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Learning Assessment Model Project

Common Italian Music Terms Every High School
Musician Should Know

Holden Berlin
Grades 9-12
Carroll High School

Cooperating Teacher: Doug Hassell

Supervising Teacher: Miles Wurster
Unit Duration: 7 Instructional Lessons
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Table of Contents
Rationale and Standards_______________________________________________________ 3

Unit Concepts________________________________________________________________5

Vocabulary List______________________________________________________________6

Unit Calendar________________________________________________________________7

Assessment Narrative__________________________________________________________8

Assessments: Written________________________________________________________10

Assessments: Playing_________________________________________________________13

Lesson Narrative_____________________________________________________________14

Lesson Plans________________________________________________________________15

Lesson Reflection____________________________________________________________32

Assessment Results___________________________________________________________33

Assessment by Standard Results________________________________________________38

Final Statement______________________________________________________________41

Self-Assessment Rubric_______________________________________________________42
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Purpose and Rationale

The Purpose of this unit is to provide students the knowledge and the tools to accurately decode
language often used by composers in traditional band literature. Often students rely on the
teacher to give information regarding music vocabulary and how to execute the style in which
the composer wrote. This unit will give the students knowledge of 15 common vocabulary
words, how to accurately define them, and how to perform them. The unit includes: writing,
listening to and analyzing music, singing, playing, and notating music. The music education
national standards that are addressed are: Standard #1, Standard #2, Standard #5, Standard #6,
and Standard #9. This unit will also address Indiana State Standard Modern and Classical
European Languages: Standard #3, and Standard #5. I will collect information from the pre-test,
and post-test so as to compare the results to show growth. Students will not only be assessed on
their ability to define these terms, but also their ability to demonstrate these terms on their
appropriate band instrument.

Music Education National Standards Addressed

Standard #1: Singing, alone and with others, a varied repertoire of music.
Standard #2: Performing on instruments, alone and with others, a varied repertoire of music.
Standard #4: Composing and arranging music within specific guidelines.
Standard #5: Reading and notating music.
Standard #6: Listening to, analyzing, and describing music.
Standard #9: Understanding music in relation to history and culture.

Indiana State World Language Standard (ISWLS): Modern

and Classical European Languages
Standard #3: COMMUNICATION: Present information in a language other than English.
Learners present to an audience of listeners or readers on a variety of topics. (Presentational).
Standard #5: CONNECTIONS: Make connections to other content areas. Learners use the
target language to expand their knowledge of and make connections among multiple content
areas.
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Standards Assessed
National Music Standard #2: Performing on instruments, alone and with others, a varied
repertoire of music
National Music Standard #5: Reading and notating music.
National Music Standard #6: Listening to, analyzing, and describing music.
National Music Standard #9: Understanding music in relation to history and culture.
_____________________________________________________________________________
Indiana State World Language Standard #3: COMMUNICATION: Present information in a
language other than English Learners present to an audience of listeners or readers on a variety
of topics. (Presentational).
Indiana State World Language Standard #5: CONNECTIONS: Make connections to other
content areas Learners use the target language to expand their knowledge of and make
connections among multiple content areas.
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Unit Objectives: Concepts and Skills

By the end of the unit, students should be able to:
Recognize the different style, articulation, and tempo terms listed (National Standard #2,
#5, #6, ISSWL: #3, #5)
o The teacher will define and model each term on his/her own instrument. Students
will also sing and play in the style, articulations, and tempo terms and then
discuss the contrasting and similar ideas among the terms. Furthermore, students
should be able to accurately recognize different styles, tempos, and articulations
as well as read and perform the differentiating styles, tempos, and articulations.

Accurately define music vocabulary terms (National Standard: #9, ISWLS: #3, #5)
o The teacher will provide multiple resources, such as a study guide, to aid students.
Additionally, the teacher will lead activities, discussions, and performances to aid
students in grasping definitions of musical terms. Furthermore, students will write
musical terms to add to a pre-composed phrase to alter the phrase. Students will
actively partake in playing and memorizing terms that will be found on the post-
unit exam by participating in class.

Accurately locate and label the term as a style, articulation, or tempo term (National
Standard: #1, #5, )
o The teacher will introduce terms in categories of Tempo Terms, Articulation
Terms, and Style Terms. Students will be given resources, such as a study
guide, to take notes. Students will also actively take part in the learning process
by participating in class.

Accurately perform the of the musical term listed (National Standards: #1, #2, #6)
o The teacher will lead multiple sessions of both singing and playing each term.
Students will partake in discussions on how to achieve each style, articulation and
tempo term both on a technical and an abstract level. Students will also take lead
in adding and removing terms to simple passages to change the style, articulation,
and tempo.
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Vocabulary List

1. Accelerando: Tempo Term. Speed up; Gradually Increase Tempo.

2. Allegro: Tempo Term. Brisk Tempo. 100 140 Bpms.

3. Andante: Tempo Term. Walking Pace. 70 99 Bpms.

4. Cantabile: Style Term. Singing Like.

5. Espressivo: Style Term. Expressive.

6. Leggiero: Style Term. Light, Lifted.

7. Legato: Style Term. Smooth Connected Notes.

8. Marcato: Articulation Term. Accented, Separated.

9. Pesante: Style Term. Heavy, Accented.

10. Presto: Tempo Term. Very Fast. 160 - 200 Bpms

11. Ritardando: Tempo Term. Slow Down. Gradually Lose Tempo.

12. Secco: Style Term: Dry.

13. Staccato: Articulation Term. Separated, Spaced.

14. Sforzando: Articulation Term. Forced, Accented.

15. Tenuto: Articulation Term: Full Note Value.

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Unit Calendar
Day 0: Pre-Test

Day 1: Introduction to Terms

o Why do we have music terms?
o Italian influence on music

Day 2: Tempo Terms

o Allegro, Andante, Presto, Accelerando, Ritardando

Day 3: Articulation Terms

o Staccato, Marcato, Sforzando, Tenuto

Day 4: Tempo and Articulation Terms

o Review activities of terms visited.
o Group Modifying Music Part 1

Day 5: Style Terms

o Leggiero, Pesante, Secco

Day 6: Style Terms

o Cantabile, Espressivo, Legato

Day 7: REVIEW
o Group Activity
Group Modifying Music Part 2
o Study Guide Review, Test Prep.
o Post Unit Playing Exam

Day 8: Post-Test
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Assessments

The unit asks students to fully comprehend musical terms; to be able to locate, define,
explain how to execute, and demonstrate musical terms. Being able to locate where certain terms
can be found in music and then define them only reaches level three of Blooms Taxonomy of
applying the information they know. The assessment asks the students to demonstrate the
knowledge of music vocabulary in a variety of different ways. Students will be frequently
assessed on their understanding of the content in order of Blooms Taxonomy. Students will
easily be able to remember the terms and define them. Where they struggle is being able to
accurately explain how to execute the terms both abstractly and technically as well as
demonstrating how to properly correlate from sight to sound. The goal of the assessment is to
encourage analysis and synthesis of all terms taught throughout the unit.
The written exam, both the pre-unit and the post-unit, will assess the students ability to
remember and understand information. However, the second part of the assessment, the playing
exam, will assess whether the students can apply the content to the proper auditory response.
Leading up to the final assessment, students will be working on the upper three sections of
Blooms Taxonomy of content: Analyzing, Synthesizing, and Creating. The students final project
and review will consist of limited group compositions that are then peer reviewed among the
ensemble. Through formal assessments in every lesson, a capstone assessment and a two-part
final exam, the students are given many opportunities to demonstrate their knowledge in a
variety of ways.
Below are the assessments used in the LAMP Unit: the written exam and the playing
exam along with the rubric used to assess the playing test. The pre-unit and post-unit written
exams used the same formats, same terms, and same wording to ensure reliability. The difference
between the exams is that the letters assigned to the first part of the exam were swapped within
the terms listed resulting in a difference of ordering of the answers. The playing portion of the
assessment was conducted in an identical fashion each time. The pre-unit exams and rubrics
were not returned to the students until after the unit along with their post-unit exam. This
prevented the students from using shortcuts to divert actual learning. The pre-unit assessments
were purely intended to create a baseline for the instructors. If the pre-unit assessments were
returned prior to the final, students would be only accessing the first level of the Blooms
Taxonomy of Learning: Remembrance.
The written exam, Part I of the overall summative assessment was administered online
per the students school laptops, through Google Forms. This was decided partly in respect to
two different students Individual Education Plans (IEP) that encouraged computer use in classes.
The test was taken in class to ensure validity and academic honesty. I was able to use Google
Forms analytical software to quickly score, analyze, and graph all answers. The test is listed
below; while the questions and answers are the same, the order in which the sections of the test
and the order in which the answers were presented in the test were random. The software asks
the user to put in an answer key for multiple choice and matching questions, and then uses that to
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score each student. I was also able to limit responses by not allowing students to change their
answers once the test was submitted, and was able to look at each individual test to grade short
responses and essay questions separately.
The Playing Assessment, Part II of the overall summative assessment, takes note of the
students psychomotor ability to demonstrate articulation, style, and tempo markings. The
Playing exam was given live as to ensure validity of the assessment. I considered also using the
students laptops to submit recordings of the playing exam to help reliability of the assessment,
however, I chose to give the assessment live. Both live and recorded assessments have
advantages and disadvantages consequences that were considered. The playing exam below, in
concert pitch, is an arrangement of The Tokens: The Lion Sleeps Tonight. I chose this piece as I
wanted the playing assessment to appropriately challenge the students rhythmically, while also
being a tune they would recognize. The tune was arranged for each instrument in the concert
band (Flute, Clarinet, Bass Clarinet, Alto Saxophone, Tenor Saxophone, Baritone Saxophone,
Trumpet, French horn, Trombone, Bassoon, Tuba, and Mallets). Students were expected to sight
read the arrangement as well as decipher the style terms Leggiero, Tempo Term Rit.
(ritardando), and articulation terms: Staccato, Tenuto, and Sforzando. They were given
30 seconds prior to playing to look over the music, then were limited to one chance to play. In
the rubric, I only graded the students ability to play the style, tempo and articulation, marked as
Articulation and Expression.
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Unit Assessment Part 1

Name____________________

Multiple Choice Choose the correct answer by placing the

corresponding letter next to the question. (NMS#9)(ISWLS#3#5)1 Point.
1._D_ Music Vocabulary is based upon what language?
A: English
B: Latin
C: German
D: Italian

2. Of the Eleven (11) choices below, put an x next to FOUR notable

Italian Renaissance Composers. (NMS #9) (ISWLS #3 #5) 4 Points.
_x_ Gabrielli
_x_ Vivaldi
_x_ Palestrina
_x_ Gesualdo
___ Bach
___ Pachelbel
___ Verdi
___ Mozart
___ Glass
___ Shostakovich
___ Beethoven
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Matching Match each term with its appropriate definition by placing the letter
assigned to the term in the space next to the definition. All terms will be used only
once. (5 Points) (ISWLS #3, #5) (NMS #5)

A. Secco B. Andante C. Staccato D. Tenuto E. Cantabile

__B__ Walking pace, 70-99 beats per minute.

__A__ Style term meaning to play dry, short and as separated as possible.
__D__ Articulation term meaning to play notes at full value.
__C__ Articulation term meaning to play notes disconnected and separated.
__E__ Style term meaning to play singing like.

Analyzing: Below is a piece of music. Fill in the blank with the category each
symbol and term would fall under (Style, Tempo, or Articulation). If the category
is Articulation, name the articulation. (6 Points) (NMS #5, #6)

1. Presto: Tempo. 2. Pesante: Style. 3. Rit.: Tempo

4. Articulation, Marcato.
5. Articulation, tenuto. 6. Articulation, Staccato
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Writing: Below are three common music vocabulary terms. For each one: Define
the term, how to appropriately execute the term in music and, where it is found on
a piece of music. Write complete sentences with proper grammar. (9 Points)
(ISWLS #3, #5) (NMS #6)

Accelerando: Accelerando, found above the measure(s) where it is implemented, means to

gradually increase tempo. To execute properly, one must increase the Bpms (beats per minute)
as they play the music up to the tempo marking listed if shown.

Legato: Legato is a style term meaning long and connected. It is found above the measure(s) it
applies to, sometimes being the first measure of the music. To execute properly, one must play
musical phrases as long and connected as possible with as little interruptions from the tongue as
possible.

Espressivo: Espressivo is a style term meaning to play expressively. It is found above the
measure(s) it applies to. To play Espressivo, one must give meaning to the musical phrases by
exploring different dynamic approaches, adding and/or subtracting certain styles or
articulations that may or may not be marked.
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Unit Assessment Part 2

Name_______________________
Instrument___________________

Total Points ___/8

Categories 1 Point 2 Points 3 Points 4 Points

Unsatisfactory Basic Proficient Distinguished
Articulation Performance of tonguing, Performance of tonguing, Performance of tonguing, Performance of tonguing,
slurring, and style markings slurring, and style markings slurring, and style markings slurring, and style markings
Read and perform a variety are not observable. are inconsistent. are usually accurate. are always accurate.
of marked symbols
accurately with the correct
pitch and rhythm.

Expression Change in style, articulation, A range of style, articulation, A range of style, articulation, A range of style, articulation,
dynamics, tempo, and dynamics, tempo, and dynamics, tempo, and dynamics, tempo, and
Read and perform phrasing are not observable. phrasing are observed but phrasing are observed and phrasing are observed and
instrumental music inconsistent usually accurate. always accurate.
observing symbols and
vocabulary pertaining to
pitch, rhythm, articulation,
tempo, dynamics, phrasing,
and articulation.
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Lesson Narrative
While planning for my lessons, I had to take into account two IEPs, both concerning
reading and writing deficiency and encouraging computer use. Because of this, I wanted to
center my lessons on technology and the use of technology. My lessons were mostly lecture
based with student involvement on lesson introductions and assessments. With this in mind, my
PowerPoints were mostly visual reinforcements of my lectures to help all students understand
content. Between lectures, study guides, visual reinforcements, and psychomotor involvements
in every lesson, I believe I created avenues for every student in my class that encouraged
learning.
All of my lessons encouraged students to use the study guide as I actively taught to the
study guide. Each vocabulary term was introduced, defined, discussed on how to execute,
executed, and located in practical music. I had to plan my lessons around the schools weekly
schedule. Which entailed not seeing my class on Wednesdays, however, also seeing them for an
extended 90 minutes on Thursdays. My lessons were broken up by week: Week 1 are lesson
numbers 1,2,3,4 while Week 2 are numbers 5,6 and 7. Lesson 7, the final lesson in the unit, was
planned to be on a Thursday, with flexibility of a 90 minute class period so as to leave plenty of
time to review for Post Unit Test, as well as complete their compositional activities. However,
because of this pre-planned schedule, the unit had to be started on a Monday to keep the
schedule.

Google Slides Power Point Link:

https://docs.google.com/presentation/d/1Ceu7_N6uYwmWDtt8I4hxGlq21WAq7hyflfSxel6Qnm
o/edit?usp=sharing

Below are my lesson plans used to teach my LAMP unit.

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Lesson Plans

Musical Vocabulary Lesson Plan #1 Introduction (11/3/17) (45Mins)

Materials: Computer (PowerPoint), YouTube, Unit Plan Study Guide (Blank), Unit Plan
Calendar.
Standards Addressed:
Standard #6: Listening to, analyzing, and describing music.
Standard #9: Understanding music in relation to history and culture.
ISWS Standards:
Standard #3: Present information in a language other than English Learners present to an
audience of listeners or readers on a variety of topics
Standard #5: Make connections to other content areas Learners use the target language to
expand their knowledge of and make connections among multiple content areas.
Lesson Goals:
Students will gain an understanding on Italian Culture in the Renaissance and Baroque
Eras (1400 CE 1700 CE)
Students will gain familiarity with Italian musical terms.
Students will receive a unit plan, as well as unit materials to prepare them for the
upcoming unit.
Procedure:
Introduction Using PowerPoint
o When thinking about music, who were some of the most influential people to have
lived?
o Answers may be: Mozart, Bach, Beethoven, Handle, Haydn
Italian Renaissance Composers
o Composers who set the foundation for music today: Gabrieli (1557), Monteverdi
(1567), Palestrina (1525), Gesualdo (1566)
o All of these composers lived in the latter half of the Renaissance Period (1400
1600) and reinvented music as it was.
o Listen to some of the music that was written in the early renaissance period by
another popular composer : Dufay
Play Dufay, Nuper Rosarum Flores (youtube)
o Describe the music. Is it happy? Sad? How can you tell? Can you take a guess of
what it may be about?
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o Now Listen to Giovanni Gabrielis Canzonas and Sonatas (YouTube)

How is it different?
o Because of the influence these guys had by not only introducing instrumental
music like we have today, but also by making it popular.
o Ever since, Italian culture has always been known for its fine arts culture. It took
over a hundred years for Italian music to really spread to other cultures but when
it did, it spread fast and had already established a musical culture that was
unparalleled for another two hundred years. (1800s)
o Songs and Operas were always performed in Italian even if the audience and
performers were French, German, or English.
o If it wasnt Italian it wasnt artistic.
o Musicians would often travel to Italy to learn music.
Music Terms
o If musicians from all over Europe trained in Italy, what could be some issues that
would slow down the learning process?
Not being able to speak Italian
So they learned
o To play most music, musicians have to have some understanding of the Italian
language. So over the next two weeks, were going to learn fifteen common
Italian music terms. You may know some of them.
o Together we are going to define them, locate where they can be found in music,
and learn how to play them.
o Pass out blank study guide and unit calendar to the ensemble.
Tomorrow we will start with tempo terms. There are 5 tempo terms of the
fifteen we will learn. Suggest that they bring the study guide to every class
so that you can write in notes about each term.
This will be your study guide and review sheet for the test at the
end of the lesson.

Find Study Guide Below

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Materials: Music Vocabulary Study Guide

Terms Definition How to Location
Tempo:

Tempo:

Tempo:

Tempo:

Tempo:

Articulation:

Articulation:

Articulation:

Articulation:
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Terms Definition How to... Location

Style:

Style:

Style:

Style:

Style:

Style:

Notes:
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Musical Vocabulary Lesson Plan #2 Tempo Terms (11/6/17) (45Mins)

Materials: Computer (PowerPoint), Baton, Tuner, Metronome, Trombone, Foundations of
Superior Performance.
Standards Addressed:
Standard #1: Singing alone and with others.
Standard #2: Playing instruments and with others.
Standard #5: Reading and notating music.
Standard #6: Listening to, analyzing, and describing music.
ISWS Standards:
Standard #3: Present information in a language other than English. Learners present to an
audience of listeners or readers on a variety of topics
Standard #5: Make connections to other content areas. Learners use the target language to
expand their knowledge of and make connections among multiple content areas.
Vocabulary: Andante, Allegro, Presto, Ritardando, Accelerando.
Lesson Goals:
Students will be able to define the tempo vocabulary taught.
Students will be able to accurately locate where the tempo vocabulary words can be
found in music.
As an ensemble, students will execute the skills necessary to read music with the added
tempo vocabulary.
Procedure:
1. Introduction
i. If music always was the same tempo, everything from a ballad to a hype
song, was always 100 bpm, music would be pretty boring after a while.
ii. Play examples of popular music that is both slowed down and sped up at
incorrect tempos. Use PowerPoint as a visual reinforcement.
iii. Luckily, we have always written music at varying tempos, but it didnt
used to be as simple as 120 bpms (beats per minute).
b. History of tempo markings
i. The metronome invented in 1816 still was not consistently accurate and
not widespread, leaving musicians up to their own interpretations do
figure out what a composer wanted.
2. Stationary Tempo Terms: Andante, Allegro, Presto
a. Andante
i. Model how to say, have the students repeat it back. (an-Dan-tAy)
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1. Andante literally translates to Walking Pace

ii. How fast, in Bpms, do you think you casually walk?
1. Andante 70-99 bpms
b. Allegro (Ah-leg-grow)
i. Model how to say it
1. Allegro literally translates Brisk
ii. How fast, in Bpms, do you think brisk is?
1. Allegro 100- 140 bpms
c. Presto (Pres-toe)
i. Presto translates to Very Fast
1. How fast, in Bpms, do you think Very Fast is?
2. Presto 160-200 bpms
d. Play a Bb Major Scale using tempo terms to determine the tempo of the scale
i. Use Power point to show music of the scale and WHERE the tempo marks
are found
ii. Notice where the tempo term is found in this music, right above the
measures it applies to, everything bar following the tempo term is within
the range of the tempo, unless a new term is specified.
e. Changing Tempo Terms: Accelerando, Ritardando
i. Accelerando (achel-er-ando)
1. What do you think Accelerando means?
a. To Gradually get faster
b. Notice the root of this word: Accel, like in Accelerate.
c. Accelerando
2. Using the PowerPoint, Play a Bb Major scale that starts at Andante
and accels throughout the scale.
3. How do we know when we stop Accelerating?
a. Sometimes the composer rights how fast we should
accelerate up to, sometimes its up to us as musicians to
determine how fast to accelerate.
4. Play a Bb Major Scale that starts at Andante and Accels up to
Presto.
ii. Ritardando (Rit-ar-Dando)
1. Who knows what Ritardando means?
a. To gradually get slower
b. Just like Accelerando, the rate at which we slow down, and
how long we slowdown is sometimes written in the music,
but sometimes it is up to us as musicians.
2. Play Bb Major Scale that starts at Allegro and Ritards all the way
through
f. Assessment:
i. Using PowerPoint, display a Bb Major Scale that uses Allegro,
Ritardando, and Presto
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1. Allow for students to input their own set of tempo terms, correct
the slide so that the tempo terms shows up on the PowerPoint for
all students to see.
2. Play some of the new student made tempo changes
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Musical Vocabulary Lesson Plan #3 Articulation Terms (11/7/17)

(45Mins)
Materials: Computer (PowerPoint), Baton, Tuner, Metronome, Trombone, Foundations of
Superior Performance.
Standards Addressed:
Standard #1: Singing alone and with others.
Standard #2: Playing instruments and with others.
Standard #5: Reading and notating music.
Standard #6: Listening to, analyzing, and describing music.
ISWS Standards:
Standard #3: Present information in a language other than English. Learners present to an
audience of listeners or readers on a variety of topics
Standard #5: Make connections to other content areas. Learners use the target language to
expand their knowledge of and make connections among multiple content areas.
Vocabulary: Staccatto, Tenuto, Sforzando, Marcato
Lesson Goals:
Students will be able to define the Articulation vocabulary taught.
Students will be able to accurately associate symbol to meaning with articulation
symbols.
As an ensemble, students will execute the skills necessary to read music with the added
articulation symbols.

Procedure:
1. Warm Up Game
a. With instruments, on Concert F Quarter Notes, have students follow the
instructors conducting as he/she leads them into playing in different articulations:
Staccato, Tenuto, Sforzando, Marcato.
b. What Articulations did we do?
i. Staccato, Tenuto, Sforzando, Marcato
2. Staccato
a. Using a PowerPoint, show the articulation marking for Staccato.
i. What does this articulation mean? How do you play it?
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1. Be very picky with the answer to how. Students need to describe

how to make a note separated. Stopping the Air, using the tongue
to interrupt the air flow, etc.
b. Staccato (Sta- CaT-O)
i. What does this sound like? How do you do it?
ii. Staccato: Separated
iii. NOT SHORT. Short often is executed by stopping notes with the tongue
and rushing beats. Tempo does not change if students understand it as
lifted or separated.
iv. Think of the Dot, telling you how to play the note, spaced. The articulation
can tell you how the note sounds just its symbol.
v. Model on instrument
vi. Play Staccato Quarter Notes on Concert F.
c. Tenuto (Ten-oo-Toe)
i. If a dot shows space between the notes, a line means what?
ii. How do you
1. Change slide from staccato quarter note to tenuto quarter note.
iii. Tenuto means to play at Full Value
1. What does Full Value Mean?
a. To play the note all of the beat(s) it is specified for.
2. While staccato means separated, maybe even 50% Value, A
Tenuto means Full Value, or 100% value.
iv. Model on instrument
v. Play Tenuto Quarter Notes on Concert F.
d. Marcato (Mark-ah-Toe)
i. Change slide to a Marcato Quarter Note
1. How would this sound? Use what the symbol looks like as a hint to
what it sounds like.
2. Does someone want to demonstrate it?
ii. Play as a I conduct on Concert F
1. Conductor conducts in a Marcato Style
2. Go for 16 Beats or until ensemble plays in a Marcato style
3. Ok, we played it, describe how it sounds
iii. Introduce Marcato
1. Accented, Separated.
2. Model on instrument
3. Play Marcato Quarter Notes.
3. Assessment
a. Re do warmups, this time question ensemble on which articulations were used,
and what they look like.
i. On concert F
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Musical Vocabulary Lesson Plan #4 Review Activity (11/9/17)

(45Mins)
Materials: Computer, Pencils, copies of unmodified music. Trombone.
Standards Addressed:
Standard #4: Composing and arranging music within specific.
Standard #5: Reading and notating music.
Standard #6: Listening to, analyzing, and describing music.
Vocabulary: Andante, Allegro, Presto, Ritardando, Accelerando, Staccato, Tenuto, Sforzando,
Marcato
Lesson Goals:
Students will accurately add tempo and articulation words and symbols to a pre-
composed piece of music.
Students will be able to accurately associate symbol to meaning with articulation
symbols.
Students will be able to associate tempo vocabulary with practical ranges of tempos
As an ensemble, students will execute the skills necessary to read music with the added
articulation and tempo symbols.
Procedure:
1. Group Composition Activity
a. In groups of 3 or 4 - chosen by the students, students will add articulation symbols
and tempo vocabulary to a pre-composed piece of music provided by the
instructor.
b. Students will be given 40 minutes to add the terms, play the modified music, and
assess the modified music with guided questions presented by the instructor.
c. Limitations are:
i. Every note must be labeled with an articulation.
ii. Must use at least three of the four articulations ( staccato, tenuto,
sforzando, and marcato)
iii. must use at least three of the five tempo terms (andante, allegro, presto,
ritardando, accelerando)
iv. Must complete the questions presented by the instructor on a separate
piece of paper along with the modified music.
d. Instructor will offer to play modified melodies for the groups as he/she monitors
the class by walking around observing groups.
e. Following 30 mins, the instructor will then collect the modified music, for use
later in the unit. The instructor will separate the melody into different parts for the
ensemble so that the ensemble can play the modified music later.
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Below is the blank, unmodified, score for the activity written for piano Transpose for instruments
as needed.
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Musical Vocabulary Lesson Plan #5 Style Terms Part 1 (11/10/17)

(45Mins)
Materials: Computer (PowerPoint), Tuner, Baton, Metronome, Trombone.
Standards Addressed:
Standard #1: Singing alone and with others.
Standard #2: Playing instruments and with others.
Standard #5: Reading and notating music.
Standard #6: Listening to, analyzing, and describing music.
ISWS Standards:
Standard #3: Present information in a language other than English. Learners present to an
audience of listeners or readers on a variety of topics
Standard #5: Make connections to other content areas. Learners use the target language to
expand their knowledge of and make connections among multiple content areas.
Vocabulary: Leggiero, Peseante, Secco
Lesson Goals:
Students will recall articulation and tempo terms taught in the previous lessons.
Students will be able to define the Style vocabulary taught.
Students will be able to accurately locate where style terms are found in music.
As an ensemble, students will execute the skills necessary to read music with the added
articulation symbols.
Procedure:
1. Tempo and Articulation Terms Review
a. Using PowerPoint, quiz the students on tempo and articulation terms. Use image
of various types of music that show multiple articulations and tempo terms.
2. Style Terms
a. Leggiero
i. Using PowerPoint show Leggiero
ii. Who wants to try and pronounce this term? Le-jear-o
1. What does it mean? Light, Lifted.
iii. How does a musician play Leggiero?
1. Compare to a string player, using a bow to play lighter.
2. Instructor will model Leggiero on their instrument, Bb Major
Scale.
3. Instructor will invite ensemble to sing Leggiero
a. Play Bb Major Scale Leggiero
 Berlin 27

b. Pesante
i. Using PowerPoint show Leggiero
ii. Who wants to try and pronounce this term? Le-jear-o
1. What does it mean? Heavy, Deep, Dark. Slighlty Accented.
iii. How does a musician play Pesante?
1. Compare to a string player, using a bow to play Heavier.
2. Instructor will model Pesante on their instrument, Bb Major Scale.
3. Instructor will invite ensemble to sing Pesante
4. Ensemble play a Bb Major scale Pesante.
a. Compare and contrast Pesante and Leggiero on a Bb Major
scale.
c. Secco
i. Using PowerPoint show Secco
ii. Who wants to try and pronounce this term? Seck-O
1. What does it mean? Dry, Disconnected. If the composer wants the
section to be staccato, they could write secco instead of using
articulation markings.
iii. How does a musician play Secco?
1. Instructor will model Secco on their instrument, Bb Major Scale.
2. Instructor will invite ensemble to sing Secco
3. Ensemble play a Bb Major scale Secco
3. Assessment.
a. Using Powerpoint, show a piece of music, note where the style terms are mostly
commonly shown in music. Review Leggiero, Pesante, Secco.
i. Define it
ii. How to do it?
iii. Where it is found in music.
 Berlin 28

Musical Vocabulary Lesson Plan #6 Style Terms Part 2 (11/13/17)

(45Mins)
Materials: Computer (PowerPoint), Tuner, Baton, Metronome, Trombone.
Standards Addressed:
Standard #1: Singing alone and with others.
Standard #2: Playing instruments and with others.
Standard #5: Reading and notating music.
Standard #6: Listening to, analyzing, and describing music.
ISWS Standards:
Standard #3: Present information in a language other than English Learners present to an
audience of listeners or readers on a variety of topics
Standard #5: Make connections to other content areas Learners use the target language to
expand their knowledge of and make connections among multiple content areas.
Vocabulary: Legato, Cantabile, Espressivo
Lesson Goals:
Students will be able to review the Style vocabulary taught previously.
Students will be able to define new style terms taught.
Students will be able to accurately locate style terms in pieces music.
As an ensemble, students will execute the skills necessary to read music with the added
articulation symbols.
Procedure:
1. Style Terms Review: Legato, Espressivo, Cantabile
a. Using PowerPoint, quiz the students on tempo and articulation and style terms.
Use image of various types of music that show multiple articulations and tempo
terms.
2. Style Terms
a. Legato
i. Using PowerPoint show Legato
ii. Who wants to try and pronounce this term? Le-got-toe
1. What does it mean? Smooth, Connected. If a composer wants the
section to be long a connected like with all tenutos, they would put
Legato instead of marking tenutos.
iii. How does a musician play Legato?
1. Compare to a string player, using a bow to play long and
connected.
 Berlin 29

2. Instructor will model Legato on their instrument, Bb Major Scale.

3. Instructor will invite ensemble to sing Legato
a. Play Bb Major Scale Legato
b. Cantabile
i. Using PowerPoint show Cantabile
ii. Who wants to try and pronounce this term? Cant-a-Beel-ay
1. What does it mean? Singing-Like.
iii. How does a musician play Cantibile?
1. Compare to an Aria Singer. Long Connected, Vibrato,
2. Instructor will model Cantabile on their instrument, Bb Major
Scale.
3. Instructor will invite ensemble to sing Cantabilehave the
students humorously exaggerate it.
4. Ensemble play a Bb Major scale Cantabile.
c. Espressivo
i. Using PowerPoint show Espressivo
ii. Who wants to try and pronounce this term? Es-Press-seev-o
1. What does it mean? Expressive
iii. How does a musician play Espressivo? Similar to Cantabile. Less Vibrato.
Unique to musician/conductor/composer.
1. Instructor will model Espressivo on their instrument, Bb Major
Scale.
2. Ensemble play a Bb Major scale Espressivo
3. Assessment.
a. Using PowerPoint, show a piece of music, note where the style terms are most
commonly shown in music. Review Leggiero, Pesante, Secco, Legato, Cantabile,
Espressivo
i. Define it
ii. How to do it?
iii. Where it is found in music
 Berlin 30

Musical Vocabulary Lesson Plan #7 Review Activity (11/16/17)

(90Mins)
Materials: Computer, Pencils, copies of modified music from lesson #4. Trombone.
Standards Addressed:
Standard #2: Playing Instruments alone and with others.
Standard #4: Composing and arranging music within specific.
Standard #5: Reading and notating music.
Standard #6: Listening to, analyzing, and describing music.
Vocabulary: Andante, Allegro, Presto, Ritardando, Accelerando, Staccato, Tenuto, Sforzando,
Marcato, Leggiero, Pesante, Secco, Cantabile, Espressivo, Legato.
Lesson Goals:
With instructor, students will review all terminology.
Students will accurately add style terms to a pre-composed piece of music.
Students will be able to accurately associate symbol to meaning with articulation
symbols.
Students will be able to associate tempo vocabulary with practical ranges of tempos
As ensemble(s), students will execute the skills necessary to read music with the added
articulation, tempo, and style symbols/terms.
Procedure:
2. Test Review (15 Mins)
a. Instructor will open the class to any questions about any terminology/symbols.
Instructor will use instruments/ensemble to demonstrate terms, as well as the
PowerPoint slides to visually reinforce concepts.
3. Group Composition Activity Part 2
a. In groups of 3 or 4 - chosen by the students from Lesson #4, students will add
style terms to a pre-composed piece of music, already modified by students from
Lesson #4. Provided by the instructor.
b. Students will be given 40 minutes to add the terms, play the modified music, and
assess the modified music with guided questions presented by the instructor.
c. Limitations are (Including Limitations from Lesson #4):
i. Every note must be labeled with an articulation.
ii. Must use at least three of the four articulations ( staccato, tenuto,
sforzando, and marcato)
iii. must use at least three of the five tempo terms (andante, allegro, presto,
ritardando, accelerando)
 Berlin 31

iv. Groups will present the modified melody while the rest of the class assess
terms/articulations used.
d. Instructor will offer to play modified melodies for the groups as he/she monitors
the class by walking around observing groups.
e. Following 40 mins, Groups will present their modified melodies to the rest of the
ensemble. Instructor will play with each group.
i. Question the rest of the ensemble each groups presentation.
1. What tempo terms did they use?
2. What articulation terms did they use?
3. What style terms did they use?
4. Remind Students of test taking place tomorrow. They will need their laptops to complete
the test.

Below is the score for the composition activity.

 Berlin 32

Lesson Reflection

Some scheduling issues arised which impacted the unit. Due to the districts school
calendar along with my obligation for Ball State, I was not in the classroom for three Mondays in
a row: October 23rd, October 30th, and November 6th. My unit was planned with two normal
weeks of classes in mind, making the unit inflexible. However, I decided to start on Friday,
November 3rd to make up the coming Monday that would be missed. Another issue that was not
expected was the classroom projector malfunctioning. With a unit that heavily relied on
technology to enhance lessons and student involvement; not having a projector proved difficult.
Once again, I had to be flexible; I sent the PowerPoint to all the students via a school sponsored
grading site and printed off the PowerPoint pages that were needed for that lesson. Every student
had access to either an online or a physical copy of the PowerPoint. The lectures did not change,
the students just had extra resources to gain information from. This was not ideal for the two IEP
students, it was not ideal, but they were still provided multiple visual and psychomotor avenues
to learn and comprehend the content.
While teaching the lessons, a challenge that I had was time management. My lessons
plans were filled with constant switching between lecture/note-taking and playing examples and
I quickly realized that there was a lot of time lost in transitioning. In some lessons, I lost nearly
of 6 minutes from transitioning on and off instruments. My solution to the issue was grouping
my playing examples and note taking sections of the class so that there were less transitions
overall.
Regardless of the challenges that occurred during the unit, the students seem to retain the
information well. While looking at the results of the assessments, both pre-unit and post-unit,
there was a noticeable growth among both the written and playing assessments for almost all
students.
 Berlin 33

Results

Out of the 55 students in the class, only one (student #20) was absent for the pre-unit
exam. I decided to keep and track the results of student #20 to maintain consistency among the
analysis. Some students scored extremely well (20 points or higher), others who participated
earned as low as zero points on the assessment. The average score of the written exam was 8.6
points out of 25 points (34%) total. The playing exam however, was much more consistent, the
average score being 2.5 out of 8 points (31%). It is important to note: two points is the absolute
lowest score a student can get when participating in the playing exam. This is due to how the
rubric was created; box one being Action(s) are not observable.
Below are the graphs showing the pre-unit assessments separately and together.

Pre-Unit Written Assessment

25

20

15

10

0
1 3 5 7 9 11 13 15 17 19 21 23 25 27 29 31 33 35 37 39 41 43 45 47 49 51 53 55

Maximum Points: 25. Pre-Unit Average: 8.6 (34%)

 Berlin 34

Pre-Unit Playing Assessment

6

0
1 3 5 7 9 11 13 15 17 19 21 23 25 27 29 31 33 35 37 39 41 43 45 47 49 51 53 55

Maximum Points: 8. Pre-Unit Average: 2.5 (31%)

Pre-Unit Assessment
Pre Test -Writing Pre Test-Playing

25

20

15

10

0
1 3 5 7 9 11 13 15 17 19 21 23 25 27 29 31 33 35 37 39 41 43 45 47 49 51 53 55

When studying the graphs, I found no evidence supporting a link between the two
assessments. Students who did well on the written exam, were no more likely than other students
to perform well on the playing portion. However, when you break the written assessment down
by question, there seems to be a correlation to students who were successful in the second
section, analyzing, and who were also successful in playing the exam. In the written exam, most
students were unable correctly identify Ritardando and most articulations aside from Staccato.
Similar results showed among the playing exam; most students outright ignored all markings
other than the notes when reading the music. Ignoring the marks could mean that the students
were outright unaware of the markings, or that they have no knowledge of the markings.
 Berlin 35

Following the unit, there was considerable growth across both assessments for most
students. While the pre-unit written assessment average was 8.6/25 (34%), the post-unit written
assessment average was 20/25 (80%); showing a growth of 46%. The post-unit playing
assessment saw similar growth from the 2.5/8 (31%) average to the post-unit playing assessment
average 5.1/8 (64%). All students showed growth in the written exam, while all but five students
showed growth in the playing assessment. Of those five students, two were unavailable during
the playing test times despite my flexibility and outreach to them, and they received 0s, therefor
showing loss in points between the pre-playing exam and the post-playing exam; The other three
showed no growth or loss, the students stayed stagnant.

Below are graphs for the post-unit assessments as well as comparing both pre-unit and post-unit
assessments.

Post-Unit Written Assessment

30

25

20

15

10

0
1 3 5 7 9 11 13 15 17 19 21 23 25 27 29 31 33 35 37 39 41 43 45 47 49 51 53 55

Maximum Points: 25. Post-Unit Average: 20 (80%)

 Berlin 36

Post-Unit Playing Assessment

9

0
1 3 5 7 9 11 13 15 17 19 21 23 25 27 29 31 33 35 37 39 41 43 45 47 49 51 53 55

Maximum Points: 8. Post-Unit Average: 5.1 (63%)

Post-Unit Assessment
Post Playing Post Test Writing

30

25

20

15

10

0
1 3 5 7 9 11 13 15 17 19 21 23 25 27 29 31 33 35 37 39 41 43 45 47 49 51 53 55
 Berlin 37

Pre-Post Unit Written Assessment

Pre Test -Writing Post Test Writing

30

25

20

15

10

0
1 3 5 7 9 11 13 15 17 19 21 23 25 27 29 31 33 35 37 39 41 43 45 47 49 51 53 55

Maximum Points: 25. Pre-Unit Average: 8.6 (34%). Post-Unit Average: 20 (80%)
Percentage of Growth: 46%

Pre-Post Playing Assessments

Pre Playing Post Playing

0
1 3 5 7 9 11 13 15 17 19 21 23 25 27 29 31 33 35 37 39 41 43 45 47 49 51 53 55

Maximum Points: 8. Pre-Unit Average: 2.5 (31%). Post-Unit Average: 5.1 (63%)
Percentage of Growth: 32%
 Berlin 38

For measuring growth by standard, every question on the exams applied to multiple
standards, and many questions overlapped standards. I measured the standards by averaging out
each students individual score on each question with other questions that matched standards and
then finding the percentage. Every part of the assessment applied to the ISWLS standards #3 and
#5, which inherently shows the same growth as the overall assessment growth, 46%. The same
situation applies to standard #2, as the playing assessment growth of 33%. Out of all the
standards, standard #9 showed the most growth of 50%, followed by standard #6 with a 48%
growth, then standard #5 with a 41% growth.

Graphs for standard #5, #6, and #9 comparing pre-unit and post-unit growth are shown below.

National Music Standard #5

NMS #5 Pre-Unit NMS #5 Post-Unit

12

10

0
1 3 5 7 9 11 13 15 17 19 21 23 25 27 29 31 33 35 37 39 41 43 45 47 49 51 53 55

Maximum Points: 11. Pre-Unit Average: 3.7 (34%). Post-Unit Average 8.8 (75%).
Percentage of Growth: 41%
 Berlin 39

National Music Standard #6

NMS #6 Pre-Unit NMS #6 Post-Unit

16
14
12
10
8
6
4
2
0
1 3 5 7 9 11 13 15 17 19 21 23 25 27 29 31 33 35 37 39 41 43 45 47 49 51 53 55

Maximum Points: 15. Pre-Unit Average: 3.9 (26%). Post-Unit Average: 11.1 (74%)
Percentage of Growth: 48%

National Music Standard #9

NMS #9 Pre-Unit NMS #9 Post-Unit

0
1 3 5 7 9 11 13 15 17 19 21 23 25 27 29 31 33 35 37 39 41 43 45 47 49 51 53 55

Maximum Points: 5. Pre-Unit Average: 1.7 (34%). Post-Unit Average: 4.2 (84%)
Percentage of Growth: 50%
 Berlin 40

Since the entire unit centered on standard #6, reading and notating music, I am very
pleased with the 48% growth. However, the students did not show correlating growth in standard
#2, hinting toward a discrepancy between being able to read music and actually reading while
executing playing their instruments. The discrepancy could be the time available to complete
each assessment. Students were not given as much time during the playing portion as they were
during the written exam. The difference in growth could be attributed many other student factors
including playing anxiety and technical skill.
Overall the results showed an average of at least 40% growth for all standards, and at
least a 35% growth across all comparisons. While more growth would be preferred, I am very
pleased with the results from the unit.
 Berlin 41

Final Statement
Despite all of the challenges that came up during the execution of this unit, the planning

phase allowed me to be flexible during the unit which allowed the students to be successful. I am

grateful that students were also flexible to the circumstances that came up and were willing to

learn. I did feel like they were genuinely interested in the content.

Looking at the assessments, I was able to get an understanding of the base content

knowledge through both the written exam and the playing exam. While I am confident in the

written exams ability to judge the knowledge of the content, I am less sure about the playing

exam. I feel as there were plenty of variables that disrupted a proper testing environment,

whether it be anxiety, the music itself, or even the content that they were being tested over.

While I do believe in my decision in doing playing exams live, I wonder how the results could be

different if they were video submissions.

The students showed considerable growth across the assessments. I believe partly to

accessibility of the content that I provided, partly due to the comprehensive lessons that were

taught, and partly to the materials that were given that aided the students. The study guide

provided the exact information they would need, as long as the students participated in filling out

the study guide. I wanted to put ownership on the students with their own participation rather

than demanding it, by giving them all of the tools they needed to be successful and then making

them responsible for the final outcome. I find that students who are given responsibility for their

own participation and grade(s) are more likely to succeed in the classroom. I plan on taking that

philosophy with me into my career as a music educator along with the insight this project has

brought me on planning, executing, assessing, and analyzing a content unit.

 Berlin 42

Self-Assessment Rubric
Below is a self-assessment on five (5) different categories pertaining to the planning,
execution, and assessment of my LAMP. The highlighted portions of the rubric show which level
(Unsatisfactory, Basic, Proficient, and Distinguished) in the appropriate category that I believe I
succeeded in during the course of this project.
Unsatisfactory Basic Proficient Distinguished

Little to no planning is Some Planning is Considerable Extensive Planning is

observed. Lacks observed. At least amount of observed. Plan shows
Planning and appropriate music and three (3) Music planning is a lot of details and
non-music standards Standards and one (1) observed. forethought.
Preparation non-music standards. Lacks details Standards are
and thoughtfully
forethought. integrated throughout
Standards are the plan.
seen
throughout.

Execution of lessons Execution of lessons Execution of Execution of lessons

were poor. Instructor were fair. Instructor lessons were were outstanding.
Execution of showed little to no showed understanding good. Instructor showed
planned lessons understanding of of content. Some Instructor extensive
content. Students were students were engaged. showed deep understanding of
not engaged. understanding content. Most
of content. students were
Some students engaged.
were engaged.

Assessments were not Assessments were Assessments Assessments were

consistent, showed no consistent, showed were obviously thoughtfully
Assessment Quality, connection to standards some connection to linked and connected.
Validity, and and content. standards and content. considered Assessments
Reliability prior content consistently built
knowledge and upon each other in
standards. relation to content.

No planning and/or Some planning and Considerable Thoughtful planning

research was observed consideration for amount of and consideration for
Accommodations to accommodate different student planning and different student
Of students needs different student learning needs were consideration learning needs were
learning needs. observed. for different observed.
learning needs
were observed.
 Berlin 43

Students showed no Students showed little Students Students showed

growth from the pre- growth from pre- showed some considerable growth
Overall assessment to the post- assessment to post- growth from from pre-assessment
Effectiveness assessment. assessment. pre-assessment to post-assessment.
to post-
assessment.