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Gallagher
Spring
2015
Curriculum
&
Context
Document
http://meghangallagher.weebly.com/curriculum-design.html
Rationale/Foundations
The
educational
aim
of
schooling
is
not
merely
to
help
students
do
well
in
school,
but
to
help
them
lead
personally
satisfying
and
socially
constructive
lives
outside
it
(Elliot
Eisner,
The
Educational
Uses
of
Assessment
and
Evaluation
in
the
Arts,
p.
187).
The
following
curriculum
is
one
that
is
built
on
the
principles
and
ideas
of
culturally
responsive
pedagogy,
social
consciousness,
and
music
for
life.
Throughout
the
program,
students
engage
in
projects
and
experiences
that
directly
relate
to
them
and
where
they
come
from,
prompt
them
to
consider
social
issues
relevant
to
their
lives
and
the
lives
of
those
around
them,
and
inspire
a
lifelong
involvement
with
music
in
a
variety
of
ways.
What
music
is
not
about,
does
not
give
place
to,
and
does
not
legitimize
within
the
process
of
schooling
is
listening
for
pleasure
(Lee
Bartel,
Questioning
the
Music
Education
Paradigm,
2004,
p.
3).
Just
about
everyone
in
the
world
listens
to
music,
whether
it
is
music
that
they
choose
for
leisure
listening
or
music
that
they
are
passively
listening
to
in
restaurants,
stores,
or
on
the
bus.
However,
leisure
listening
is
a
topic
that
is
rarely
addressed
in
the
school
music
curriculum.
We
listen,
but
not
necessarily
to
things
that
the
students
will
identify
or
connect
with.
This
curriculum
directly
incorporates
the
idea
of
listening
for
pleasure
or
listening
in
everyday
life.
We
begin
by
exploring
the
students
current
musical
listening
identity
and
discovering/discussing
their
existing
tastes
and
preferences.
Then,
throughout
the
curriculum,
we
seek
to
expand
their
musical
listening
identities
by
exposing
students
to
new
music
through
exploration
of
musical
groups
and
genres
and
engaging
in
discussions
about
this
new
music;
moving
from
what
the
students
know
outward.
Culturally
responsive
pedagogy
involves
using
the
cultural
knowledge,
prior
experiences,
frames
of
reference,
and
performance
styles
of
ethnically
diverse
students
to
make
learning
encounters
more
relevant
and
effective
for
them
(Julia
Shaw,
The
Skin
That
We
Sing,
2012,
p.
76).
Every
teacher,
not
only
those
who
perceive
their
classrooms
to
be
particularly
diverse,
has
a
responsibility
to
attend
to
the
culturally
influenced
strengths
and
needs
of
the
individuals
in
their
classrooms
(Shaw,
p.
76).
This
curriculum
operates
on
the
principle
that
every
student
enters
the
classroom
with
his
or
her
own
experiences
and
expertise.
The
teacher
cannot
be
the
only
expert
in
the
classroom.
To
deny
students
their
own
expert
knowledge
is
to
disempower
them
(Lisa
Delpit
as
quoted
by
Shaw,
p.
78).
Throughout
this
curriculum
students
voices
are
heard
and
their
experiences
are
used
as
a
platform
for
everything
that
is
explored
and
how
we
explore
it.
How
can
we
teach
so
as
to
provoke
questioning
of
the
taken-for-granted,
the
kind
of
questioning
that
involves
simultaneously
critical
and
creative
thinking
and
alternative
engagement
with
activities?
(Greene,
Releasing
the
Imagination,
1995,
p.
175).
Throughout
this
curriculum,
students
are
prompted
to
think
in
a
more
socially
conscious
manner.
Social
issues
are
confronted
head-on,
not
taken
as
taboo
subjects.
The
exploration
throughout
seeks
to
motivate
students
into
a
refusal
of
the
comfortable,
a
refusal
to
remain
sunk
in
everydayness
(Greene,
p.
175).
Students
will
analyze
stereotypes
conveyed
through
song
lyrics
or
musical
clichs
as
a
way
to
ideally
develop
sociopolitical
competence
in
music
and
beyond
(Shaw,
p.
79).
Overall
the
curriculum
seeks
to
give
students
an
acquaintance
with
the
kind
of
thinking
that
is
tentative
and
hypothetical,
the
kind
of
knowing
that
involves
a
backing
up
of
what
is
said,
a
consulting
of
evidence,
a
drawing
of
inferences,
and
a
linking
of
what
is
found
and
inferred
to
conceptions
of
what
is
appropriate,
decent,
just,
and
humane
(Greene,
p.
174).
One
of
the
common
causes
of
boredom
in
the
classroom
is
students
perception
that
the
methods
of
how
the
curriculum
is
delivered
to
them
are
irrelevant
to
how
they
learn
The
teachers
in
todays
classroom
face
the
challenge
of
making
standardized
curriculum
rich
and
relevant
to
students
who
have
instant
access
to
anything
they
want
to
learn
on
their
own(Bill
Sheskey,
Creating
Learning
Connections-
Curriculum
21,
2010,
p.
199-200).
Can
we
change
our
traditional
culture
of
teaching
and
learning
so
that
students
are
empowered
to
take
more
responsibility
for
making
important
contributions
to
their
own
learning
and
to
their
learning
community?
(Sheskey,
p.
193).
Technology
is
a
vital
component
in
the
curriculum.
It
is
used
in
a
manner
that
would
be
similar
to
the
ways
in
which
students
engage
with
technology
outside
of
the
classroom.
They
will
be
using
it
to
search
for
answers,
generate
questions,
consume,
and
create.
In
many
ways,
the
teacher
is
viewed
as
the
facilitator
of
the
technology
use
in
the
classroom.
The
goal
with
this
approach
is
for
students
to
be
empowered
to
take
control
of
their
learning
so
that
it
does
not
stop
when
they
leave
the
classroom.
With
these
principles
as
the
foundation
of
the
curriculum,
students
will
be
enabled
to
become
more
culturally
and
socially
aware,
have
a
direct
hand
in
their
own
learning,
and
be
inspired
and
enabled
to
become
lifelong
music
learners.
MUSICAL
IDENTITY
Weeks
1-3
EXPANDING
MUSICAL
IDENTITY
Weeks
4-20
UK
W e UL
E
e4k
-s2
40 LE
-
CRITIQUE
20
Weeks 6-13
SONGWRITING
Weeks
17-20
*Notes:
Weeks
are
flexible
based
on
students
songwriting
progress/understanding
of
the
topics
explored.
As
students
engage
in
the
individual/group
Critique,
they
will
be
divided
into
groups
and
be
a
different
stations
in
the
classroom.
At
one
station
students
will
be
working
on
their
Critique,
and
at
the
other
they
will
be
working
on
their
Ukulele
discoveries.
As
students
progress
throughout
the
projects
and
experiences,
a
deeper
understanding
of
the
goals
and
big
ideas
will
be
achieved
within
the
different
roles
that
they
take
on.
MUSICAL
IDENTITY/
EXPANDING
MUSICAL
IDENTITY
MUSIC
LITERACY
LIFELONG
MUSIC
(LISTENER/CRITIC)
MUSIC
LITERACY
LIFELONG
MUSIC
(PERFOMER/LEARNER)
UKULELE
CRITIQUE
EXPLORING
SOCIAL
ISSUES
SONGWRITING
MUSIC
LITERACY
MUSIC
AS
A
MESSAGE
SOCIAL
AWARENESS
LIFELONG
MUSIC
(LISTENER/CRITIC/CREATOR/
PERFOMER/LEARNER)
MUSIC
LITERACY
MUSIC
AS
A
MESSAGE
SOCIAL
AWARENESS
LIFELONG
MUSIC
(LISTENER/CRITIC)
MUSIC
LITERACY
MUSIC
AS
A
MESSAGE
SOCIAL
AWARENESS
LIFELONG
MUSIC
(LISTENER/CRITIC/CREATOR/
PERFOMER/LEARNER)
Experiences
Musical
Identity
(Weeks
1-3):
Discovering
Individual
and
Class
Musical
Identity
In
this
project,
you
will
identify
5-10
of
your
favorite
pieces
of
music.
These
selections
should
showcase
your
preferences
and
interests
in
music,
and
reflect
your
personal
identity.
From
the
selections
chosen,
you
will
choose
one
piece
that
best
reflects
who
you
are.
You
will
analyze
and
present
this
song
to
the
class,
detailing
important
musical
features
of
the
song
(lyrics,
form,
texture,
instrumentation,
mode,
meter,
etc.);
then
answer
the
question:
In
what
ways
does
the
selected
piece
reflect
facets
of
your
personal
identity
and
history?
(Frank
Martignetti,
et.
al,
You
Got
to
Know
Us:
A
Hopeful
Model
for
Music
Education
in
Urban
Schools,
2013).
The
teacher
will
also
present
her
selection
to
the
class.
After
all
students
have
presented
their
projects,
we
will
analyze
the
preferences
of
the
class
and
create
a
representation
in
our
classroom,
similar
to
a
3D
version
of
LivePlasma.com
which
we
will
explore
in
class.
You
will
be
asked
questions
such
as
How
are
our
songs
related?;
Whose
artists
would
connect
with
whose?;
What
connects
these
artists?
What
makes
your
selection
similar
or
different
to
others
in
the
class?;
etc.
The
resulting
diagram
will
showcase
everyones
preferences
and
show
how
they
are
related
and
how
they
are
different
from
one
another.
The
goal
of
this
project
is
to
get
students
speaking
articulately
about
why
they
like
certain
kinds
of
music
and
what
specifically
they
like
about
it.
The
hope
is
that
through
articulating
their
preferences,
students
will
be
able
to
engage
in
Expanding
Musical
Identity
in
which
they
will
articulate
both
what
they
like
and
what
they
dislike
about
the
music
introduced.
Assessment:
Criteria
for
what
makes
a
thorough
and
engaging
presentation
(informal)
of
the
students
chosen
song
will
be
generated
collaboratively
with
the
students.
National
Standards:
Responding:
Select,
Analyze,
Evaluate
Connecting:
Personal
(#10)
Expanding
Musical
Identity
(Weeks
4-20)
Following
Musical
Identity
for
the
rest
of
the
curriculum,
you
will
be
introduced
to
new
music
every
week.
The
songs
will
be
selected
by
moving
from
what
you
know
and
like,
to
genres/artists/songs
that
are
new
to
you.
We
will
use
LivePlasma.com
to
explore
and
select
the
artists
and
songs
that
will
be
listened
to
by
typing
in
artists
that
you
have
shared
as
your
favorites.
Each
class,
you
will
individually
journal
about
each
artist/genre/song
when
it
is
introduced,
describing
its
musical
features
and
what
you
like/dislike
about
it
and
why.
Then,
when
everyone
is
finished,
we
will
have
a
class
discussion
about
the
piece
introduced
in
which
we
respectfully
share
our
opinions.
Assessment:
Criteria
for
what
makes
a
thorough
journal
entry
and
an
active
contribution
to
the
discussion
will
be
generated
collaboratively
with
the
students.
Guidelines
for
a
respectful
discussion
will
also
be
generated
by
the
class.
National
Standards:
Responding:
Analyze,
Evaluate
Ukulele
(Weeks
4-20)
The
ukulele
is
a
small
instrument
that
you
can
take
with
you
anywhere
and
play
on
the
go.
One
of
the
goals
of
our
curriculum
will
be
to
learn
how
to
play
the
ukulele.
You
will
have
time
each
class
to
look
up
YouTube
tutorials,
chord
charts,
and
other
resources
on
the
iPads
that
will
help
you
to
play
the
ukulele
and
play
your
favorite
songs.
You
can
work
as
a
group
or
by
yourself
in
class
to
make
sure
youre
learning
to
play
what
you
want
to
be
able
to
play.
The
teacher
will
be
available
to
answer
any
questions
that
you
have
and
to
guide
you
in
your
quest
to
learn
to
play
the
ukulele.
For
the
first
two
weeks
of
our
exploration,
you
will
have
the
whole
class
time
(other
than
the
time
used
for
Expanding
Musical
Identity)
to
discover
how
to
play
the
ukulele;
for
the
rest
of
the
time,
you
will
have
a
set
block
in
which
you
will
be
able
to
play.
At
the
beginning
of
this
unit,
you
will
set
individual
goals
for
what
you
would
like
be
able
to
do
with
the
ukulele.
Do
you
want
to
learn
all
of
the
chords
you
can
play?
Do
you
want
to
learn
to
play
a
specific
song?
As
we
go
through
the
unit
you
will
keep
a
journal
about
what
you
learn
during
each
class.
Then,
at
the
end
of
the
unit
you
will
assess
whether
or
not
you
achieved
your
goals.
Assessment:
Criteria
for
assessing
how
well
the
students
have
learned
to
play
the
ukulele
and
whether
or
not
they
reached
the
goals
they
set
will
be
generated
collaboratively
with
the
students.
Students
will
also
assess
how
well
they
stayed
on
task
during
their
solo
or
group
explorations.
National
Standards:
Performing:
Select;
Rehearse,
Evaluate
and
Refine
Critique
(Weeks
6-13)
Have
you
ever
noticed
that
certain
songs
speak
very
negatively
about
differences
in
people?
Have
you
heard
any
songs
that
you
think
are
very
respectful
and
helpful
in
spreading
understanding
of
diversity?
Throughout
this
experience,
we
will
be
critiquing
songs
for
their
portrayal
of
differences
and
stereotypes
in
the
world.
We
will
analyze
the
lyrics
and
music
of
a
variety
of
genres
as
a
class,
looking
for
examples
that
negatively
portray
differences
and
examples
that
positively
portray
differences,
and
think
about
how
these
lyrics
might
affect
the
people
that
listen
to
them.
Then
as
individuals
or
in
small
groups,
you
will
explore
songs
from
a
selected
list
on
the
iPads
and
critique
them
on
your
own.
You
will
invent
a
creative
way
to
present
your
findings
about
your
chosen
song
to
the
class
and
to
people
outside
of
class.
These
could
take
the
form
of
Report
Cards
for
the
musicians,
pamphlets
about
your
chosen
song,
or
many
other
creative
ideas.
After
learning
about
the
portrayal
of
differences
and
stereotypes
in
a
chosen
song,
you
will
be
writing
your
own
parody
of
your
critiqued
song.
Individually
or
in
groups,
you
will
create
new
lyrics
to
the
song
you
chose
that
are
a
reaction
to
the
stereotyping
and
treatment
of
differences
within
the
song
or
that
type
of
music
in
general.
To
compose
your
parody
you
will
investigate
the
chord
structure
of
the
chosen
song
and
learn
to
play
it
on
the
ukulele.
You
may
also
enhance
your
parody
by
using
GarageBand.
Parody
Night:
Either
during
the
school
day
or
in
the
evening,
you
will
have
the
opportunity
to
share
your
parody
with
peers,
family,
teachers,
and
friends
in
a
coffeehouse
open-mic-night
setting.
You
may
present
your
parody
through
a
live
performance
or
by
playing
a
recording.
This
venue
is
also
where
you
will
be
present
the
findings
of
your
individual
or
group
critique
for
guests
to
view
before
and
after
the
performances.
Assessment:
Criteria
for
what
makes
a
thorough
critique
and
imaginative
way
to
present
findings
will
be
generated
collaboratively
with
the
students.
Criteria
for
what
makes
an
effective
parody
will
also
be
generated
collaboratively
with
the
students.
National
Standards:
Creating:
Imagine;
Plan
and
Make;
Evaluate
and
Refine;
Present
Performing:
Select;
Interpret;
Rehearse,
Evaluate,
and
Refine;
Present
Responding:
Analyze;
Interpret;
Evaluate
Exploring
Social
Issues
(Weeks
14-16)
Throughout
this
experience,
we
will
be
exploring
songs
that
address
social
issues
in
our
school,
community,
and
country.
These
issues
could
include
gender
equality,
racism,
acceptance
of
sexual
orientation,
economic
crisis,
etc.
We
will
be
looking
at
the
lyrics
of
each
of
these
songs
as
poetry
and
unpacking
them
for
their
meanings.
By
exploring
issues
in
our
school
and
community,
we
will
be
exploring
issues
that
affect
both
you
and
those
around
you.
All
of
our
analysis
will
be
done
as
a
class.
For
the
first
class,
the
teacher
will
present
all
of
the
examples,
but
following
that
class,
students
may
have
the
opportunity
to
bring
in
relevant
songs
that
they
would
like
to
explore
to
be
approved
my
the
teacher.
Assessment:
Criteria
for
productively
contributing
to
class
analysis
and
discussion
will
be
generated
collaboratively
with
the
students.
National
Standards:
Responding:
Analyze;
Interpret;
Evaluate
Connecting
Songwriting
(Weeks
17-20)
After
exploring
songs
that
address
social
issues,
you
will
be
writing
your
own
song
about
a
social
issue
that
is
meaningful
to
you.
As
an
individual
or
in
a
group
you
can
compose
your
song
using
the
ukulele
and/or
GarageBand.
To
perform
your
lyrics
you
may
use
a
spoken
word/rap
style
or
sing
them
in
any
style.
We
will
start
with
a
conversation
about
where
you
want
to
begin
your
piece.
Do
you
want
to
start
with
the
lyrics
or
the
music?;
What
elements
from
the
music
that
we
have
explored
throughout
the
experiences
would
you
like
to
use?;
etc.
Throughout
your
songwriting
process,
you
will
keep
a
video
log
of
your
progress.
You
will
also
write
a
narrative
explaining
your
reasons
for
writing
the
lyrics
that
you
wrote
and
making
the
compositional
choices
that
you
made
and
video
record
that
as
well.
The
curriculum
experience
will
end
with
a
performance
in
the
form
of
a
Coffeehouse/Film
Festival.
For
this
event
you
will
invite
friends,
family,
and
teachers
to
hear
the
songs
that
you
and
your
peers
have
created.
You
may
present
your
song
either
through
a
live
performance
or
through
a
recording.
You
will
also
show
a
short
video
clip
that
includes
clips
of
your
process
and
you
speaking
about
the
reasons
why
you
chose
to
write
about
your
particular
social
issue.
Through
this
Coffeehouse/Film
Festival
we
hope
to
show
your
friends,
family,
and
teachers
everything
that
youve
learned
throughout
the
curriculum
experience
and
prompt
them
to
think
about
the
social
issues
that
you
have
chosen
to
address.
Assessment:
Criteria
for
what
makes
an
excellent
composition
and
performance
will
be
generated
collaboratively
with
the
students.
National
Standards:
Creating:
Imagine;
Plan
and
Make;
Evaluate
and
Refine;
Present
Performing:
Select;
Interpret;
Rehearse,
Evaluate,
and
Refine;
Present
Connecting