracy, glissando, body percussion, foreign language
Sigh No More, Ladies
Polyphony, dynamic contrasts, tempo consistency
Die Mainacht
Music literacy, harmonic progression, rubato, foreign language
Truth
Text expression, syllabic stress, intonation, triplets, articulation
Style, Historical Period, Culture, and National Standards Addressed
Cikala le Pong Pong
Style: Folk Song

Historical Period: Traditional to the culture
Culture: Pakpaknese of North Sumatera
Style: Choral Song

Historical Period: Contemporary musical setting, Shakespearean text
Culture: Western, English text
National Standard MU:Pr6.1.E.5a: Demonstrate attention to technical accuracy and expressive
qualities in prepared and improvised performances of a varied repertoire of music.
Die Mainacht
Style: German Lieder arranged for choir

Historical Period: Romantic
Culture: Western, German
National Standard MU:Pr4.2.E.5a: Demonstrate, using music reading skills where appropriate,
how knowledge of formal aspects in musical works inform prepared or improvised
performances.
Truth
Style: Choral Song

Historical Period: Contemporary
Culture: Western, Southern American text
National Standard MU:Cn10.0.H.5a: Demonstrate how interests, knowledge, and skills relate to
personal choices and intent when creating, performing, and responding to music.
Sample Lesson Plan: Sigh No More, Ladies
Standard Addressed
MU:Pr4.3.E.5a Identify expressive qualities in a varied repertoire of music that can be

demonstrated through prepared and improvised performances.
Objective
Given a listening example and sheet music, students will identify and explain the indicated
moods of different sections of the piece.
Materials of Instruction
Sigh No More, Ladies by Ruth Morris Gray sheet music and recording
Notebook/Journal
Lesson Sequence
1. In groups, students will discuss and mark the form and sections of the piece in their
music and in their notebooks.
a. Is there an A section? If so, what measures?
b. Is there a B and C section?
c. Do any of the sections repeat?
2. As a class, we will determine the form of the piece.
3. Together, the class will listen to a recording. As they listen, students will write in their
notebooks what moods are indicated in different sections of the piece.
a. What mood does the text express in this section?
b. Does the sound of the music evoke this mood?
4. As a class, we will decide what moods and sections we can bring out through articulation
and text expression.
5. Students will return their notebooks to the class stack for review.
Assessment
Students will have the form and mood of the piece marked in their music.
Students will have their thoughts written in their notebook as well as the form of the piece.
Students will have participated in class discussion and shared their thoughts with the class at
least once.
Grading: Checklist
Notebook entry Marks in music Participate in discussion at least once
Yes or No
Rationale for Song Selections and Skill Development
Cikala le Pong Pong
This piece offers an opportunity to encounter a traditional celebratory song from Pakpaknese
culture. The piece contains vocal techniques that are not often found in Western music, such as
glissando and body percussion. Students will learn these techniques as well as the importance of
rhythmic accuracy and emphasis in this cultural tradition.
This piece will engage the students by shifting from homophony to polyphony, as well as the
context behind the text from Shakespeare’s Much Ado About Nothing. While the piece is
contemporary, it is reminiscent of earlier music due to inspiration from the text. Students will
learn to keep time effectively so as not to slow down throughout the piece.
Die Mainacht
This piece is a choral arrangement of a German Lied by Brahms, giving the students a chance to
explore the world of Art Song in class. The melodic line and harmonic progression sometimes
move in unexpected ways, so music literacy is important for accuracy. This piece will also
expose the students to a commonly encountered foreign language in music.
Truth
This piece will invite the students to thoroughly express themselves through music. The text
delves into insecurities and doubts that students may have, and it will be a challenging learning
experience for students to open and express that through the piece. There are many articulations
that require proper syllabic stress, and potentially knew rhythmic patterns such as triplets.
Students will also have the opportunity to work with a percussionist on the djembe.
Content Performed
Veni, Veni Emmanuel – Michael John Trotta

Stars I Shall Find – Victor C. Johnson
Dance of the Sugar-Plum Fairy – Peter Ilyich Tchaikovsky, arr. Jeff Funk
See, Amid the Winter’s Snow – arr. Dan Forrest
Skills Addressed
Veni, Veni Emmanuel
Syncopation, dynamic contrast, foreign language, dissonance, ostinato
Stars I Shall Find
Text expression, modulation, legato, homophony and polyphony
Dance of the Sugar-Plum Fairy
Voice as accompaniment, precise intonation, articulation

See, Amid the Winter’s Snow
Breath support, maintaining intonation, text expression, rubato
Veni, Veni Emmanuel
Style: Sacred, Carol

Historical Period: Based on 18th century hymn and 9th century antiphon
Culture: Western, Christian text
National Standard MU:Cn11.0.T.5a: Demonstrate understanding of relationships between music
and the other arts, other disciplines, varied contexts, and daily life.
Stars I Shall Find
Style: Choral Song

Culture: Western, American
National Standard MU:Pr4.3.E.5a: Identify expressive qualities in a varied repertoire of music
that can be demonstrated through prepared and improvised performances.
Style: Ballet arranged for choir

Culture: Western, Russian
See Amid the Winter’s Snow
Style: Sacred, Hymn, Carol arranged for choir

Historical Period: 19th century hymn, contemporary arrangement
Culture: Western, English
National Standard MU:Re8.1.E.5a: Identify interpretations of the expressive intent and meaning
of musical works, referring to the elements of music, contexts, and (when appropriate) the setting
of the text
Sample Lesson Plan: Veni, Veni Emmanuel and See Amid the Winter’s Snow
Standard Addressed
MU:Re7.2.E.5a Identify how knowledge of context and the use of repetition, similarities, and
contrasts inform the response to music.
Objective
Given two pieces that both come from hymns, students will compare and contrast the
arrangements in the context of mood, tempo, language, and articulations.
Veni, Veni Emmanuel by Michael John Trotta sheet music and recording
See Amid the Winter’s Snow arranged by Dan Forrest sheet music and recording
Notebooks/Journals
Lesson Sequence
1. Students will listen to a recording of Veni, Veni Emmanuel and write in their notebooks
about the mood of the piece, as well as harmonic and articulate aspects.
a. How does this piece make me feel?
b. Are the harmonies close together, far apart, dissonant, consonant?
c. Is the piece legato and smooth or sharp and articulate?
2. Students will listen to a recording of See Amid the Winter’s Snow and write in their
notebooks the same set of questions as Veni, Veni, Emmanuel.
3. Students will discuss in small groups their findings and add to their notes based on what
their peers discovered.
4. As a class, we will discuss our findings and how pieces that were originally in similar
styles were set in very different ways by different composers.
5. Students will mark expressive notes in their music
6. Students will return their notebooks to the class stack.
Assessment
Students will have notes of comparison and contrast in their notebooks.

Students will have marks in their music of ways to bring out these differences through
expression.
Students will have participated in class discussion at least once.
Grading: Checklist
Notebook entry Marks in music Participate in discussion at least once
Yes or No
Veni, Veni Emmanuel
This piece is a contemporary arrangement of the common carol, “O Come Emmanuel.” It is

based off the hymn from the 18th century, which is based off an antiphon from the 9th century.
This provides a historical perspective and a chance to delve into the history of chant. Students
will also learn syncopation and the precision behind it, as well as the purpose and importance of
ostinato in musical settings.
Stars I Shall Find
This piece is a secular winter piece that will give students the opportunity to come together in
tight harmony to express the text fully. Some students may not have encountered temporary
modulation, which can be challenging due to accidentals in the music, requiring music literacy.
The students will experience both homophony and polyphony, so they can learn about blending
and holding their part down on their own.
This piece provides the students with the opportunity to use their voice as instruments that do not
use text. It is important that students learn that the voice can be used for many things, including
accompanying. Students will need precise intonation due to the short duration of the notes, as
well as the ability to articulate staccatos and legatos distinctly.
See Amid the Winter’s Snow
This piece gives the opportunity for students to work on breath support throughout long phrases
while creating beautiful music. It can be difficult to maintain even intonation throughout a
sustained note, but breath management and staggered breathing can be taught to work through
those challenges. The setting is impactful to many, but it can also be an opportunity for students
to sing expressively without directly believing what the text describes. This is a way to teach
students to make each piece meaningful to themselves in their own way.
Content Performed
The Seal Lullaby – Eric Whitacre

And Nature Smiled – Allen Koepke
Er ist gekommen – Clara Schumann, arr. Brandon Williams
Dies Irae – Z. Randall Stroope
Skills Addressed
The Seal Lullaby
Text expression, large intervals, dynamic expression, vowel purity
And Nature Smiled
Articulation, modulation, syllabic stress, rubato
Er ist gekommen
Foreign language, dotted rhythms, syncopation
Dies Irae
Foreign language, changing time signatures, fast rhythms with note accuracy
The Seal Lullaby
Style: Choral Song

Culture: Western, English text
And Nature Smiled
Style: Choral Song

Historical Period: Contemporary, folk inspired
Er ist gekommen
Style: German Lieder arranged for choir

Culture: Western, German
National Standard MU:Pr4.3.E.5a: Identify expressive qualities in a varied repertoire of music
that can be demonstrated through prepared and improvised performances.
Dies Irae
Style: Sacred, Mass movement

Culture: Western, Catholic, American
Sample Lesson Plan: The Seal Lullaby
Standard Addressed
MU:Pr4.2.E.5a Demonstrate, using music reading skills where appropriate, how knowledge of
formal aspects in musical works inform prepared or improvised performances.
Objective
Students will learn and perform their part on solfege, and mark in their music any leaps greater
than a 3rd for recognition later.
The Seal Lullaby by Eric Whitacre sheet music

Recording device
Lesson Sequence
1. In sections, students will use key signature and recurring notes in the music to decipher
the key.
a. How many sharps or flats are there?
b. What notes occur at the end of phrases?
2. We will group up as a class and students will share their findings, then we will decide
what key the piece is in as a group.
3. Students will write in the solfege of the piece, utilizing peer and teacher assistance.
4. Students will find leaps greater than a 3rd within the “ooh” section from mm. 1-13 and
label them in their music.
5. Students will work in sectionals on the “ooh” section with teacher assistance to learn their
part on solfege at 66 bpm.
6. In groups of 3 within each section, students will say their name and record themselves
together on the “ooh” section with rhythmic and pitch accuracy.
Assessment
Students will submit recordings in assigned groups of three within their section.
Students will have the “ooh” section marked with appropriate labels for leaps greater than a 3rd.
Grading: Rubric
1 2 3
Pitch Accuracy Students sang 75% or Students sang Students sang at least
less of the notes with between 75% and 85% of the notes with
the correct pitch. 85% of the notes with correct pitch.
(Alto – 29 notes, correct pitch.
Soprano II – 26
notes, Soprano – 30
notes)
Rhythmic Accuracy Students sang 75% or Students sang Students sang at least
less of the noes with between 75% and 85% of the notes with
the correct rhythm. 85% of the notes with correct pitch.
correct rhythm.
The Seal Lullaby
This piece is not only beautiful and enjoyable to sing, but technically challenging. Students will
require a deep understanding of intervallic relationships in order to be successful with the large
leaps that occur in this piece. It will also be challenging to blend the entire choir together on a
pure “ooh” vowel, so students will learn how to modify their vowels accordingly and keep them
the same even while changing pitch.
And Nature Smiled
This piece can be difficult due to the modulations within, but if students can learn to quickly
recognize a tonal center, they can be successful. It will be important to emphasize syllabic stress
because there are so many repeated eighth notes that if not careful, can become monotonous. The
message of this piece is meaningful, and students will learn to tell the story through their
expression.
Er ist gekommen
This piece is an arrangement of a Lied by Clara Schumann. Students will learn foreign language
pronunciation and translation, as well historical context behind the piece. There are elements of
syncopation and dotted rhythms vital to the proper expression of the piece that students will learn
to interpret in this piece and other from the same time period.
Dies Irae
This piece is a mass movement of which multiple settings by famous historical composers exist.
The historical context of the text and other settings is important for students to learn. This piece
poses challenges in the form of constantly changing time signatures and quick rhythms that
require technical accuracy. The students will learn how to be accurate while still enjoying this
powerful piece.
Content Performed
Spirit – Beyonce, arr. Mac Huff

Jolene – Dolly Parton, arr. Mark Brymer
Boogie Woogie Bugle Boy – The Andrews Sisters, arr. Ed Lojeski
Jar of Hearts – Christina Perri, arr. Andy Beck
Skills Addressed
Spirit
Triplets, syncopation, backing a soloist, modulation, varying textures
Jolene
Rhythmic accuracy, voice as accompaniment, intonation within tight harmony
Boogie Woogie Bugle Boy
Intonation, blending, swing rhythm, cut offs
Jar of Hearts
Variation throughout the piece, blending harmonies, dynamic change

Spirit
Style: Movie soundtrack arranged for choir

Historical Period: Contemporary, 2019
Culture: Western, American, African American
Jolene
Style: Country pop song arranged for choir

Historical Period: Contemporary, 1970s
Culture: Western, American, Southern
National Standard MU:Pr4.1.E.5a: Select varied repertoire to study based on interest, music
reading skills (where appropriate), an understanding of the structure of the music, context, and
the technical skill of the individual or ensemble.
Style: Boogie woogie pop song arranged for choir

Historical Period: Modern, 1940s, World War II era
National Standard MU:Pr6.1.E.5b: Demonstrate an awareness of the context of the music
through prepared and improvised performances.
Jar of Hearts
Style: Pop song arranged for choir

Historical Period: Contemporary, 2011
Sample Lesson Plan – Student’s Choice
Standard Addressed
MU:Pr5.3.E.5a Use self-reflection and peer feedback to refine individual and ensemble
performances of a varied repertoire of music.
Objective
Students will perform a song from class repertoire of their choosing in groups of one per part
with pitch and rhythmic accuracy, as well as proper stylistic expression.
Sheet music for the song selected

Recording device
Notebook/Journal
Lesson Sequence
1. Students will fill out a sheet with their preference of song in order from 1 to 4 so I may
form groups based on preference and voice type. Each song will be represented at least
once based on class size.
2. Students will have time in class to rehearse in their small groups.
3. Students will create a recording of themselves singing the piece and fill out a rubric for
themselves in self-reflection.
a. See assessment rubric below
4. Students will discuss problem spots within groups and rehearse to fix those problems.
5. Students will perform their pieces live in class while also recording. I will fill out a rubric
as they perform.
6. Students will review the final recording and fill out another rubric.
7. Students will create an entry in their notebook reflecting on their progress from one
recording to the next, and the experience as a whole.
Assessment
Students will have two rubrics completed: initial recording and final recording.
Students will have a journal entry detailing their experience and their improvement from one
recording to the next.
Students will perform live in class with pitch and rhythmic accuracy and appropriate stylistic
expression.
Grading: Rubric
0 1 2 3
Pitch Accuracy Student did not Student sang Student sang Student sang at
participate. 75% or less of between 75% least 85% of the
the notes with and 85% of the notes with the
the correct pitch. notes with the correct pitch.
correct pitch.
Rhythmic Student did not Student sang Student sang Student sang at
Accuracy participate. 75% or less of between 75% least 85%
the notes with and 85% of the percent of the
the correct notes with the notes with the
rhythm. correct rhythm. correct rhythm.
Stylistic Student did not Student sang Student mostly Student followed
Expression participate. with little to no followed written written and
stylistic and discussed discussed
accuracy. articulation and articulation and
phrasing. phrasing.
Rubrics and Student did not Student Student Students
Reflection complete either completed one completed both completed both
rubric or the rubric and no rubrics and no the rubrics and
reflection. reflection, or the reflection, or one the reflection.
reflection and rubric and the
neither rubric. reflection.
Spirit
This piece is very popular, but it also offers a learning experience for the choir. There is quite a
bit of repetition within the piece, but with slight changes each time, so the choir will learn to
recognize how they should respond to those changes and portray them with their voices. Students
will also get to sing in a different style than is common and learn improvisation possibilities and
when those possibilities could be utilized.
Jolene
Students will connect with this well-known piece and learn how to maintain intonation in very
tight harmonies, as well as using their voice in an accompaniment setting. This song drives
forward, so students will need to keep time consistently and not slow down on any difficult
aspects. Rhythmic accuracy will be important to maintain the feel of the original song.
The tight harmonies within this piece allow the choir to learn how to stay together and listen into
what others are singing. The historical context of this piece is relevant to the country we live in,
so students will learn of American culture during this era and how different cultures combined to
create this piece. Cut offs are very important for precision in this piece, students will learn how
to utilize shadow vowels to create a precise sound at the same time as everyone else.
Jar of Hearts
This piece provides students with a chance to focus on a well-recognized piece with skills
learned earlier in the semester. Despite it being a pop song, every aspect of music making is
relevantly applied. Variation with dynamics and intensity can make the impact of the piece more
effective, and students will need to focus on the harmonies to keep them strong and in tune
Assessment
Assessment Types
Class Discussion
Recording Assignments
Music Marking
Notebook Reflections
Sight Singing
Written Quizzes/Exams
Examples
Class Discussion
Students will be marked on whether they participated in class discussion meaningfully at least
once. I will have a roster with me to mark participation. Meaningful contribution means a full
thought, not simply a one-word answer. I will give each student the chance to participate by
calling on them if I have yet to hear from them.
Recording assignments will be done in small groups on passages from class repertoire. Students
will demonstrate accuracy and attention to what we have discussed and worked on in class, with
a rubric for scoring.
Music Marking
I will periodically check the students’ music to ensure that they have it with them and are making
expressive markings, circling errors, and have their solfege written in. This will be scored by a
rubric on a scale of what they have written in.
During formal class discussions, I will often have students form their thoughts in their notebook.
After class, I will check to see if they participated in this activity and mark them yes or no. We
will also have rubrics to fill out and self-reflections periodically through the semester and I will
check for completion with a checklist.
Sight Singing
Students will have sight singing assignments as part of daily warm up. I will periodically assess
them individually to gauge how they are retaining sight singing strategies and techniques using a
rubric.
Written Exams
At the mid-point and endpoint of the semester I will administer written formal exams to assess
students on basic music theory skills and music literacy.
Rationale
Class Discussion
It is vital for students to feel as though their thoughts are heard and recognized. Class discussion
will allow students to have a voice and be encouraged to participate by me and their peers. This
will help me assess how students are retaining and interpreting previously taught and discussed
concepts based on their input.
Students will have the opportunity to show that they are proficient in certain passages in class
repertoire with these assignments. I will be able to gauge problem spots in music and specifically
see what aspects of music students are having trouble with, both in general and specific to a
piece of music.
Music Marking
Students must mark their music so that they can remember discussions of expression and
technique each time they rehearse and perform. By checking to see if their music is marked, I
will encourage them to actually do so, and they will in turn be more successful in the music
making process.
Students need to constantly reflect on their music making in order to successfully improve. By
checking whether they have completed these assignments, it will encourage them to do so and to
relay their thoughts and feelings onto the page. Later, students can look back on these reflections
to see how they have improved and where they can continue to improve.
Sight Singing
Sight singing shows true music literacy. By testing the students on their sight singing skills, I can
see what musical aspects provide challenges to their music literacy and what we can work on
more often in daily warmups to provide for more success.
Written Exams
These exams are a way to determine music literacy on the page and see what elements of music
students need to work on recognizing on the page. These exams also provide a final and midterm
that may be required by administration.

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Kansas State University

Auditioned Treble Choir Curriculum

Program Goal 1: Create

Program Goal 2: Perform

Program Goal 3: Perform

Program Goal 4: Respond

Course Goal 1: Create

Course Goal 2: Perform

Course Goal 3: Respond

Course Goal 4: Respond

Performance 1 Performance 2 Performance 3 Performance 4

Styles/Genres Folk song Sacred Sacred Movie

Cikala le Pong Pong – arr. Ken Stevens

Cikala le Pong Pong

Rhythmic accuracy, glissando, body percussion, foreign language

Sigh No More, Ladies

Polyphony, dynamic contrasts, tempo consistency

Music literacy, harmonic progression, rubato, foreign language

Text expression, syllabic stress, intonation, triplets, articulation

Style, Historical Period, Culture, and National Standards Addressed

Cikala le Pong Pong

Style: Folk Song

Sigh No More, Ladies

Style: Choral Song

Style: German Lieder arranged for choir

Style: Choral Song

Sample Lesson Plan: Sigh No More, Ladies

MU:Pr4.3.E.5a Identify expressive qualities in a varied repertoire of music that can be

Rationale for Song Selections and Skill Development

Cikala le Pong Pong

Sigh No More, Ladies

Veni, Veni Emmanuel – Michael John Trotta

Veni, Veni Emmanuel

Syncopation, dynamic contrast, foreign language, dissonance, ostinato

Stars I Shall Find

Text expression, modulation, legato, homophony and polyphony

Dance of the Sugar-Plum Fairy

Voice as accompaniment, precise intonation, articulation

Breath support, maintaining intonation, text expression, rubato

Style, Historical Period, Culture, and National Standards Addressed

Veni, Veni Emmanuel

Style: Sacred, Carol

Stars I Shall Find

Style: Choral Song

Dance of the Sugar-Plum Fairy

Style: Ballet arranged for choir

See Amid the Winter’s Snow

Style: Sacred, Hymn, Carol arranged for choir

Students will have notes of comparison and contrast in their notebooks.

Rationale for Song Selections and Skill Development

Veni, Veni Emmanuel

This piece is a contemporary arrangement of the common carol, “O Come Emmanuel.” It is

Stars I Shall Find

Dance of the Sugar-Plum Fairy

The Seal Lullaby – Eric Whitacre

The Seal Lullaby

Text expression, large intervals, dynamic expression, vowel purity

And Nature Smiled

Articulation, modulation, syllabic stress, rubato

Foreign language, dotted rhythms, syncopation

The Seal Lullaby

Style: Choral Song

And Nature Smiled