Taking turns with the resonator bars Source: Photo by P. Hackett
Taking turns with the resonator bars Source: Photo by P. Hackett
Classroom teachers are faced with a myriad of subjects to teach—everything from math to music. State and district standards specifying what students need to know and be able to do are in place for each subject. The challenge for teachers is in putting the planning puzzle together—to ensure that students develop the needed skills and understanding—and in assessing how well they have met those standards. Students seem to learn best when connections are made between subjects. This means that teachers are challenged to plan instruction that will integrate the different subject areas and, as a result, bring about more meaningful student learning. It's a big job to organize all of this instruction sequentially! Teachers have to carefully plan all the various steps needed to maximize student learning in each and every subject.
To meet all of these challenges, teachers must be expert planners. Putting together the puzzle of what needs to happen in the classroom on a daily, weekly, monthly, and yearly basis is an enormous challenge. And, as the pieces are being put in place, special consideration has to be given to how to reach and teach all students. Students come to the classroom with a variety of abilities and disabilities and it is a teacher's responsibility to reach each and every learner.
Most school districts require teachers to have daily, weekly, and monthly plans. These written plans come in various designs, but there are components common to all. Weekly plans reflect the short-range goals, objectives, and standards for each subject; activities/procedures to reach those objectives; materials needed to deliver these activities; and ways to assess student learning. Modifications are made for individual students as needed and as recommended by the student profiles and individualized education programs (IEPs).
To help teachers with planning and teaching the curricular area of music, 43 model experiences follow. Each model specifies what music standards will be met in the learning experience and provides ways to assess music learning. Connections are made to other subject areas to aid in integration of learning. Adaptations and extensions for reaching all learners are offered. Worksheets, picture maps, charts, recordings of all the music (see icons 
), and other teaching tools are included to maximize the learning experience and peak student interest.
These individual model experiences can be shared with students in one session (approximately 15-30 minutes depending on the level) and reflect a daily lesson plan design. However, teachers can extend most models using suggested follow-ups and different music selections so the model could be shared several times. These music learning strategies are appropriate for Kindergarten-grade 1 (Level I), grades 2 and 3 (Level II), and grades 4-5 (Level III).
It is possible that by sequencing and extending these models (an abundance of supplementary music from Section III is referenced in the lessons), teachers can organize music instruction on a weekly, monthly, and even yearly basis. Monthly planners are also included to help coordinate model experiences with various celebrations, seasons, and other special events occurring throughout the school year. With so much to do and so little time, these models can serve as a jump start for putting together the planning puzzle for music.
| ELEMENTS OF MUSIC | LEVEL I CONCEPTS K-1ST GRADES | LEVEL II CONCEPTS 2ND-3RD GRADES | LEVEL III CONCEPTS 4TH-5TH GRADES |
| Melody | • Pitches can be high or low • Pitches can move up • Pitches can move down • Pitches in a melody can stay the same |
• Pitches can be high or low • Pitches in a melody can move by step • Pitches in a melody can move up and down by step |
• Pitches can move by stepping up or down • A melody can exhibit a distinctive contour as it moves up or down or repeats |
| Rhythm | • Chants can move with a steady beat • Music can move with a steady beat • The rhythm of a melody includes long and short sounds |
• The rhythm of a melody includes long and short sounds • Beats can be grouped in twos • Beats can be grouped in threes |
• Beat can be grouped in fives |
| Form | • Songs may have a clear ending • Repeating patterns can create unity • Melodies can be made up of sections that are different |
• In call and response form, responses can be identical to the call • Melodies are divided into smaller parts called phrases • Phrases in a melody can be the same or different |
• Phrases in a melody can be the same or different • Sections of a composition can contrast with one another and sections can be repeated (ABA) • The initial section of a composition may alternate with contrasting sections in rondo form • In call and response form, responses can be identical to the call, or contrasting • Each of the three phrases in “12-bar” blues consists of four “bars” • Sections of a composition can contrast with one another and sections can be repeated (AABBACCA) |
| Harmony/Texture | • A melody can be performed alone or with an accompaniment | • Borduns and ostinatos can add harmony to a melody | • Chords consist of three or more pitches stacked in thirds • Chords can be performed as a song accompaniment |
| Expressive Qualities | • Music can be soft and loud or become gradually softer or louder • Music can move in a fast and slow tempo • Sounds are produced by vibrations |
• Music can be performed legato and/or staccato • Each instrument has its own special sound • Instruments are grouped into families |
• Each instrument has a characteristic timbre that when combined with others can create a sound piece • Instruments can be identified and grouped by their timbres and materials • The elements of music can be identified and compared in music of different historical periods |
This chart summarizes a number of important developmental characteristics concerning children's cognitive, physical, and musical growth, and their special interests and needs. Recognizing that many children will exhibit these developmental characteristics, some may function at a younger or even older level.
| K-1ST GRADE | 2ND-3RD GRADE | 4TH-5TH GRADE | |
| Learn by Doing (Cognitive Growth) | Hands-on experiences allow children to show what they know and understand by doing; learning results from interaction of their own thinking and experiences | Children continue to learn through hands-on experiences, but they begin to internalize processes | While students continue to learn best through hands-on, concrete experiences, they can cognitively internalize their understandings |
| Physical Growth | Large-muscle coordination is better than small-muscle coordination | Small-muscle coordination and fine motor skills improve | Physical growth is slow and steady; girls mature faster than boys; small muscle development reaches a higher level |
| Singing | Voices are light and small; singing range is generally limited to 5 to 6 pitches; intune singing is a challenge; singing with a pleasant, light tone and many opportunities to sing individually and with others should be encouraged | Singing range increases from 5 to 10 pitches and in-tune singing with a clear, open, and unforced quality should be encouraged; with more control of their singing voices, singing becomes more accurate and expressive as they sing alone and with others | Singing range is larger than an octave and may be as much as 12 or more pitches; vocal cords and lungs are more developed so better control of voices and breathing results; boys’ voices are more resonant, and girls’ are clear and light; students can sing in harmony by performing descants, partner songs, rounds, and songs in two parts |
| Playing Instruments | Children love to play simple classroom instruments that they can strike, tap, rub, and shake to accompany their singing and other musical experiences | Because their small-muscle coordination and fine motor skills are improving, students can play more challenging classroom instruments such as the recorder, the Autoharp®, and Qchord®. | Students can play a wide variety of pitched and nonpitched classroom instruments, can coordinate two skills such as singing while playing an Autoharp® or Qchord®, and are ready to start instruction on formal instruments such as clarinet, trumpet, violin, and percussion |
| Moving | Moving to music is essential and fun; children can experience locomotor, nonlocomotor, and creative movements, and can learn simple singing games | Locomotor, nonlocomotor, and creative movements are still important as are more challenging singing games and simple folk dances; boys may not readily choose girls as partners, but when assigned to a partner, they seem to participate willingly | More challenging nonlocomotor movements such as hand jives are intriguing for students; more complicated folk dances are very appropriate |
| Reading | Reading skills are limited; however, both language and speech skills are rapidly developing | Language and vocabulary develop rapidly; language reading skills are developing, and children start to learn to read and notate music | Language and reading skills are steadily improving and students’ music reading and notating skills are developing |
| Working with Others | Gradually, children are learning to take part in and benefit from larger-group experiences but still need opportunities to interact individually with musical materials | Children like to work and play in groups; peers of the same sex are particularly important | Students enjoy working in both small and large groups; cooperative learning groups work particularly well; students are able to take more initiative and work on their own |
| Interests | Curious about and alert to everything around them, children like songs that tell a story and focus on familiar experiences (animals, holidays, etc.) | Being curious and interested in everything, children especially love songs with ridiculous humor and fantastic adventures | Interests broaden, and students are more aware of the larger world; popular music becomes especially important and multicultural music fascinates them |
| Needs | Short attention spans, tiring easily, and being able to concentrate for relatively short periods of time are special needs of this age group; they need lots of individualized attention, encouragement, and positive reinforcement | Even though they are better able to concentrate and focus their attention for longer periods of time, children still need to alternate active and quiet periods; they need positive reinforcement for their achievements | Students need to “belong” and peer group approval takes on new importance; they continuously need positive reinforcement for their achievements (both academic and social) |
This is the single understanding that will result from using the music and the process of the model experience.
MUSIC CONCEPT
This is the musical selection upon which the model experience is based. Songs are notated in alphabetical order in Section III. All musical selections are recorded (specified with icons 
).
Music
This is a statement that specifies what students will be able to do as a result of the musical experience. Teachers should note how the students will demonstrate their music learning: through singing, playing instruments, body movements, and so forth.
Objective
This specifies the National Core Music Standard that is addressed in the lesson. The performance standard is indicated by the code used in the standards—see Chapter 1. Standards are also identified in the Extend section of the lesson.
Standard
Recordings, instruments, props, and other materials are identified. Worksheets for student use should be prepared in advance.
Materials
[Lesson begins here]
When a sentence is written in italics, it suggests a phrase or a question that may be spoken by the teacher exactly as it appears.
OPEN
To capture the attention of your students, a focus statement or action is suggested for your use. (Create your own, to reflect your personality!) Although the “open” statements in The Musical Classroom are brief and concise, some teachers are able to elaborate and expand on them without losing the interest of their class.
Key Terms
Key terms are noted in the margin. Consistent and repeated use of these terms facilitates learning.
Each procedure is numbered, suggesting a step-by-step sequence for development of music concepts and skills.
Steps 1, 2, 3
This identifies how and when students demonstrate understanding of the music concept. Most often, the teacher must watch and listen carefully as the class sings, plays, moves, and so forth.
Indicator of Success
At the end of an experience, it is important to summarize the music concept and bring the model experience to a close. Rather than announcing this summary to the class, elicit it from them.
CLOSE
This indicates how, with different musical selections, students can show they perceive the studied concept.
[Lesson ends here]
ASSESS
This section, in some model experiences, provides background information for the teacher on the music, composer, or type of music.
To reach each and every learner, suggestions are given here for engaging all learners by maximizing and individualizing the learning experience. Ideas are offered for visuals, charts, dances, English language learning, ASL signs, and so forth that can be incorporated into the model experience.
To be enjoyed, music usually must be heard until it becomes an old friend. Exciting music contains much that can be discovered on subsequent days. Music concepts also need exploration and refinement. This section includes activities that may serve as follow-ups to the model experience to extend learning in music and other subjects.
Relationships to other subjects are suggested by activities in related arts, language arts, math, science, and social studies. Program ideas are provided, as well as Orff and Kodály adaptations and cooperative and peer-assisted learning projects.
Math
Language Arts
Science
Social Studies
Multicultural
Movement
Visual Art
Dramatization
Orff Adaptation
Kodály Adaptation
Music Learning
Theory
Peer-assisted
Learning
Cooperative Learning
Every model experience in The Musical Classroom includes a list of selections that illustrates the same music concept. Teachers may choose other selections that are more familiar, more available, or more appropriate for their particular classes.
Now, turn to pp. 116–117 and take a look at this format in a model experience.
"Try your wings" teaching music to peers in a college classroom or to children in an elementary classroom by using one of the model experiences in this text. Consider your own enthusiasms and strengths as you make your selection.
If your "best instrument" is a digital music player, choose a model experience based on listening to orchestral, jazz, or multicultural music. If singing is one of your strengths, select a song experience. (However, even an insecure singer can handle a lesson that has a song recording, and many model experiences are specially designed for this.) If you enjoy moving to music, choose a model experience involving movement. Or consider models that involve cooperative learning and integrating arts and other subjects. Music involves so much variety that there is sure to be an avenue that will lead you to successful music teaching.
After selecting a particular model experience, study its format, referring to the description on pp. 106-107.
Prepare your lesson so it fits within the time frame recommended by your instructor. If time allows, also prepare an extension activity to use on a different day.
Now review the following guidelines, which describe what to do before, during, and after presenting a model experience.
Evaluate the effectiveness of your presentation using the Self-Evaluation of Model Experience Presentation Form available on the companion website. If you were able to record your presentation, use the audio or video to analyze, assess, and reflect further on your teaching. Review the observations made by your instructor or by others present during your teaching. If you were peer teaching, ask your classmates to fill out the Peer Evaluation of Model Experience Presentation Form, available on the companion website. Finally, use the feedback you have gathered and begin a journal of reflections about your teaching. For example, you might note the areas that you want to target for improvement in the future. Maintain your journal as you continue your teaching experiences—reflection is a great way to grow as a teacher!