Hello, and welcome to my hub for some of the lesson plans I created over the years to incorporate the idea of multiple modalities with music lesson planning.  Since most music teachers have performing ensembles, lesson plans usually focus on the interactive aspect; however, after studying the concept of using two or more modes of comprehension, I feel that there are a myriad of possibilities that can use visual, aural, kinesthetic, and other forms of receiving information to optimize the effectiveness of every lesson. 

In this hub, I have included 2 such lesson plans that show my attempts to use this method.  As a recent graduate, I am fully open to any constructive comments that can help me improve upon my lesson planning and any suggestions for alternative activities that could be implemented within them.  If you are in an education program at a university and wish to use my lessons for educational purposes or perhaps for your own teaching, please let me know any remarks made and/or your experience with the lesson!   

All Roads Lead to Music

Topic: Music Composition/Music Appreciation

Grade Level: High school (9-12)

Purpose/Goal: To show how various disciplines of study can be related to music and to promote the use of groups to compose music.

Objectives: 1. High school students will be able to create a musical piece in a group setting based on mathematics, science, social studies, or literature within a 35 minute time period.

2. High school students will be able to explain and analyze a musical piece which they wrote using correct musical terminology orally and in writing.

Standards: H.5.1 – Create short musical works, with assistance by the instructor as needed, to convey an original idea.

Materials: Desks clustered into 4 groups, manuscript paper (at least 30 sheets), the Golden Ratio definition for the math group, the theory of gravity for the science group, a summary of the Revolutionary War of the United States for the social studies group, a passage from Frankenstein for the literature group, name labels (1 for each student), an alphabetical list of the students in the class, pencils, .5 and .7 lead refills for mechanical pencils, 4 manila envelopes.

Time: 55 minutes (may need to split up into two sessions)

Grouping: Prior to class starting, preferably the night beforehand at least, create four groups of students, each group with an approximately even number of members. The members of each group will be selected alphabetically from A to Z by numbering each student from 1 to 4 until al students are placed into a group. Then, assign each group their subject for the composition: Group 1 has mathematics with the Golden Ratio definition; Group 2 has social studies with the summary of the Revolutionary War; Group 3 has literature with the passage from Frankenstein; Group 4 has science with the theory of gravity. Finally, using your best judgment based on behavior, ability, and social learning necessity, choose roles for each student in each group. Allocate the roles of leader, analyst, writer, presenter, and timekeeper first. Then, for the remaining students, make up names of roles that hint at the idea of a thinker. Write the names of the students and their roles on the name labels and group them together using a paper clip or rubber band, whichever is available. Put all the materials for a specific group in a separate manila envelope and label them Group 1, Group 2, and so on.

Transitions: On the day of the lesson, preferably 25 minutes before class starts at least, arrange the desks into four clusters, one in each corner of the classroom or at least adequately separated. Place the name labels on each desk according to the groups they are in. As the students enter the classroom, have the students find their name label and sit at that desk quietly until class starts.

Introduction: (3 minutes)

Greet the students and ask them for their favorite school subject. After hearing a few answers from different students, ask how many have ever related those subjects to music. If any have, ask what they did to do so. Then, explain that they will be composing a piece based off of a specific subject in the groups they are currently sitting in. Pass out the manila envelopes to the corresponding groups, telling them not to start until you read and explain the instructions.

Instructions: (2 minutes)

Read to the students these instructions:

All subjects can be related to music, and now you will have the opportunity to observe this firsthand! In your groups, you will write a short piece based off of the material in the manila envelope you just received. Since this is a group project, everyone must participate in the process and in its presentation. You will have 35 minutes to create a piece and to prepare a presentation to explain your composition to the class. The presentation should only be about 3 minutes long and should be complemented with correct musical terminology.

Explain the grading procedure to them simply: they will be graded on the presentation and the participation of the group. Ask if there are any questions before starting. From that point on, the 35 minutes begins.

During the 35 minutes:

While the students are working, continually monitor the students’ work. Try to listen in on what they are saying to confirm they are working on the project. If students have questions, answer them carefully so you do not make firm decisions on what to do. If they ask for clarification of their subject area, summarize the basic idea as best you can. As a guide, the following points will help if this arises:

-Golden Ratio: Halving a length over and over; shown in nature abundantly. Eventually this will be impossible to perceive.

-Theory of Gravity: Isaac Newton’s discovery with the apple from the tree. “What goes up must come down” may help.

-Revolutionary War: Fighting for independence; a cause worth fighting for. Chaos was prominent until the end.

-Frankenstein: The monster was created out of the greed of Dr. Frankenstein.  How would you feel if you looked like the monster in that world?

If the students are hopelessly lost, as in they have no idea where to start, you may lead them into an idea to jumpstart their imaginations, but do not do the music for them.

(Here you may wish to collect the materials if there is not enough time remaining to finish the lesson. You may continue the lesson the following day.)

Conclusion: (15 minutes)

After the 35 minutes are up, or once all the groups are ready, have each group stand up and share their presentation. Start with Group 4 and work down to Group 1. After all the groups have presented their pieces, ask them what the most difficult part of the assignment was. Ask them why it is important to be able to connect subjects to unrelated subjects. After the students answer those questions, collect the pieces and materials by asking the students to put all the materials and the piece into the manila envelope.

Assessment/Evaluation: (done after class)

The grading of the presentation and the assignment will be according to the following rubric by allotting points to each category:

Participation: (10 points)

0-2 = students did not work equally at all; did not work on the task.

3-5 = students showed some equal work, had social talking issues.

6-8= students did a good job of splitting work, stayed mostly on task.

9-10= students split up the work superbly, kept on task.

Presentation: (20 points)

0-4 = effort was not shown; minority of students participated.

 5-8 = some effort was shown; half of the students participated.

9-13 = average effort was shown; students had uneven participation.

14-17= good effort was shown; all students had some participation.

18-20= superb effort was shown; all students participated strongly.

Music Terms: (10 points)

0-2 = students used no musical terms at all; lack of description.

 3-5 = students used terms incorrectly; description was weak.

6-8 = students used basic terms; description was average.

9-10= students used correct terms; excellent description.

Behavior: (10 points)

0-3 = students paid little attention to other presentations; were rude.

4-6 = students paid attention to other groups half of the time.

7-8 = students mostly paid attention to other groups.

9-10 = students were avid listeners, paid attention to all groups.

The grade is decided by adding the number of points divided by 50. Use the grading system built into the classroom or in the school system.

Reflection Questions:

Students:

1. Did they work well in their assigned groups?

2. Did they seem motivated or interested in the assignment?

Teacher:

1. Was I adequately monitoring the class during their work time?

2. Did I answer any and all questions sufficiently and clearly?

Lesson Plan:

1. Were the instructions easy to understand and feasible?

2. Did the lesson go smoothly and stay in the time frame?

Interests: Favorite Subjects (or at least subjects that catch the curiosity of the students), Creativity in Music, Sharing accomplishments with their peers, working in groups.

Learning Styles: Visual learning by reading and watching presentations and materials; Auditory learning by listening to other presentations and hearing other viewpoints, and Kinesthetic learning by writing down music and by brainstorming for the presentation.

A Dot Can Change Everything

Topic/Subject: Music (Orchestra)

Grade Level: 9-12

Objectives:

1. High school students will be able to clap rhythms containing dotted half notes, dotted quarter notes, and dotted eighth notes with 75 percent accuracy when given a rhythm containing dotted half notes, dotted quarter notes, and dotted eighth notes.
2. High school students will be able to play rhythms containing dotted half notes, dotted quarter notes, and dotted eighth notes with 70 percent accuracy when given a rhythm containing dotted half notes, dotted quarter notes, and dotted eighth notes.

Standard(s):

H.3.1- Name and explain the meaning of symbols on a musical score.

H.3.2- Demonstrate the correct use of musical terminology when discussing music.

Goal/Purpose: To show the students that dotted rhythms allow for a greater variety of rhythmic patterns, to show the students how to subdivide dotted rhythms when playing a passage, and to have the students perform a simple piece using dotted rhythms.

Materials: Chalkboard, Chalk, manuscript paper with a melody, Greensleeves arrangement in unison for Violin, Viola, Cello, and Bass, Guided Practice Rhythm

Time: 20-22 minutes

Before class starts: Write on the board the Greensleeves melody without dotted rhythms, and write on a separate part of the chalkboard a dotted half note, a dotted quarter note, and a dotted eighth note with equal signs after each note. Also write out the Guided Practice Rhythm on another section of the chalkboard.

Introduction (5 min): Review the counting system with the students by having them count a simple 2 measure passage containing quarter notes, eighth notes, and half notes. Then, explain to the students that although these note values are widely varied, there is still a limit to the variety of rhythms available. Explain to them that dotted rhythms are used to add extra rhythmic possibilities. Ask the class what they know about the dot symbol and its meaning, and then ask the students about the values of the dotted half note, dotted quarter note, and dotted eighth note. Play for the students on an instrument Greensleeves, once without dotted rhythms and then once with dotted rhythms. Ask them which version sounded more exciting or creative.

Demonstration (5 min): With the dotted rhythm version of Greensleeves on the chalkboard, demonstrate how to count dotted rhythms. Explain that subdivision is a critical technique when counting dotted rhythms. Illustrate this practice by explaining that the first step in counting dotted rhythms is to find the smallest note value in the passage. With that note, find out how many of those notes fill one measure of the passage. From there, explain that the students can either write out the counts for the smallest note values across the measures or group the smaller notes into each written note. Once the grouping is finished, show that the counting syllable that is where a new note value starts is what is clapped and said when orally using the counting system. Demonstrate this by doing the rhythm yourself, and then do the rhythm again with the students also doing it, and finally have the students do the rhythm once without you.

Guided Practice (5 min): Using the Guided Practice Rhythm on the chalkboard, go through the process stated above step-by-step by having the students volunteer to lead you through the process. If a student says an answer that skips a step, ask how he or she found that answer in order to establish the step-by-step process of the counting system. Once the counting is finished, have the students clap and say aloud the counting of the passage. Do two or three of these with different students helping you complete the analysis.

Check for understanding: Ask if anyone has any questions regarding how to count dotted rhythms. Answer these to the best of your ability, but avoid answering questions regarding more advanced techniques such as syncopation and dotted sixteenth notes.

Independent Practice: Hand out to the students a line of manuscript paper with two four measure passages. Have the students write in the counting of the passages individually, and when they are done, have the students put their pencils down. While they are working on the rhythms, write the same rhythms on the board. After about 4 minutes or when all the students are finished, ask for the counting of the passages by having a student clap and say aloud what their counting was. Write their answer below the chalkboard version of that rhythm, and then ask if anyone else has a different counting. Once all the options are on the board, point out which one, if any, are correct and repeat the process so students who made errors can watch the process again after attempting it themselves. Do the same process with the second rhythm.

Conclusion: Ask the students about the difficulty of counting dotted rhythms, and ask if there are any other questions regarding them. Once those questions are resolved, have the students perform the arrangement of Greensleeves in unison so they can have a chance to physically play dotted rhythms. After running through the small piece, share with the students that with this technique, they can count rhythms that do not land on the beats of a measure, and tell them that they will cover that lesson in the next theory session. If extra time is available, you may go ahead and start on the syncopation lesson or rehearse repertoire, whichever is needed the most.

Reflection Questions:

Student:

1. Were the students on task?

2. Did they seem interested with the examples?

Teacher:

1. Did I use my stall word too much?

2. Did I make eye contact with the students?

Lesson plan:

1. Were the instructions clear and easy to follow?

2. Did the plan adequately cover the material in various ways?

Interests: Variety from the norm, commonly heard music, Participation in class, Performing, Music in general

Learning Styles: Kinesthetic learning through the use of the instruments to play the rhythms, Visual learning through the use of the chalkboard and of the manuscript paper, Auditory learning through speaking and through questions being asked, and Participatory learning through the use of having students participate in the process.