music (general) curriculum units with examples of … · non-western music, tuning, scales, style,...

Directorate for Quality and Standards in Education - Curriculum Management and eLearning Department – Music – 2011 1

Music Curriculum

Directorate for Quality and Standards in Education Curriculum Management and eLearning Department

MUSIC (GENERAL) CURRICULUM UNITS – FORM 1

MUS 7.1 The Dancing dialogue

MUS 7.2 Music in Art

MUS 7.3 A Golden Treasury of Medieval and Renaissance Music

Music Curriculum

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Subject: Music (General) Form 1 Unit title: MUS 7.1 The Dancing dialogue Unit Duration: 9 sessions of 40 minutes, total 6 hours Strands: 1. Artistic skills, technical and practical knowledge (Theory and Performance) 2. Evaluating and appreciating (Listening)

OBJECTIVES

The teacher will: 1. enable the students to respond to music, join in and create individual and group movements to a variety of musical excerpts. (Strand 1) 2. enable the students to become aware of and respond appropriately to the tempo and rhythm of the music. (Strand 1) 3. enable the students to recognize definitions of music traditions and be exposed to terms such as: tuning , scale, style, melody, harmony and

performance. (Strand 2) 4. enable the students to understand the role of music in everyday life and in special events such as carnival, feasts and religious services . (Strand 2)

Key Words Points to note Resources

movement, tempo, rhythm, Non-western music, tuning, scales, style, performance, melody, harmony, society, culture, identity, activities and events.

The approach to teaching and learning of music is based on: Theory and Performance, Composition and Listening These three strands help students to be creative and express themselves in different ways; experience enjoyment and contribute to other people’s enjoyment through creative and expressive initiatives; develop important skills that are both specific to music and transferable; develop a sense of aesthetic judgement; identify cultural values, identities and concepts; motivate students to further their interest in the arts. Student-centred learning in music is based on creative sessions where students explore and put into practice the knowledge attained throughout the years. Students should be encouraged to take risks through music activities such as performances and composition. All this should lead towards the development of young musicians who are able to form their own artistic evaluating skills in a range of musical activities.

Piano; Here comes the Drums – music for dance; Drumjazz – grooves for dance and movement; John Hanks and Ken Ray Wileman – Percussion Jams for Dance; Dancing Fingers – music for the ballet class. Composed and played by Michael Roberts. http://www.drumjazz.com http://www.youtube.com/watch?v=PPSAzZ0u1RM http://www.youtube.com/watch?v=FG-ho6Kd-3Q http://music.skola.edu.mt Tia DeNora (2000) Music in Everyday Life Susan D. Crafts (1993) My Music: Explorations of Music in Daily Life


Teaching objectives Examples of teaching experiences and activities Learning outcomes

Strand 1 The teacher will: enable the students to respond to music, join in and create individual and group movements to a variety of musical excerpts enable the students to become aware of and respond appropriately to the tempo and rhythm of the music. (4 lessons)

It is highly recommended to divide movement activities into 4 sections: starter, warming-up, activity, cooling down. Teacher is to give directions but leaving space to students to improvise and create their own movements. Teacher discusses with students the movement of a theme, such as ‘fire’ and ‘ice’. They discuss how flames move, their wobbly and hasty directions, and the various elements that make them move. Students will then choose any 3 words directly related to the topic of ‘fire’ and/or ‘ice’ to begin the warm-up. They walk around constantly changing direction according to the indicators set during the initial class discussion. Instructions such as ‘Spark’ – jump; freeze; gently fall to the floor; ‘Flame’ – begin low and make whole body move wavily upwards; ‘Water’ – fall to the floor, quick as possible and remain still are just a few examples. Students will then listen to music which can be applied to the movement of the chosen theme. An example of music which can be used for the re-cap of the movement of flames is the music by Patric (1976), which can be listened to on web link: http://www.youtube.com/watch?v=PPSAzZ0u1RM. Taking ‘fire’ as an example, students are then encouraged to try out some different ways of moving like a growing flame. They begin low with a flicker in one part of the body, and as the fire becomes stronger and higher students are asked to make the movement as big as possible. Students are introduced to the 3 levels of dancing: low, middle and high. High attaining students can demonstrate and share fire movements to their classmates. Whole class evaluation should follow, allowing time to improve dancing movements. Students are encouraged to rehearse solo movement dances so as to reinforce the memorization of the same movements. Taking the above theme (‘fire’) as example, as a cooling down session, students listen to relaxing music and are encouraged to pretend to be the tallest flame they can be, imagine it’s beginning to rain; the flame slowly fades and gets smaller and smaller. An example of music which can be used during this session is a piece by Paul Collier which can be listened to on the web link: http://www.youtube.com/watch?v=FG-ho6Kd-3Q. In movement sessions, repetition is important to consolidate learning.

In other sessions, students can improvise and create movements in duets. Taking ‘fire’ as example, students try to entwine and stay connected as the flame grows stronger, remembering the wavy dynamics presented in the solos. Students can also join in a quartet.

Strand 1 Students will: respond, improvise and join in to music through complex movements, becoming aware and respond accurately to the tempo and rhythm of music. (Level 8) respond, improvise and join in to music through movements, becoming aware and respond accurately to the tempo and rhythm of music. (Level 7) respond, imitate, try simple improvisations and join in to music through movements, becoming aware and respond accurately to the tempo and rhythm of music. (Level 6) respond, imitate, try simple improvisations and join in to music through simple movements, becoming aware and responding accurately to the tempo and rhythm of music. (Level 5)


Strand 2 enable the students to recognize definitions of music traditions and be exposed to terms such as: tuning , scale, style, melody, harmony and performance enable the students to understand the role of music in everyday life and in special events such as carnival, feasts and religious services

It is very important that they stay connected and work together to tangle and create one group fire. Each student can take a turn at directing their own idea. Students comment on what expresses the chosen subject and the skills needed to work in a group to create a successful outcome. These activities can be applied to other themes, such as ‘water’. The concepts learnt so far are to be rehearsed, evaluated and performed by the students. During the following sessions, the students discuss with the teacher the entire and the movements covered so far, introducing performance skills such as focus, clarity of movement, rhythm and pulse, awareness of space and how the movement can be improved. During such sessions, the warm-up is to be chosen from previous warm-up exercises. The activity can be based around the rehearsing of the theme, such as ‘fire’, ‘ice’ or ‘water’ or the 3 of them. These are rehearsed, evaluated by the students and performed. As part of the cooling down session, students are invited to lay on the floor with their eyes closed, breathe in and tense muscles; on exhalation they allow muscles to relax. Students can use a word processor to write movement instructions so that someone else could perform it. They might even extend the instructions by using a drawing package to make a visual representation of the movements. It is highly recommended to base world music sessions on listening resources, along with performance, research activities and class discussions. The students are engaged in a brainstorming session where they discuss musical instruments related to North African music. Students are asked to find information, from reliable sources about Islamic life and culture, mainly by focusing on the following aspects: religion, language and lifestyle; they can do this in groups. In North African music, mostly in urban areas, one finds the coexistence of western and Arab musical instruments and genres. The students discuss with the teacher what might have generated and even nurtured this, both in the past and in more recent times. Students are involved in a focused discussion on colonialism and the presence of European orchestras in North African countries. Possible factors in the nurturing of this coexistence include: the recording industry; the teaching of western classical music in north African schools and conservatories; and the setting up of wind bands modelled on European military bands.

Strand 2 understand the interaction between music history, society and identity and the various definitions of music in different life contexts, situations and culture. Compose a short piece of music using a combination of motivic and rhythmic ostinato. (Level 8) understand the interaction between music history, society and identity and definitions of music in different life contexts, situations and culture. Improvise/compose short piece of


(5 lessons)

Students are encouraged to research information about the Qurān, paying particular attention to its organisation (e.g. number of chapters) content and interpretation. By using the internet students try to identify three leading North African Qurān reciters, preferably from different countries – one can look at the examples below. Students will then listen to some online chanting of the Qurān from different North African traditions. These might include: Egypt—Sheikh Abdul Basit at www.youtube.com/watch?v=zdDDYt62vbg Algeria – Sheikh Abdelkarim Hamadouche at www.youtube.com/watch?v=jHRYyXDSA Morocco – Sheikh Layoun Elkouchy at www.youtube.com/watch?vy=lzo2MF3gm0&feature=related Students choose one interpretation from the above and sketch a graph-type notation of a short extract, showing the melodic contour of the chosen chanting. Students are to find the right wording to describe the overall melodic contour (for example, undulating, descending, terraced etc.) Students will then apply different colouring to the graph to indicate any changes in the vocal timbre of the reciter; they may also prepare a legend that explains this. In another session, students watch the short presentation of how the Egyptian arghūl is made at http://www.youtube.com/watch?v=MXF1DVgRyY and discuss the different stages in its making. When the arghūl maker completes his work, he plays a few notes to test the instrument. Students identify the pitch of the drone note produced. In addition, students may also be directed to the importance of music festivals in North Africa such as the Ghat Festival in Libya and the 2009 Gnawa Festival in Essaouira, Morocco. Like feasts in Malta, folk music festivals are very popular in these countries. A class discussion may highlight the benefits of festivals in folk music and encourage students to attend the music festivals that are organised in Malta, such as the ghanafestival. By using the internet, students are asked to trace three festivals of folk music in North Africa and delve into issues of identity that arise from these festivals – such as tribal, religious or gender identity. African folk music is sometimes supported by a motivic ostinato provided by a melodic instrument, and a rhythmic ostinato through hand clapping or the use of percussion instruments, such as the qraqab in gnawa music. Students can work in groups to compose a short piece of music using a combination of the above elements. For this purpose, they can sketch a score based on ideas derived from the

music using a combination of motivic and rhythmic ostinato. (Level 7) become aware of the interaction between music history, society and identity and some definitions of music in different life contexts, situations and culture. Work in pairs to create a simple piece of music using a combination of motivic and rhythmic ostinato. (Level 6) become aware of the interaction between music history, society, identity and culture. Work in pairs to create a simple piece of music using a combination of motivic and rhythmic ostinato. (Level 5)


students themselves through the sharing of ideas in groups. In a different session, students discuss Western and Non-western music. They are then are engaged in a brainstorming session where they are given the chance to discuss the elements that classify or label a musical work as ‘secular’ or ‘sacred’. They may also scrutinize the distinction between the two. Students use a combination of percussion instruments to produce the dumm and the takk effect of the darabukkah (a single-headed drum used in North African music) to create particular rhythms. They may also watch a darabukkah lesson at http://www.youtube.com/watch?v=LZR2RXC9UQ to get a clearer idea of what the two distinct sounds of the darabukkah sound like. Listening Resources: www.youtube.com/watch?v=jYpFyZ_ZjGE; www.youtube.com/watch?v=JpMU0W1tjFU; www.youtube.com/watch?v=MsrPBNmh5Qk; www.youtube.com/watch?v=qDAt7LfDP7o; www.youtube.com/watch?v=JBWTlweFg98&feature=related Discussion Points: How does music affect us in everyday life? What makes a pop-music concert different from a classical concert in terms of performance practice, set-up and the rapport of the audience with the performer?


Digital Technology Enhanced Learning - Music eLearning Entitlement

Unit 7.1 The Dancing Dialogue

For the strand: Artistic skills, technical and practical knowledge, it is suggested that the students use a word processor to write movement instructions or a drawing package to make visual representations. MS Paint and Sumopaint http://www.sumopaint.com/app/3 can be used to accomplish the mentioned tasks. Students can be further challenged to integrate their musical expressions with simple animations that can be drawn using the free software Pencil http://www.pencil-animation.org/4 . Its main purpose is to make traditional animation. Pencil is intended to be a simple programme enabling anyone to make 2D animation. Another free software is Songsmith http://research.microsoft.com/en-us/um/redmond/projects/songsmith/teachers.html4. Songsmith generates musical accompaniment to match a singer’s voice. The students choose a musical style, sing into the PC’s microphone, and Songsmith creates backing music. Students can then share their work with friends and family. Songsmith is free for teachers to use in their classrooms. For students who can write music and music teachers, it can be used as an “intelligent scratchpad” to work with new melodies, turning scratch recordings of new ideas into richer, deeper explorations. On the other hand it can be used by students, who are new to music theory, to get their first taste of song writing just by singing into a microphone, then explore different styles and arrangements. 1 License available from CMeLD. 2 Public cloud. Signing up required. 3 Public cloud. No signing in required. 4 Downloadable program.

http://www.sumopaint.com/app/

http://www.pencil-animation.org/

http://research.microsoft.com/en-us/um/redmond/projects/songsmith/teachers.html

http://www.microsoft.com/education/teachers/guides/freetools.aspx?WT.mc_id=freetools_teacherhomepage


Subject: Music (General) Form 1

Unit code and title: MUS 7.1 The Dancing dialogue Unit Duration: 9 sessions of 40 minutes, total 6 hours

Strand: 1. Artistic skills, technical and practical knowledge (Theory and Performance) 2. Evaluating and appreciating (Listening) Objectives: at attainment Levels 5,6,7,8

The teacher will: 1. enable the students to respond to music, join in and create individual and group movements to a variety of musical excerpts. (Strand 1) 2. enable the students to become aware and respond appropriately to the tempo and rhythm of the music. (Strand 1)

3. 3. enable the students to recognize definitions of music traditions and be exposed to terms such as: tuning , scale, style, melody, harmony and performance. (Strand 2) 4. enable the students to understand the role of music in everyday life and in special events such as carnival, feasts and religious services . (Strand 2) Objectives: at attainment Levels 1,2,3,4

1. enable the students to respond to music through movement (Strand 1) 2. enable the students to join in and create individual and group movements to a variety of music excerpts. (Strand 1) 3. enable the students to become aware and respond appropriately to the tempo and rhythm of the music. (Strand 1) 4. enable the students to become aware of the impact that music always had on society and culture, such as traditional feasts, carnival, different places of

entertainment and activities related to commemorative events. (Strand 2)


Music, movement, tempo, rhythm Feasts, society, culture, identity, activities and events. Ideally symbols should be used together with the spoken words.

The approach to teaching and learning of music is based on: Theory and Performance, Composition and Interpretation and Listening. These 3 strands help students respond to music, to be creative and express themselves in different ways; experience enjoyment and participate through creative and expressive performance and presentation; become aware and start to develop an appreciation of aesthetic and cultural values, identities and ideas. Throughout this unit all students are included and teachers and LSAs have to cater for students who are not mobile to assist them in feeling music and become aware of movement and tempo in different ways. The below sessions can be carried out by the teacher and/or the learning support assistant/s in class, and they are catered for students working within level 1 and 4. It is very important for the teacher to allow time for the students to respond. This response can take the form of unaided and/or aided means of communication and the teacher needs to provide adequate scaffolding techniques to enable the students to respond affectively and/or intentionally.

Here come the Drums – music for dance; Drumjazz – grooves for dance and movement; John Hanks and Ken Ray Wileman – Percussion Jams for Dance; Dancing Fingers – music for the ballet class. Composed and played by Michael Roberts. http://www.drumjazz.com http://www.youtube.com/watch?v=PPSAzZ0u1RM http://www.youtube.com/watch?v=FG-ho6Kd-3Q http://music.skola.edu.mt



Strand 1 The teacher will: enable the students to respond to music through movement enable the students to join in and create individual and group movements to a variety of music excerpts enable the students to become aware and respond appropriately to the tempo and rhythm of the music (4 lessons)

It is highly recommended to divide movement activities into 4 sections: starter, warming-up, activity, cooling down. Teacher is to give directions but giving space and time to students to improvise and create their own movements. To start the unit, a selection of music is chosen and played from a cd player or computer, the teacher asks the students to listen to this and feel and move to the music in any way they like. Teacher discusses with students the movement of a theme, such as ‘fire’ and ‘ice’. Teacher explains how flames move, their wobbly and hasty directions, and the various elements that make them move. Pictures and visuals are to be used to enhance understanding and to make the session more interactive. Videos of flame movement and fire will also be shown to the students so they can observe the movement of fire further. The teacher will then choose any 3 words directly related to the topic of ‘fire’ and/or ‘ice’ to begin the warm-up. The teacher will model what needs to be done through the warm up as an example. The students will walk around constantly changing direction according to the indicators given by the teacher. Instructions such as ‘Spark’ – jump; freeze; gently fall to the floor; ‘Flame’ – begin low and make whole body move wavily upwards; ‘Water’ – fall to the floor, quick as possible and remain still are just a few examples. Prompting is important throughout the session. For students who are not mobile their LSA can model the movements and were possible assist student to move slightly for him/her to feel the movement too. Students will then listen to music which can be applied to the movement of the chosen theme. An example of music which can be used for the re-cap of the movement of flames is the music by Patric (1976), which can be listened to on web link: http://www.youtube.com/watch?v=PPSAzZ0u1RM. Taking ‘fire’ as an example, students are then encouraged to try out some different ways of moving like a growing flame. They begin low with a flicker in one part of the body, and as the fire becomes stronger and higher students are asked to make the movement as big as possible. The teacher introduces the 3 levels in dance: low, middle and high. Higher attaining students can demonstrate and share good fire movements to their classmates. The high, middle and low movements will be practiced in class whilst students are constantly monitored and assisted. Taking the above theme (‘fire’) as example, as a cooling down session, students listen to relaxing music and the teacher asks them to pretend to be the tallest flame they can be, imagine it’s beginning to rain; the flame slowly fades and gets smaller and smaller. An example of music which can be used during this session is a piece by Paul Collier which can be listened to on the web link: http://www.youtube.com/watch?v=FG-ho6Kd-3Q. In movement sessions, repetition is important to consolidate learning. Students are encouraged to listen well to the music and to move accordingly. These activities can be adapted to other themes, such as ‘water’. The concepts learnt so far are to be rehearsed, evaluated and performed. During the following

Strand 1 Students will: respond, improvise and join in to music through more complex movements, becoming aware and responding accurately to the tempo and rhythm of music. (Level 4) respond, improvise and join in to music through movements, becoming aware and responding more accurately to the tempo and rhythm of music. (Level 3) listen to, respond, try to imitate, and join in to music through simple movements, becoming aware and responding to the tempo and rhythm of music. (Level 2) sustain concentration for short periods and begin to show interest in events and objects. (Level 1 – development of visual pursuit and permanence of objects)


Strand 2 enable the students to become aware of the impact that music always had on society and culture, such as traditional feasts, carnival, different places of entertainment and activities related to commemorative events (5 lessons)

sessions, the teacher discusses dance and movement so far, introducing performance skills such as focus, rhythm and pulse, awareness of space and discuss with students how the movement can be improved. During such sessions, the warm-up session is to be chosen from the previous warm-ups. The activity can be based around the rehearsing of the theme, such as ‘fire’, ‘ice’ or ‘water’ or the 3 of them. As part of the cooling down session, students to lay on floor with eyes closed, breathe in and tense muscles, on exhalation allow muscles to fall into the floor. It is highly recommended to base world music sessions on listening resources, along with research activities. The teacher uses the internet and computer to play selections of music from different countries and cultures, teacher watches out for students’ reactions to the different selections. Following this the teacher encourages the students to name some musical instruments and will then give each student a different musical instrument and gives them time to explore it and play it. Following this the teacher gets the students to listen to some online music, chanting and musical instruments from different traditions, always observing their reactions and preferences. After each selection of music teacher will explain what the tradition is and where the country is. Students are encouraged to select their preferred piece of music and some can say why they liked it. In another session, students watch video clips of feasts and folk music festivals in Malta. This is discussed and students are encouraged to indicate whether they have been to a ‘festa’ before and to say what they observed. The teacher is to speak about the benefits of festivals in folk music and encourage students to attend the music festivals that are organised in Malta (with special reference to the ones organised yearly during Summer). By using the internet, the higher attaining students are asked to search for three festivals of folk music in different countries and as a whole class the video clips are watched and discussed. Students are also encouraged to note what was different from Maltese traditional feasts. Issues to discuss with students: How does music affect us in everyday life?

Strand 2 understand the interaction between music history, society and identity and the various definitions of music in different life contexts, situations and culture. Work in pairs to search for video clips of folk festivals in different countries and traditions. (Level 4) begin to understand the interaction between music history, society and identity and definitions of music in different life contexts, situations and culture. (Level 3) become aware of the interaction between music history, society and identity and some definitions of music in different life contexts, situations and culture. (Level 2)

encounters activities and experiences. (Level 1 - development of visual pursuit and permanence of objects)


Subject: Music (General) Form 1 Unit code and title: MUS 7.2 Music in Art Unit Duration: 9 sessions of 40 minutes, total 6 hours Strands: 1. Artistic skills, technical and practical knowledge (Theory and Performance)

2. Evaluating and appreciating (Listening) 3. Expressing feelings, ideas, thoughts and solutions (Composition)

OBJECTIVES

The teacher will: 1. enable the students to read and perform simple instrumental and vocal scores of different styles and epochs. (Strand 1) 2. enable the students to become aware of the interrelationship that exists between music and the other arts. (Strand 2) 3. enable the students to listen and appreciate programme music and evaluate the purpose of the composer. (Strand 2) 4. enable the students to create a simple musical composition by making use of simple IT programs. (Strand 3) 5. enable the students to express and respond to music through activities such as miming, drawing and literary activities. (Strand 3)


art, drama, literature, program music, symphonic poems, operas, percussion, notation, tempo, rhythm, force, note names, scale, melody, pentatonic scale, timbre, style, sequence, Thailand, composition, IT programs, polyphony.


Piano; Mussorgsky’s Pictures at an Exhibition, A Night on the bare mountain, Dukas’ The Sorcerer’s Apprentice, Smentana’s Vlata from Ma Vlast. http://www.creatingmusic.com; http://www.youtube.com/watch?v=9H1uM_DWGPk Jean Ferris (2009) Music: The Art of Listening; Laurie Schneider Adams (2006) The Making and Meaning of Art; Sarah Watts Razzamajazz Recorder Book 1, 2 and 3; and Easy Band Book; Margaret Lucy Wilkins (2006) The Young Composer’s Voice; Michele Kaschub and Janice Smith (2009) Minds on Music: Composition for Creative and Critical Thinking.



Strand 1 The teacher will: enable the students to read and perform simple instrumental and vocal scores of different styles and epochs. (2 lessons)

To develop awareness of the music of South-East Asia and to use a similar style in composition. It is highly recommended that students have some familiarity with tuned percussion instruments such as xylophones, metallophones or chime bars. Introducing scales would provide useful experience for this lesson. Without giving out any instruments, play the recording of the ‘The Sleeping Angel’ twice to the class. Students are asked to describe what they can hear. They discuss the dynamics, the tempo and style. Students listen to the music again and guided to select instruments which make similar sounds to those in the recording and to join in while the music is being played. Students might choose to play a sequence of notes on xylophones, metallophones or chime bars, or may imitate the percussion part using drums, finger cymbals or clappers. Once all students have joined in, the teacher fades out the recorded music and the students are asked to continue with their playing. After some time playing the performance ends with a single stroke on a low note on a xylophone or metallophone. Students are encouraged to discuss the music, focusing on the recording vis-à-vis their performance. They may also think about anything which was missing in their performance that could have been added to make a more authentic sound by, for example, including instruments that have not yet been used. Students also make their own rhythmic pattern following the one on the recording. Together with the teacher, students are engaged in a discussion about the descending sequential notes which are there to create the image of the angel lying down to sleep. There is a sequence reiterated three times towards the end of the extract which uses roughly these notes (it is difficult to achieve the exact equivalent using Western instruments): Bb D C Bb Bb C Bb D C Bb G G C Bb G F F Bb G F D D Alternatively may use the notes F G Bb C and D in a combination of their choice. These will be the only notes available on the xylophones and so on, but students playing

Strand 1 Students will: recreate the pattern of notes used in the song can try to create a similar sequence using bottles or glasses filled with different levels of water, tapping them with metal triangle or rubber xylophone beaters to make their own ‘renat kaeo’. (Level 8) recreate the pattern of notes used in the song by creating a similar simple sequences using bottles or glasses filled with different levels of water, tapping them with metal triangle or rubber xylophone beaters to make their own ‘renat kaeo’. (Level 7) imitate the sounds heard in the song and try to create other simple patterns of sounds by using the xylophones and metallophones and possibly other instruments. (Level 6) listen, within the recorded music, for specific sounds/ instruments repeatedly so that they become increasingly familiar to it. (Level 5)


Strand 2 enable the students to become aware of the interrelationship that exists between music and the other arts. enable the students to listen and appreciate programme music and evaluate the purpose of the composer. (3 lessons)

recorders will need to select these notes themselves. Once the students are satisfied that they are making an authentic sound as a whole class, the class is then divided into groups of five or six, each with a combination of tuned and untuned instruments from the selection of the already used instruments. The students are grouped to compose their own piece of music, keeping as closely as they can to the sound and style of the music of the recording. Students may also propose a new title and compose a piece that reflects it. The lesson concludes with a grand performance: starting by playing the recording, followed by the performance of their compositions, and finishing with the whole-class improvising in the same style. Students can also use a music composition package such as Music Explorer or Music Box to create their own computer-generated Thai-style music. Using a pentatonic scale such as the one suggested in the activity (F, G, Bb, C, D) will help to give the music an authentic flavour.

To develop awareness of the interrelationship between the arts. It is highly recommended that students are shown pictures of 18th century Italian characters. These are: Pantaloon, Harlequin, Pierrot, Columbine, Pulchinello and Death. In the 18th century, Italians enjoyed going to a kind of pantomime. The main parts were always the same. Each one had his or her own special character – good or bad – which was always the same. In a similar way, the fairy godmother in modern pantomimes is always a “good” character. The audience could tell which was which by identifying the voice or associating particular instruments with particular characters. Students are asked to look at pictures with different characters and read the description underneath each character. They are then encouraged to make some music they think would suit best each one of the characters. They are encouraged to use a variety of instruments and rhythms. Music is one way to tell a story. Some music makes you think of a battle, for instance, or reminds you of a summer’s day. Students are asked to make some puppets and use a cardboard box to make a theatre. It’s time to put on a musical show (puppets can be

Strand 2 respond, improvise and create music and words through complex movements, becoming aware and responding accurately to the tempo and rhythm of the music chosen. Become acquainted to the relationship between the arts and the music styles of different epochs. (Level 8) respond, improvise and create music and words through movements. Become acquainted to the relationship between the arts and the music styles of different epochs. (Level 7) respond, improvise music and words through movements. Become acquainted to the


Strand 2 enable the students to become aware of the interrelationship that exists between music and the other arts. enable the students to listen and appreciate programme music and evaluate the purpose of the composer. (2 lessons)

done in conjunction with the art teacher). Puppets can also be done from old socks. Students are given directions to stuff the toe of the sock with rags; to use old tights or newspaper; to tie a piece of wool round the sock to separate the head from the body; to make sure that the body is long enough to cover the hand; to sew the two buttons to make the eyes; and to use wool for the mouth and hair. Students are asked to choose a song with only two or three characters such as “Good King Wenceslas”, “There’s a Hole in My Bucket” or “The Sweetest Girl I Ever Saw”. Students can perform the song on their own or in a group. They work out which words belong to each character and which parts should be sung by the chorus. They are encouraged to study all the characters very carefully and decide what their voices should be like. The audience will not be able to tell which one is speaking unless the voices are different. It is important that if the students are performing the song in a group, it is best if each actor has his own copy of the song with his part underlined in red. For the music and lyrics of the ‘Good King Wenceslas’ see http://www.carols.org.uk/good_king_wences1as.htm Stories together with music can lead to exiting activities which can help students develop communication skills, and their creative and artistic expression. The following story of Peter and the Wolf with music by Serge Prokofiev helps to illustrate what students can learn. The students start off by listening to the music. The teacher introduces the story to the students by introducing the characters and the setting. The students are asked to draw on their own a scene that illustrates what they have just heard. Students share their drawings and discuss. A student is asked to narrate the story by reading it aloud to the whole class. Following that handouts with illustrations are given out. Students are asked to fill in the bubbles with what they think has been said by each character. Students will then discuss. The teacher narrates how the grandfather angrily came out of the house and called Peter to go back into the house. The same exercise follows the same pattern as for the first illustration. The teacher recounts how Peter had just gone in when the Wolf came out of the woods. The cat climbed up the tree. The duck left the pond and tried to run under the fence. But the Wolf was faster then the duck, and before anyone noticed the Wolf swallowed the duck. Then the Wolf went under the tree and looked up at the cat and the bird with hungry eyes. Each part of the story is complimented with a variety of exercises and illustrations.

relationship between the arts and the music styles of different epochs. (Level 6) respond to music and words through movements. Become acquainted to the relationship between the arts and the music styles of different epochs. (Level 5) Strand 2 listen, understand, discuss evaluate and respond to the music. Understand the direct interaction between stories and the music which is representing the characters of the story. Create their own parts and stories. (Level 8) listen, understand, discuss evaluate and respond to the music. Understand the direct interaction between stories and the music which is representing the characters of the story. Discuss possibilities of endings for the story. (Level 7) listen, understand, discuss evaluate music. Understand the direct interaction between


Strand 3 enable the students to create a simple musical composition by making use of simple IT programs. enable the students to express and respond to music through activities such as miming, drawing and literary activities (2 lessons)

Students may also listen to the music and rewrite the story. What do the students think about it? Students have to put it in writing and share ideas. Students may also be given the chance to conclude the story on their own as they like. The teacher can help by providing students with words or phrases to facilitate the writing task. It all depends on their ability and comprehension of the story. Questions related to place, time and characters may also help students to express their understanding of the story. To develop the use of voice and its creative use in composition. Students stand in a circle in a large space. Without any introduction, the teacher plays Byrd’s Kyrie to the class then as soon as it has finished, one section of the circle is encouraged to hum a low sustained note. This note is kept going whilst the other group is invited to join in humming a slightly higher note. The two remaining groups within the circle are then directed to sing two different notes simultaneously so that the whole class hums a drone. The teacher directs the students to the recognition forte and piano dynamics. As soon as the whole class is responding well, the students reduce the volume of the humming and while still humming quietly they are encouraged to change the pitch of their note, following the teacher’s signals. The teacher’s hands can move in opposite directions so that the pitch of one half of the circle rises while that of the other half falls. Finally, without stopping, the students are asked to follow one hand to sing their notes to ‘Ah’ while the others continue with their humming. Students listen to the sounds they are making, and when they reach a particularly pleasing combination, the teacher holds the notes and uses a hand signal to stop the music. The students discuss the sounds they heard on the recording and the sounds they have been making themselves which is technically called improvisation. Students are then encouraged to use improvisation and work in groups to explore voice sounds from which they will create a composition. They are reminded that this exercise

stories and the music which is representing the characters of the story. Discuss possibilities with their peers. (Level 6) listen and discuss music. Understand links between stories and the music which is representing the characters of the story. (Level 5) Strand 3 respond to the activity sensitively as conductors during the whole-class improvisations. (Level 8) respond well to group work can experiment with creating different effects by use wider range of voice sounds. (Level 7) imitate the humming (who are self-conscious about using their voices are to be placed near students with more confidence). (Level 6) find it useful to return to some of the basic skills activities to reinforce their voice projection. They can then imitate the humming.


entails selection, evaluation and practice. The students will then perform the composition to the rest of the class. The performances will be recorded in class. Evaluation follows.

(Level 5)


Digital Technology Enhanced Learning - Music eLearning Entitlement

Unit 7.2 Music in Art

The URLs that are indicated in the Units should support teachers to improve their lessons and engage and motivate students. Technology can be used as a tool to allow students access sources of information by searching websites on the Internet. The Units also support the possible research by suggesting a number of sites that can be relevant to a particular enquiry. Using automated processes can help students achieve a musical texture that relies on a fixed formula. Automated processors, such as sequencers, are labour saving tools that students can use for creative investigation. The transpose function, to mention one of many functions, helps students move a piece of music into a key that would be within their performing capabilities or to encourage further investigation. Anvil Studio http://www.anvilstudio.com/4 is a MIDI and audio sequencer for Windows users. It is one of many free sequencers available for students to investigate musical alternatives. Students can copy a melody from http://cnx.org/content/m11647/latest/3 onto the MIDI sequencer to investigate the shape or contour of a melody and see the motions and phrases of simple melodies or tunes. Students can be given immediate access to music notation via the sequencer. Digital technologies can be a creative tool that allows students to model different structures and instrumental ensembles and make changes to musical elements. When students use a MIDI sequencer they can work with a range of virtual scenarios. The students can be given simple tunes to reproduce on the sequencer while investigating how time and name vary among notes on the stave.

or Students can try to produce a simple tune and then may be asked to investigate the differences that make the tune. The flexible nature of programs similar to the suggested audio sequencer allows students to refine their work and use a “What if…?” approach.

1 License available from CMeLD. 2 Public cloud. Signing up required. 3 Public cloud. No signing in required. 4 Downloadable program.

http://www.anvilstudio.com/

http://cnx.org/content/m11647/latest/



Unit code and title: MUS 7.2 Music in Art Unit Duration: 9 sessions of 40 minutes, total 6 hours

Strand: 1. Artistic skills, technical and practical knowledge (Theory and Performance) 2. Evaluating and appreciating (Listening) 3. Expressing feelings, ideas, thoughts and solutions (Composition and Interpretation) Objectives: at attainment Levels 5,6,7,8

The teacher will: 1. enable the students to read and perform simple instrumental and vocal scores of different styles and epochs. (Strand 1) 2. enable the students to become aware of the interrelationship that exists between music and the other arts. (Strand 2) 3. enable the students to listen and appreciate programme music and evaluate the purpose of the composer. (Strand 2) 4. enable the students to create a simple musical composition by making use of simple IT programs. (Strand 3)

5. enable the students to express and respond to music through activities such as miming, drawing and literary activities. (Strand 3) Objectives: at attainment Levels 1,2,3,4

1. enable the students to become aware of the interrelationship that exists between music and the other arts (Strand 2) 2. enable the students to listen and appreciate programme music and try to evaluate the purpose of the composer (Strand 2) 3. enable the students to express and respond to music through activities such as miming, drawing and literary activities. (Strand 3)


art, drama, literature, programme music, symphonic poems, operas, dance percussion, tempo, rhythm, note names, scale, melody, style, sequence, composition.

The approach to teaching and learning of music is based on: Theory and Performance, Composition and Interpretation and Listening These 3 strands help students to be aware, creative and express themselves in different ways; experience enjoyment and contribute to other people’s enjoyment through creative and expressive performance and presentation; develop important skills, both those specific to music and those which are transferable; develop an appreciation of aesthetic and cultural values, identities and ideas. The below sessions can be carried out by the teacher and/or the learning support assistant/s in class, and they are catered for students working within level 1 and 4. It is very important for the teacher to allow time for the students to respond. This response can take the form of unaided and/or aided means of communication and the teacher needs to provide adequate scaffolding techniques to enable the students to respond affectively and/or intentionally.

Mussorgsky’s Pictures at an Exhibition, A Night on the bare mountain, Dukas’ The Sorcerer’s Apprentice, Smentana’s Vlata from Ma Vlast. http://www.youtube.com/watch?v=9H1uM_DWGPk http://www.youtube.com/watch?v=Ov_iJQGq6DI http://www.youtube.com/watch?v=prQOdTmF8u0 http://www.youtube.com/watch?v=E8gJP0CcyFw



The teacher will:

enable the students to listen to music and become aware of the interrelationship that exists between music and the other arts enable the students to express and respond to music through activities such as drawing, miming, and literary activities (4 lessons) enable the students to listen and appreciate programme music and try to evaluate the purpose of the composer (4 lessons)

To develop awareness of the interrelationship between the arts. Music is one way to give information or tell a story. Some music may take you think of a battle; some may remind you of a summer’s day. Some music suits a particular person. Students will be given time to listen to different pieces of instrumental music and to relax by listening to the music whilst having the time to react to what they listen to. http://www.youtube.com/watch?v=E8gJP0CcyFw Following this they will listen to various pieces of instrumental music from different countries or traditions. The teacher will explain where each piece of music is from. Music from Egypt for example, http://www.youtube.com/watch?v=_tWJtRy_zHk&feature=related After these activities, the students will be presented with blank papers and crayons, paints or markers and the teacher will switch on instrumental music and tell the students to listen and draw whatever the music makes them feel. Students do not have to know how to draw it is just expressing what the music makes them feel. Finger painting can also be an option if a student cannot hold a marker. Throughout this exercise, teachers should only verbally prompt the students when needed, but the drawing should be the student’s work. An another activity is to listen to different music from different countries and different styles, and asking the students to first listen and then move to the rhythm of the music. Students are asked to focus on the tempo and rhythm of the music, but others can just move in response to what they hear. Response should always be praised and encouraged. Stories together with music can lead to exciting activities which can help students develop communication skills, and their creative and artistic expression. Students are asked to bring materials from home in preparation for the activities. Then in class, with assistance, the students will make some puppets and use a cardboard box to make a theatre as directed. It’s time to put on a musical show (puppets can be done in conjunction with the Art teacher). These can also be done form old socks. Teacher gives directions to the students: stuff the toe of the sock with rags, old tights or newspaper; tie a piece of wool round the sock to separate the head from the body, making sure that the body is long enough to cover the hand; sew the two buttons to make the eyes; use wool for the mouth and hair. Teacher will then choose a song with only two or three characters such as “Good King Wenceslas”, “There’s a Hole in My Bucket” or “The Sweetest Girl I Ever Saw”. Students can perform the song on their own or in a

Students will: respond to music and words through movements. They become acquainted to the relationship between the arts and the music styles of different epochs. (Level 4) listen to and respond to music by painting/drawing what the music makes them feel. (Level 3) respond to different instrumental music by simple movements. (Level 2) imitate unfamiliar or familiar sounds but not in a similar way. (Level 1 – development of vocal and gestural imitation) listen and discuss music. They understand links between stories and the music which is representing the characters of the story. (Level 4) be assisted in making puppets, will learn how to perform a story using puppets. They will also listen to the different music in the story, participate using puppets and begin to understand why the music changes.


enable the students to express and respond to music through activities such as singing and humming. (1 lesson)

group with assistance. The teacher will help them work out which words belong to each character and which parts should be sung by the chorus. Teachers will help the students decide what the voices of each character should be like. The audience will not be able to tell which one is speaking unless the voices are different. It is important that if the students are performing the song in a group, it is best if each actor has his own copy of the song with his part underlined in red. For the music and lyrics of the ‘Good King Wenceslas’: http://www.carols.org.uk/good_king_wences1as.htm If students cannot read, the story is read out to them slowly and if possible they will repeat using the appropriate voice to match the character they are representing. If this is not possible, the teacher will speak and the student will move the puppet accordingly. The students are constantly reminded to listen to the music playing paying special attention to how the music changes throughout the story. To develop the use of voices as musical instruments and their creative use in composition. As an introduction to these sessions it is important to have ‘humming’ activities with the students. Explain what humming is and how to do it. Songs which are familiar to the students will be played and the students are encouraged to hum to the song. Students stand in a circle in a large space. Without any introduction, the teacher plays Byrd’s Kyrie to the class then as soon as it has finished, one section of the circle are encouraged to hum a low sustained note. This note is kept going whilst the other group is invited to join in humming a slightly higher note. The teacher adds two notes with the remaining two sections, so that the whole class is humming. The teacher directs the students for the forte and piano dynamics. As soon as the whole class is responding well, the students reduce the volume of the humming, and while they are still humming quietly; they are encouraged to change their pitch of their note, following the teacher’s signals. Each student can record his/her humming sounds so that they can listen to them and discuss the sounds they heard on the recording and the sounds they have been making themselves which is technically called improvisation.

(Level 3) explore the use of puppets to build up a story. They will appreciate the music and respond to the music by moving the puppets accordingly with assistance. (Level 2) imitate unfamiliar or familiar sounds but not in a similar way. (Level 1 – development of vocal and gestural imitation) practice some of the basic skills activities to reinforce their voice projection. Then they can imitate humming (students who are struggling with this are to be placed near students with more confidence) (Level 4) they will participate in humming activities and will try to imitate the humming. They begin to understand forte and piano meanings. (Level 3) try to make loud and soft humming sounds (level 2)

Vocalizes similar sounds to adults. (Level 1 - development of vocal imitation)


Subject: Music (General) Form 1 Unit code and title: MUS 7.3 A Golden Treasury of Medieval and Renaissance Music Unit Duration: 9 sessions of 40 minutes, total 6 hours Strands: 1. Artistic skills, technical and practical knowledge (Theory and Performance)

2. Evaluating and appreciating (Listening) 3. Expressing feelings, ideas, thoughts and solutions (Composition)

OBJECTIVES

The teacher will:

1. enable students to achieve a general appreciation of Medieval and Renaissance music. (Strand 1) 2. enable the students to gain knowledge and understanding of Medieval and Renaissance music in its social and cultural context. (Strand 2) 3. enable students to attain a general background to Maltese folk music. (Strand 2) 4. enable students to compose an instrumental accompaniment to a song. (Strand 3)


Medieval, Renaissance, Tudor, rhythm, consort of musicians fleguta, zafzafa, tanbur, Maltese dances, carnival, interweaving, chunky, blocks of sound, threads of sound, high, low, dense, airy, melody, harmony, bass line


Piano; The Tallis Scholars sing Tudor Church Music - Volume 2; Pastyme with Good Companye: Music at the Court of Henry VIII by Ensemble Dreiklang Berlin; Doqqli Daqqa! by Gukuari Ensemble; Maltese Folk Music by Ruben Zahra; http://www.musicallegacy.com/; http://www.rubenzahra.com/ A guide to Maltese Folk Music by Ruben Zahra; All by A. Borg Cardona: Malta’s Musical Legacy; “Tal-Grixti – a family of Żaqq and tanbur musicians” “Iconography of the Maltese Bagpipe and Tambourine” Treasures of Malta, Vol.V No.3 (Summer 1999); “Last of the Maltese bagpipers of old” Chanter (Winter 2004); 16th century Dances and Masquerades” Treasures of Malta Vol X No 1 (2003).



Strand 1 The teacher will: enable students to achieve a general appreciation of Medieval and Renaissance music. (Strand 1) (2 lessons)

To develop awareness of the style of Tudor music Students are introduced to Tudor music through an array supporting teaching aids. Students listen to the recording of ‘Pastyme with Good Companye’ together. They are then provided with an explanation about how this song is allegedly written by Henry VIII. Students listen to the recording several times and invited to hum along with the song and tapping their hands together on their knees in time with the rhythm of the tune. In the first half of the song, this rhythm is very easy to follow. It has a 1 – 2 – 3 – 4 pattern. The pattern is the same with the next section: Gruch who will but none deny, so God be pleased so live will I. (Gruch-grumble/complain) The teacher explains that if students tap their hands on their knees on the first and fourth of every set of four beats, they will find that this follows the rhythm of the words themselves. The pattern changes for the second half of the song. The students listen to the different rhythm in this part and try to tap along with this too. The words are: For my pastance hunt, sing, dance My heart is et Al goodly sport for my comfort Who shall me let? (pastance=occupation/pastime) When the students are humming (or singing) and tapping along with the tune comfortable, tell them that they are going to make up new verses to the song, following the same rhythm. Students discuss themes for these verses: the song has already introduced the idea of leisure pursuits, so the teacher might suggest the students continue with the theme. Alternatively they might make the next verse a lament about how it feels when the ‘good company’ has gone away. Students are given fifteen to twenty minutes to work on their verses, stopping them once or twice to check on progress. If the students might it hard to remember how the rhythm of the second half goes, If so, the teacher plays the recording to the students while they are working so that they can check whether or not their words fit in. Students are asked to write their verses down so they do not forget them. They will also perform their new verse. It will help if the teacher plays the recording of the song quietly in the background as students sing, so as to remind them the tune.

Strand 1 Students will:

understand the musical landmarks of Medieval and Renaissance Music. Evaluate and discuss exemplars of musical excerpts from the works of master composers of the period. Work on verses according to the music, rhythm and tempo. (Level 8)

understand the musical landmarks of Medieval and Renaissance Music. Evaluate and discuss exemplars of musical excerpts from the works of master composers of the period. Discuss possible verses with their peers. (Level 7)

understand the musical landmarks of medieval and Renaissance Music. Evaluate and discuss exemplars of musical excerpts from the works of master composers of the period. Join in the discussion re new verses. (Level 6)

understand the musical landmarks of medieval and Renaissance Music. Discuss exemplars of musical excerpts from the works of master composers of the period and new verses. (Level 5)


Strand 2 enable students to attain a general background to Maltese folk music. (3 lessons)

To achieve a general view to Maltese Folk Music The students listen to tracks from CD Doqqli Daqqa! (Play me a tune!). This CD includes traditional songs and melodies of the Maltese Islands – some still commonly heard today, and others which have slipped out of recollection. The tracks, as performed by the Maltese Ensemble The Ġukulari Ensemble, contain seasonal music of Christmas, New Year and Carnival, melodies pertaining to travel and the sea, women’s work songs, a wedding dance a lullaby and ballad melodies.The teacher helps students to understand that some melodies, songs and dances as well as certain musical instruments always return at the same time of year and remain typical of that particular period, suggesting their probable association with bygone seasonal ritual. Students will then listen to CD extracts played by traditional instruments, including it-tanbur (Maltese frame drum), il-flejguta (Maltese cane flute) and iz-zafzafa (Maltese friction drum). They are shown a presentation showing how these instruments are made and played. Videos showing Toni Camilleri playing it-tanbur are featured. Students are encouraged to imitate him by playing the tambourines and trying to use the same technique. Students are informed that iz-zafzafa was very much played in traditional Maltese villages during Carnival. Students will then form groups are encouraged to listen again to the recordings and try to play instruments, such as the tambourine and other percussion instruments alongside the recording of Maltese musical extracts. They have to keep the beat and try to imitate the same rhythm features that they are able to pick up whilst listening attentively to the music. This activity should take approximately 20 minutes. Students are then encouraged to compose simple melodies and rhythms in same style of the recordings, keeping in mind the Maltese traditional flavour. Students perform their pieces to the class. Evaluation follows. As follow-up students do some research on Maltese music, composers and instruments. This should be backed up with their personal evaluation.

Strand 2 listen attentively and appreciate the Maltese culture and folk music. They are informed about Maltese historical places, such as St. John’s Co-Cathedral, Mdina Cathedral and Museum, Museum of music manuscripts in Mdina and other various localities around Malta and Gozo. They learn how to do a extensive research. (Level 8) listen and appreciate the Maltese culture and folk music. They are informed about Maltese historical places, such as St. John’s Co-Cathedral, Mdina Cathedral and Museum, Museum of music manuscripts in Mdina and other various localities around Malta and Gozo. They learn how to do an amount of research. (Level 7) listen and appreciate the Maltese culture and folk music. They are informed about Maltese historical places, such as St. John’s Co-Cathedral, Mdina Cathedral and Museum, Museum of music manuscripts in Mdina and other various localities around Malta and Gozo. They learn how to do research. (Level 6) listen and appreciate the Maltese

http://www.musicallegacy.com/TheGukulariEnsemble.htm


Strand 2 enable the students to gain knowledge and understanding of Medieval and Renaissance music in its social and cultural context. (2 lessons)

To develop awareness and understanding of Medieval and Renaissance music in its social and cultural context Students listen to the section from some Tudor period repertoire which will then be represented into a collage form. This is repeated four times so that the students become familiar with it. The teacher brainstorms words that the students think they can describe it. They are then asked to suggest words that describe the texture of it, for example, smooth, chunky, rough, in addition to words such as interweaving, spiky, oily. A handout showing these words will be an added help. Students are then asked to choose materials that they would like to use for this piece of music. These materials are then cut into shapes and stuck onto an A3 paper in a combination that they think best represents the music. Some of the students will need encouragement and support in representing a sound with materials. The teacher emphasizes that there is no right or wrong way and that it is up to them to decide what they are going to use from listening to the music. Once the trial run is done, the students listen to the music once more. The teacher is to time the music so that s/he knows how far in the piece s/he went. The music is stopped and discussed. These are examples of questions that might encourage students to take part in the discussion: How many instruments were playing at the beginning of the extract? Did some instruments continue to play? What sort of sounds were they making? Were they higher or lower than the first part of the piece? What words would they use to describe this tune? Was there any other medium used apart from the instruments? What materials and shapes would they use to represent it and where would they place it in relation to the first part?

culture and folk music. They are informed about Maltese historical places, such as St. John’s Co-Cathedral, Mdina Cathedral and Museum, Museum of music manuscripts in Mdina and other various localities around Malta and Gozo. They learn how to do a simple research. (Level 5) Strand 2 understand the Medieval and Renaissance music in its social and cultural context and its complexities. Students are exposed to the visual arts, architecture and historical events. Listen attentively, evaluate and discuss the music. Students express themselves through art. (Level 8) understand the Medieval and Renaissance music in its social and cultural context. Students are exposed to the visual arts, architecture and historical events. Listen attentively, evaluate and discuss the music. Express themselves through art. (Level 7) understand the Medieval and Renaissance music in its social and cultural context. Be exposed to the visual arts, architecture and historical events. Listen, evaluate and discuss the


Strand 3 enable students to compose an instrumental accompaniment to a song. (2 lessons)

At this point the students will have to decide how they are going to lay out their collage and whether they are going to try and fit the whole piece on one sheet of paper. A spiral line of the music could be the basis for the collage part; they could represent the feel of the piece without trying to show every single part of it. The teacher is to make suggestions and leave students to make up their own minds. Students should be reminded that in this activity there are no right or wrong answers. Some students will want to start a new piece of paper, while others will be happy to use their practice piece. Those who wish to use a fresh sheet can always tear off their collage of the first few bars from their first sheet and stick it to the new one. Students wil listen to the piece again from the beginning for some minutes. The students will choose their materials for their collage and start to build up their work. Whilst the students are working, teacher give comments such as: ‘Which is your favourite part of the collage’? ‘Why?’ ‘How have you represented the repeated bass line?’ The students are then asked to show and explain their collage to a friend. They will talk about the parts where they feel they have really captured (represented) the music, and the parts where this has not happened. The collages may take more than a couple of lessons but the time spent will be well worth it. Students can also use an art package to create their own collage. They could experiment with different colour shades or pattern mixes. Different affects could be created using patterns, brushes of different thicknesses, rollers or spray cans. The students may also need to know how to create simple shades and pictures, sometimes called stamps, which they can place, copy and move around within the picture to give ideas of repeating patterns of shapes and sounds. They could work in different shades or patterns of the same colour, depending on the mood the music created for them. The students together with the teacher discuss the style of the music in relation to the history of music, to the other arts and contemporary repertoire by composers. The students are encouraged to form groups and form a Royal Consort of Musicians so as to compose an instrumental accompaniment to a song to please His Majesty King Henry VIII. Students are instructed that the accompaniment should be simple, and that it should follow the rhythm of the song. The students who are playing tuned instruments are asked to use the notes G, A, B and C only. The teacher suggests that A would be a good note to start on, and then students are encouraged to try moving on to G, with the first of each set of four beats stressed. This pattern could be played on the xylophones, chime bars, recorders or the students’ own instruments. Untuned instruments (drums, tambours, tambourines)

music. Express themselves through art. (Level 6) understand the Medieval and Renaissance music in its social and cultural context. Be exposed to the visual arts, architecture and historical events. Listen, and discuss the music. Express themselves through art. (Level 5) Strand 3 compose a complex accompaniment to the song and experiment with adding harmonies, having a wide range of notes. (Level 8)


could be used to play the same pattern. The groups are given about twenty-five minutes to develop and practice their accompaniments and to prepare a performance for the rest of the class. The teacher plays the recording repeatedly as the students are working, so that they can check whether their notes and rhythms fit in with it. The teacher gives a handout to the groups. In this sheet the students have to list the members of their consort and the names of their instruments. They are also asked to write down the notes or rhythm of each instrument. They can do this in any way they choose, for example using note-names, drawings or numbers. When all the groups have composed their accompaniments, they play them in front of the other groups. The teacher plays the recording along with each performance. Whilst a group is performing, the rest of the class evaluates the performances vis-à-vis tempo and rhythm. As a conclusion, each group repeats the accompaniment along the recording, then singing the new verse composed in the first lesson. By this time, students should be able to sing their verse without the recording: they are asked to try this. The teacher evaluates how well they get on. As a follow-up the teacher can ask students to evaluate the composition or performance to seek improvement. A background rhythm can be programmed into a keyboard or computer and played along with the students’ compositions to help keep a steady beat; this will also add an extra instrumental sound to each consort.

compose an accompaniment to the song following the rhythm of the song and can experiment with adding harmonies, having a wide range of notes. (Level 7) compose a simple accompaniment following the rhythm of the song and can experiment with adding harmonies, having a wide range of notes. (Level 6) speak and clap the music them slowly at the same time. Be able to transfer the rhythm to an instrument, still speaking the words as they play. (Level 5)



Unit code and title: MUS 7.3 A Golden Treasury of Medieval and Renaissance Music Unit Duration: 9 sessions of 40 minutes, total 6 hours

Strand: 1. Artistic skills, technical and practical knowledge (Theory and Performance) 2. Evaluating and appreciating (Listening) 3. Expressing feelings, ideas, thoughts and solutions (Composition)

Objectives: at attainment Levels 5,6,7,8

The teacher will: 1. enable students to achieve a general appreciation of Medieval and Renaissance music. (Strand 1) 2. enable the students to gain knowledge and understanding of Medieval and Renaissance music in its social and cultural context. (Strand 2) 3. enable students to attain a general background to Maltese folk music. (Strand 2) 4. enable students to compose an instrumental accompaniment to a song. (Strand 3)

Objectives: at attainment Levels 1,2,3,4 1. enable students to gradually achieve a general appreciation of Medieval and Renaissance music (Strand 1) 2. enable the students to experience and gain knowledge of Medieval and Renaissance music in its social and cultural context (Strand 2) 3. enable students to achieve a general view to Maltese Folk Music (Strand 2)


Medieval, Renaissance, Tudor, rhythm, consort of musicians fleguta, zafzafa, tanbur, Maltese dances, Carnival, blocks of sound, threads of sound, high, low, airy, melody.

The approach to teaching and learning of music is based on: Theory and Performance, Composition and Interpretation and Listening. The main focus with students working within level 1 and 4 should be on experiencing music. These 3 strands help students to learn to be creative and express themselves in different ways; experience enjoyment, develop important skills, both those specific to music and those which are transferable; develop an appreciation of aesthetic and cultural values, identities and ideas. Students will experience medieval and renaissance music and can respond to, express and start to appreciate this kind of music in various ways. The below sessions can be carried out by the teacher and/or the learning support assistant/s in class, and they are catered for students working within level 1 and 4. It is very important for the teacher to allow time for the students to respond. This response can take the form of unaided and/or aided means of communication and the teacher needs to provide adequate scaffolding techniques to enable the students to respond affectively and/or intentionally.

The Tallis Scholars sing Tudor Church Music - Volume 2; Pastyme with Good Companye: Music at the Court of Henry VIII by Ensemble Dreiklang Berlin; Doqqli Daqqa! by Gukuari Ensemble; Maltese Folk Music by Ruben Zahra; http://www.musicallegacy.com/; http://www.rubenzahra.com/ A guide to Maltese Folk Music by Ruben Zahra; All by A. Borg Cardona: Malta’s Musical Legacy; “Tal-Grixti – a family of Żaqq and tanbur musicians” “Iconography of the Maltese Bagpipe and Tambourine” Treasures of Malta, Vol.V No.3 (Summer 1999); “Last of the Maltese bagpipers of old” Chanter (Winter 2004); 16th century Dances and Masquerades” Treasures of Malta Vol X No 1 (2003)



The teacher will: enable students to achieve a general appreciation of Medieval and Renaissance music (3 lessons) enable students to achieve general view to Maltese Folk Music (3 lessons)

To develop awareness of the style of Tudor music The teacher gives some details about Tudor music, showing them any supporting materials. Students listen to the recording of ‘Pastyme with Good Companye’ together. The teacher explains that this song was thought to have been written by Henry VIII. Students listen to the recording through several times, and are invited to hum along with the song and tapping their hands together on their knees in time with the rhythm of the tune. In the first half of the song, this rhythm is very easy to follow. It has a 1 – 2 – 3 – 4 pattern. The pattern is the same with the next section: Gruch who will but none deny, so God be pleased so live will I. (Gruch-grumble/complain) The teacher explains that if students tap their hands on their knees on the first and fourth of every set of four beats, they will find that this follows the rhythm of the words themselves. The pattern changes for the second half of the song. The students listen to the different rhythm in this part and try to tap/clap along with this too. To achieve a general view to Maltese Folk Music The students listen to tracks from CD Doqqli Daqqa! (Play me a tune!). This CD includes traditional songs and melodies of the Maltese Islands – some still commonly heard today, and others which have slipped out of recollection. The tracks, as performed by the Maltese Ensemble The Ġukulari Ensemble, contain seasonal music of Christmas, New Year and Carnival, melodies pertaining to travel and the sea, women’s work songs, a wedding dance a lullaby and ballad melodies. The teacher helps students to understand that some melodies, songs and dances as well as certain musical instruments always return at the same time of year and remain typical of that particular period, suggesting their probable association with bygone seasonal ritual. Students will then listen to CD extracts played by traditional instruments, including it-tanbur (Maltese frame drum), il-flejguta (Maltese cane flute) and iz-zafzafa (Maltese friction drum). They are shown a presentation showing how these instruments are made and played. Videos showing Toni Camilleri playing it-tanbur are featured. Students are encouraged to imitate him by playing the tambourines and trying to use the same technique. Students are informed that iz-zafzafa was very much played in traditional Maltese villages during Carnival. Students will then form groups

Students will: begin to understand the musical landmarks of medieval and Renaissance Music. (Level 4) respond to the music played and to the songs by tapping or clapping along with different rhythms (Level 3) respond to medieval music and listen to it. They start to try to hum, tap or clap with the rhythm they listen to. (Level 2) they imitate and model unfamiliar and familiar gestures. (Level 1 – development of gestural imitation) listen to and appreciate the Maltese culture and folk music. Informed about Maltese historical places, such as St. John’s Co-Cathedral, Mdina Cathedral and Museum, Museum of music manuscripts in Mdina and other various localities around Malta and Gozo. (Level 4) listen to and respond to Maltese culture and folklore music. They are informed about different traditional instruments and about Maltese historical places around Malta and Gozo.




enable the students to gain knowledge and understanding of Medieval and Renaissance music in its social and cultural context (3 lessons)

are encouraged to listen again to the recordings and try to play instruments, such as the tambourine and other percussion instruments alongside the recording of Maltese musical extracts. They have to keep the beat and try to imitate the same rhythm features that they are able to pick up whilst listening attentively to the music. This activity should take approximately 20 minutes. At the end of these activities the students can be taken to visit some Maltese historical places so as to observe their interiors and historical objects. To develop awareness and understanding of Medieval and Renaissance music in its social and cultural context. Students listen to the section from some Tudor period repertoire which will then be represented into a collage form. This is repeated four times so that the students become familiar with it. Students are then asked to choose materials with help, that they would like to use for this piece of music. These materials are then cut into shapes and stuck onto an A3 paper in a combination that they think best represents the music. Some of the students will need encouragement and support in representing a sound with materials. The teacher emphasizes that there is no right or wrong way and that it is up to them to decide what they are going to use from listening to the music. Students will listen to the piece again from the beginning for some minutes. The students will choose their materials for their collage and start to build up their work. Whilst the students are working, teacher give comments such as: ‘Which is your favourite part of the collage’? ‘Why?’ ‘Do you like the music?’ Which part do you like best?’ The students are then asked to show and/or explain their collage to a friend. Students can also use an art package to create their own collage. They could experiment with different colour shades or pattern mixes. Different effects could be created using patterns, brushes of different thicknesses, rollers or spray cans. The students may also need to know how to create simple shades and pictures, sometimes called stamps, which they can place, copy and move around within the picture to give ideas of repeating patterns of shapes and sounds. They could work in different shades or patterns of the same colour, depending on the mood the music created for them.

(Level 3) listen to Maltese culture and folklore music. They are informed about traditional musical instruments and about Maltese historical places around Malta. (Level 2) begin to show interest in people, events and objects (Level 1 – development of visual pursuit and permanence of objects ) begin to understand Medieval music in its social and cultural context. Students are exposed to the visual arts, architecture and historical events. They listen to the music and express themselves through art. (Level 4) listen to music whilst paying attention to the differences in the music, and express themselves through art. (Level 3) listen to music and begin to express themselves through art. (Level 2) perform actions, often by trial and improvement (Level 1 – construction of object relations in space)

music (general) curriculum units with examples of … · non-western music, tuning, scales, style,...

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