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GUIT AR AS A CURRICULAR ALTERNATIVE By INA SOLIZ ! SUPERVISORY COMMITTEE: DR. WILLIAM I. BAUER, CHAIR DR. RICHARD S. WEBB, COMMITTEE MEMBER ! A PROJECT IN LIEU OF THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC EDUCATION UNIVERSITY OF FLORIDA 2014 ! ! ! ! ! !
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GUITAR AS A CURRICULAR ALTERNATIVE 2 Abstract Almost all teenagers enjoy music, yet most are not involved in the ir school's music program. It is estimate d that 80% of teenagers do not participate in school music at the secondary level, a figure that has remained relatively unchanged for at least thirty years. In order to increase the amount of participation in secondary music classes, curric ular reform must be considered. There has been much professional discussion surrounding curricular reform and what it should entail. It is suggest ed that the current primary focus on large performance ensembles is a detriment to public school music educat ion and that new curricular models are needed . The purpose of this project wa s to develop an advanced, classroom based guitar curriculum for high school students. The curriculum include s materials and activities to facilitate students' (a) development of advanced level right hand techniques including the use of slides, slurs, hammers, pull offs, and trills, (b) composition of melodies using all elements of music, (c) performance in a variet y of ensemble settings, (d) eva l u ation of their own and others ' per formances, and (e) understanding of musical styles, genres, and composers and their relationship to world history. ! ! !
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GUITAR AS A CURRICULAR ALTERNATIVE 3 Guitar as a Curricular Alternative ! Music education in United States public school s is in need of change . Since the early 1980s, it is estimated that only 20% of students have been active in secondary music ensembles, and in some states , such as Florida and California, the percentage is lower ( Kratus, 2007 ; Williams, 2011 ; Williams, 2011 a ). There are two popular r easons why this has been the case for over thirty years . One is that music is not accessible to all students , despite the fact that many teachers want their music programs to be all inclusive . It is inaccessible because students who did not start an ins trument in elementary school may be excluded from secondary music classes because they do not have prerequisite knowledge and skills. A second reason is that some students feel that there is a disconnect between music inside of school, school music , and t he music they listen to outside of school , popular music (Campbell, Beegle, & Shehan , 2007 ) . It has spurred a great deal of dialogue in music education publications, conferences, and research symposia, about reforming curricular models of m usic education and increasing access to m usic for public school students (Miksza, 2013 ). However, there is a solution that may be able to address both of these problems. By offering alternative music classes, it is possible for any student to participate in music, rega rdless of their previous musical knowledge and skill , while simultaneously learning and perform ing music they perceive as relevant ( Campbell, et al., 2007; Reimer, 2012 ; Shuler, 2011 ; Williams, 2011a) . One subject that fits this description and is beginning to be made available to students in some schools is the study of guitar. A benefit of offer ing gu itar as an alternative music class is the possi bility for students to begin study at any secondary gra de level. Another is that students have the opportunity to play large
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GUITAR AS A CURRICULAR ALTERNATIVE 4 ensemble music, small ensemble music, and every genre of popular music. The study of guitar in school can provide all students, regardless of whether or not they began their musical tra ining during elementary school , with opportunities that have traditionally only been available to individuals enrolled in band, orchestra, and choir . The following review of literature describes writings related to the (a) call for curricular reform in mu sic education, (b) factors that may affect enrollment in school music programs, (c) characteristics of traditional and nontraditional music students, (d) guitars as part of secondary music education, and (e) guitar pedagogy. Curricular Reform in Music Educ ation Ov er t h e last several years, there has been a n increasing number of articles published regarding a needed change in how music education is taught in American public schools. Shuler (2011) wrote an article titled, Building Inclusive, Effective Twent y First Century Music Programs . A year la ter, Reimer's (2012) article, Struggling T owa rd Wholeness in Music Education was published. Both authors expressed the need for change because of something lacking in our current music education system. In his arti cle Music Education at the Tipping Point , Kratus (2007) stated that music education is in perilous times and t he reason for this is that music e ducation does not mirror the music practices of th e prevailing culture . In order to give our students a who le music education we must active ly engage in and support all , or at least most , of the many ways people in our culture and others around the worl d interact with music (Reimer, 2012 ). Our current problem is that the nature of music in the world and the na ture of music in sc hool are often two different entities (Kratus, 2007 ).
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GUITAR AS A CURRICULAR ALTERNATIVE 5 Since the early 1900s, t he l arge performance ensemble h as been the model for secondary music education ; this has remained rel atively unchanged in subsequent years (Williams, 2011 a ). These p erforming groups have been prevalent in public schools for over a century , which is why they are often called traditional ensembles (Mixon, 2009 ). The literature performed by large ensembles , such as band, orchestra, and choir, is largely based on classical, folk , and sometimes jazz musical traditions . These are genres that students rarely, if ever, hear outside of school (Kratus, 2007 ). This is not to say that traditional secondary large ensembles are "outdated societal art forms," "irrelevant ," or "stagnant and lifeless" (Miksza, 2 013, p. 46 ). On the contrary, it is because students rarely hear these genres that we need traditional ensembles. Many music educators are aware that being involved in a traditional ensemble can be a life changing and mus ically inspiring experience for students (Mast, 2011 ). If that were not so, then it would not have helped tens of thousands of students in North America find their paths to music (Shuler, 2011 ). However, Williams (2011a) believes that it is the t raditional ensemble that may be hindering certain students' access to music education in publi c schools. In a response to some letters about his articl e, The Elephant in the Room , Williams (2011b) replied : Our profession has made it a goal to perpetuate a singular model of music making , assuming that it alone can serve the musical need of students. W e have allowed ourselves to believe the traditional ensemble model (1) r epresents the highest form of musicianship possible and (2) must be the significant as pect of school music programs (p. 15) .
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GUITAR AS A CURRICULAR ALTERNATIVE 6 Williams is not sugges ting that public schools do away with their traditional ensembles . They have a place and purpose in public schools and socie ty. However when the trad itional ensembles are the focus of our atte ntion, it expends much of the energy of the music education profession, leaving us incapable o f expand ing offerings, resulting in no change at all ( Reimer, 2012 ; Williams, 2011b) . For over thirty years, on ly about 20% of the national population of students has been involved in secondary school music programs ( Williams, 2011) . This would appear to be an unacceptable level of participation. Yet there are those , such as Miksza (2013) , who see one fifth as a large portion something of which to be proud, because it has been such a consistent number over the years. However, i t is hard to see how music educators are succ essfully serving students when we know that music is a prominent force in their lives , yet most are not inv olved in school music ( Ca mpbell et al., 2007 ; Willia ms, 2011a ). Shuler (2012) agreed saying: The fact remains that at the high school, when music becomes elective, mo st students roughly 80 percent are not electing music classes. This is true in spite of the widespread interest in music among students, exemplified by the broad ownership and use of portable music players, such as iPods. (p. 9). How can music educators recruit the 80 percent not curre ntly enrolled in secondary school music programs and create class es relevant to students? Administrators, music teachers, and students are calling for alternative curriculum strands ( Abril & Gault, 2008 ; Campbell et al., 2007 ) . Students and school commun ities are diverse, and offering diverse, meaningful, and relevant musical offerings would appear to be necessary . Campbell, Connell, and Beegle (2007) conducted a study " to determine the
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GUITAR AS A CURRICULAR ALTERNATIVE 7 significance of music and music education to middle and high school adolescents, including those enrolled and not enrolled in school musi c programs" ( p.1 ). One finding of the researchers was that students questioned why course offerings such as those associated with a rock ensemble , composition , and electric instruments , could not be provided along with the emphasis on traditional ensembles. A bril and Gault (2008) sent a s urvey to 1,000 secondary school principals to investigate their perception s of the school music curricula. The study participants indicated they were in terested in offering courses such as piano, strings, guitar, and music technology. This could be because these courses were offered less frequently , or that the principals want ed to involve more students in music through expanded course offerings. Adminis trators must realize that while it is important to have high quality ensemble , it is also imperative to offer alternative areas of study that will attract and engage other students (Shuler, 2012 ). Within the 80 percent of students who are not involved in music are minorities and those who are of low socioeconomic status. Elpus and Abril (2011) found a relationship between race and ethnicity and high school music pa rticipation. Specifically, Caucasian students were found to be a significantly overrepresente d group in school music ensembles and Hispanic students were found to be significantly underrepresented . Shuler asked if we are serving mi nority students (Shuler, 2012 ). The answer is no, according to Elpus and Abril (2011), who in their nat ionwide study f ound enormous percentage gaps in music participation between th e three largest racial groups: Caucasian (65.7%), African American (15.2%) and Hispanic (10.2%). Another clear indication of this disparity is th at a ll s tate ensemble members , who represent the highest achieving
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GUITAR AS A CURRICULAR ALTERNATIVE 8 band, orchestra, and choir students, are predominantly Caucasian or Asian , and attend school in suburb an districts (Shuler, 2012 ). Socioeconomic status appears to also be related to participation in music ensembles. Elpus and Abril (2011) found that students whose family income was in the lowest 25% were significantly underrepresented in the music student population, while those in th e highest 25% were significantly overrepresented among music student s ( 2011 ). Hoffma n (2013) conducted a case study involving 25,000 midd le school students finding that the poorest students were inadequately represented in middle school arts classes . In addition, a disproportionally large number of these students were taking remedial mat h and language arts classes that restricted them from enrolling in elect ive classes . As discussed previously, even when a student is able to take an elective music course at the secondary level , there is often difficulty getting into a class because mos t traditional classes that have been offered, such as band and orchestra, require students to already have certain knowledge and skills . "Once a student has missed the entry point for participation in traditional ensembles, it is often difficult to break i nto the system as a beginner" ( Williams, 2011 a , p .56). Alternative classes and ensembles may be a solution to this proble m. However, caution should be taken that these courses do not continue to segregate students who were previously blocked from course enrollment , as i t may lead to a new form of tracking (Hoffman, 2013 ). Despite that fact, it is necessary to increase access to music education for students of low socioeconomic status and minority e thnic groups (Miksza, 2013 ).
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GUITAR AS A CURRICULAR ALTERNATIVE 9 Not all educators believe that augmenting the music curriculum is beneficial. It is thought by some that additional course offerings will threaten the well established performance ensemble (Reimer, 2012). Shuler (2012) reiterated thi s concern : E nsemble teachers sometimes express concern, particularly at the high school level, about the possibility that offering attractive alternative courses will cannibalize enrollment in their BOC program. On the contrary, well taught ensemble courses that provide powerful learning experiences r arely see such attrition (p.11) It is likely that teachers of qua lity ensembles need not worry. T he 80 percent, the no n traditional music (NTM) student s , are the primary target for the alternative ensembles and classes . Thus far it has been discusse d that NTM students are disenfranchised by traditional ensemble s , and include a disprop ortionate number of minorities and individuals of a lower socioeconomic status. Based on his students' work in the schools and anecdotal data from other music teachers nation ally, Williams (2011 ) further characterized the non traditional music student as a student in grades 7 12 who does not participate in a school's traditional performing ensembles, may have a music life completely independent of school music, may or may not play an instrument ( if so, it will most likely be drums, guitar, or singing), reads very little if any music notation, and may be unmotivated academically or a source of discipline problems. Williams (2011) also indicated that these individuals "m ay be a special needs student" and "may aspire to a career in music recording or music industry" (p.3). In su pport of this description , Mixon
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GUITAR AS A CURRICULAR ALTERNATIVE 10 (2009) said , "Disenfranchised students who may not be otherwise successful or interested in school often achieve great su ccess in alternative ensembles " ( p. 69). Alternative classes and ensembles can be the saving grace for these students and for music in public schools. A dditional musical interest leads to a new group of people who will insist on the continuation of music in schools (Reimer, 2012 ). That is the best type of advocacy. Offering more music classes increases the number of students enrolled in music, and t he more students enrolled , the stronger the case for funding mu sic programs (Mixon, 2009 ). Enrollment numbers do matter, both philosophically and practically. We must teach more students because everyone needs to understand music. We must involve more students because inclusiveness builds program support from families and friends. Most importa nt, we must inspire more students so that they grow up to become adults who support music education and musical activity (Shuler, 2011, p. 8). The Guitar in Secondary School Music Programs In 1967, a group of musicians; educators; labor leaders; sociologi sts; scientists; representative s of corporatio ns, foundations, and government; and others involved in music gathered in Tanglewood, Massachusetts (Choate, 1968). Among the items on the agenda was a discussion about the music education practices in America and how to adapt to the changing society of the 1960s. One of the conclusions made as a result of what is known as the Tanglewood Symposium, was for music educators to expand their repertoire to include music of all periods, styles, forms, and culture, i ncluding popular teenage music (Choate, 1968). Today, many of the teenagers of the Tanglewood era are
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GUITAR AS A CURRICULAR ALTERNATIVE 11 now grandparents who most likely, along with their children and grandchildren, listen to popular music (Woody, in press). Therefore it is not such a str ange thing for students to want to join a guitar class in order to play popular music. There are guitar programs that only teach classical style guitar (Olson, 2011 ; Phillips, 2008). However, this can be a disservice to guitar students, as their learning will be limited and learning outcomes suggested by many national and state standards will not be experienced. In some music programs in which popular music is exclud ed, sometimes intentionally, because of the belief that the only good music is that of the dominant musical culture of formally trained musicians ( Carter, 2000 ; Regelski, 2013 ; Woody, 2007). Yet, most people would agree that a piece of music's value is determined by how it affects people, regardless of the genre (Woody, 2007). The guitar is an instrument that is so versatile that it can be played in a large ensemble ( Marsters , 1999 ; McCarthy, 2013 ; Olson, 2011 ; Pecoraro, 2012 ) , small ensemble ( Marsters, 1999 ; Olson, 2011 ; Pecoraro, 2012) , vernacular ens embles ( Criswell, 2009 ; Haley, 2009 ; Marsters, 1999) , and cultural ensembles (Mixon, 2009 ; Olson, 2011) , such as mariachi . In a large ensemble, students can play classical music, playing multiple parts as one would in a traditional ensemble. As the popularity of guitar in the public school grows, the availability of repertoire increases. Also, pieces written for string ensem ble can easily be transcribed for a guitar ensemble. Just because the instrument of choice for the class is guitar, does not mean that popular, rock music is the only choice for repertoire. More often than not, students will choose guitar as an elective because they want to "rock out." There is nothing wrong with that. However, as music educators we have a responsibility to expose students to all genres of music , not only the
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GUITAR AS A CURRICULAR ALTERNATIVE 12 ones with which they are familiar . They need to be exposed to music t hat will stretch their imagination and challenge them to embrace music as a uniquely valuable aural art form that can present itself in a variety of ways (Miksza, 20 13 ). G uitar class es can have a sequential design, as traditional ensembles do, progressing from grad e to g rade and from school to school (Shuler, 2012 ). In Nevada, the guitar ensemble teacher s of Clark County do just that by train ing students in ensembles with advanci ng difficulty (Mixon, 2009 ). A guitar class is exactly the type of curricular innovati on Williams (2011 a ) is speaking of when he says, "New models of music education must not only allow but encourage students to start music instruction at any grade level and provide opportunities for them to be placed in small group setting where students o f various abilities and experience can learn with and from each other" (p.56). Because guitar is such a popular and accessible instrument that students may already have at home, there will almost always be students of varying abilities in the classroom . Having the students who are familiar with the guitar in a small group with those who are unfamiliar is beneficial because students would learn to work cooperatively wit h one another. Also, they have the opportunity for interpersonal development as well a s being actively involved in learning , without anyone being left out. The term vernacular music can be used interchangeably with popular music. It may be a more suitable term as it refers to one's "mo ther tongue" or native language, which popular music is to most of today's Americans. This music includes the broad genres of rock, R&B, rap, country , and Latin (Woody, 2007). Much of America's vernacular music includes the guitar, allowing teachers to integrate it into the guitar class
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GUITAR AS A CURRICULAR ALTERNATIVE 13 in an authentic manne r (Woody, 2007). It is the classical music performed by the traditional ensemble that is unfamilia r to students (Woody, in press) and they find that rock and popular music are missing pieces in their school music program (Campbell et al . , 2007). Therefore, s chools should incorporate popular music into the curriculum , first because it is important to our teen age students (Campbell et al . , 2007 ) , and second, because " popular music is an integral part of the lives of all stakeholders in education: pa rents, teachers, adm inistrators, community members " (Woody , in press , p.1 ). Through my NAfME membership, I attended a week long workshop in July 2014 that provided professional development to teachers on how to teach a guitar class. The Teaching Guitar Workshop travels to various cities in the U.S. and Canada, and has existed for almost twenty years. A key point that is made at the workshop is vernacular music should be included in guitar instruction in order to make a well rounded guitar player ( Goldsmith, McCarthy, & Morris, 2014 ). Teachers leave the workshop with the knowledge of how to teach vernacular music to their students, as well as several artist and method books to use in their classrooms. Guitar Classes The 1967 Tanglewood Symposium was the spark needed to bring the guitar into the music program. Because the Symposium insisted on the inclusion of popular, avant garde music, as well as music of different styles and cultures, the door to the music classr oom was opened for the guitar. T hrough the mid 1990 s, the guitar was often u sed in general music and comprehensive musicianship classes (Fesmire, 2006 ; Gustafson, 1996 ).
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GUITAR AS A CURRICULAR ALTERNATIVE 14 In 1995, m embers of the Guitar Accessories and Marketing Association (GAMA), the International Music Products Asso ciation (NAMM), and National Association for Music Educators ( NAfME ) began the Teaching Guitar Workshops. The purpose of the workshops wa s to "help school music educators start or enhance classroom guitar programs and deliver more music making opportuniti es to children" ( Teaching Guitar Work shops: History, n.d., para. 1 ). GAMA's studies estimate that o ver 500,000 students in over 3000 schools in the United States and Canada have been impacted by the workshops . The workshop promotes the National Standards for Music Education and demonstrates how to address the standards in a guitar class. Schmid, Marsters, and Shull (1998) presented the curriculum content for a beginning guitar course, which included the national standards. Also included was the necessity for learning a mixture of skills and techniques in order to play a wide variety of musical styles. This same curriculum has been taught and encouraged at the Teaching Guitar Workshops for twenty years. It is successful bec ause it creates a student who is able to play as a soloist, an accom panist, or in an ensemble, in a broad range of musical styles. This curriculum also allows for the inclusion of other instruments, further authenticating the style of music being performe d. Aside from the standards, there are different types of learning experiences that will help prepare students for a musical life outside the classroom. As a class, students may work together on a classical piece written for guitar or transcribed from o ther instruments. Students should also perform in small groups, cooperatively l earning to play music chosen by themselves or the ir teacher, music that includes pieces the students have written and/or arranged. When students are engaged in these types of experiences,
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GUITAR AS A CURRICULAR ALTERNATIVE 15 solving musical problems through singing, improvising, com posing, and collaborating, they may be mor e likely to form their own musical groups outside of school (Shuler, 2011). Performances for students in guitar classes may be open to the ge neral public, but class performan ces in which small groups play and critique each other should also occur regularly . Another approach to learning through performance is to have the teacher record the full class ensemble and then play it back for the class to critique using a rubric to guide the discussion . Students may also record themselves and critique their own playing when performing a solo. Utilizing Internet resources and electronic instruments with guitar students adds to the number of possibilities and direction s that the class can go. Each day of guitar class affords the possibility of teaching students t wenty first century skills, increasing musical ability, encoura ging independent learning, all while having a good time doing it ( Williams, 2011 a ) . Need for and Purpose of the Project I teach beginning g uitar at Correia Middle School in the San Diego peninsula community of Point Loma. There are nearly 67,000 residents with a variety of housing: multi million dol lar homes, military housing, and single family beach bungalows ( About Our School, n.d. ) . Correia Middle is a grade 7 8 school that feeds into Point Loma High. The music program at Correia consists of Beginning, Intermediate, and Advanced Band, Orchestra, Beginning and Intermediate Guitar, and an after school Jazz Band and Choir . The music program at the high school consists of Marching Band, Concert Band, Wind Ensemble (audition only), Orchestra , AP Music Theory, and after school Jazz Band and Choir . Th e student demographics are: Caucasian (68%), Hispanic (39%), African
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GUITAR AS A CURRICULAR ALTERNATIVE 16 American (7%), and Asian/Pacific Islander (3%). There is one guitar class that combines students of all levels, and a Principals of Music Technology class . The guitar and music technolo gy classes are not part of the music program, but fall under the College, Career/Technical Education (CCTE) and Regional Occupational Program (ROP). Four school districts in California, including the San Diego Unified School District, adopted new graduati on standards making college readiness a requirement . The subject requirement, referred to as the "a g" subject requirement, is one of the requirements needed for admission to a University of California/California State University school. Each subject area is labeled with a different letter to easily identify the different course requirements. The performing arts classes are labeled with the letter F. In order for guitar to remain a class at Point Loma High S chool, a course curriculum need ed to be sub mitted to the University of California for approval. I was asked by the SDUSD Visual and Performing Arts director to submit a high school guitar curriculum. I agreed because I have had 400 students go through my beginning guitar program at the middle sch ool and would like for my students to have the opportunity to continue their guitar education if they so choose. Also, the ROP guitar course that is currently offered at the high school is not playing ensemble music. The purpose of this project was to de velop an advanced level guitar curriculum to implement in Point Loma High School, CA. Th e following curriculum includes learning outcomes, curriculum content, instructional strategies, assessment, and guitar music and books that cover a wide range of musi cal styles.
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GUITAR AS A CURRICULAR ALTERNATIVE 17 Curriculum Development Procedures At the time of this project, I had only taught middle school guitar and was therefore unfamiliar with what would be required of a second year high school guitar student. Four years ago when I began teaching beginning guitar, I searched the Internet for methods and ensemble books to use in my class. I came across the website for the guitar program at the Las Vegas Academy (LVA) of the Arts High School , a public, magnet sch ool dedicated to performing and visual arts. I was impressed with their number of awards, including ten Grammys and national per formances of the advanced guitar class. Their success led me to base my middle school curriculum on the guitar program in Clar k County, Nevada. Over the last few years I have corresponded with leading guitar educator Bill Swick , director of LVA guitar , looking for guidance and ideas on how to build a successful and well rounded guitar program. In search of a high school curricu lum, I re visited classroomguitar.com, which provides the curriculum that is utilized at the LVA as well as a link to the repertoire (billswick.com) that is used. My curriculum was inspired by a combination of (a) the music education literature previously described in this document, (b) curriculum and activities from Hoover High School, a local SDUSD school , and (c) curriculum and concepts taught at LVA . The SDUSD's Visual and Performing Arts director recommended the Hoover High curriculum to me because it had been submitted for UC approval last ye ar, but was rejected because many of the areas on the application were vague. It was a good start ing point , however , even though specifics on repertoire and student learning activities were lacking. For additional perspectives , I consulted Bob Morris and Rob Goldsmith, clinicians at the Teaching Guitar Workshop. Both Morris and Goldsmith were the
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GUITAR AS A CURRICULAR ALTERNATIVE 18 pioneering teachers who started the guitar program in the Clark County School District (B. Morris, person al communication, July 10, 2014) . Morris' Essential Elements Book 1 for Guitar is SDUSD's adopted textbook for teaching guitar, and the Correia Middle School second year guitar students perform ensemble pieces arranged by Goldsmith. Unbeknownst to me, Mo rris and Goldsmith were the teachers who wrote the curriculum that is on the classroomgu itar.com website. They agreed that my curriculum was appropriate for a second year guitar student. Because Swick's repertoir e is classically focus ed , Morris again str essed the fact that all styles of music should be included in a guitar curriculum (B. Morris, personal communication, July 10, 2014) . The instructional desi gn model used for this project wa s backward design ( Wiggins & McTighe, 2011 ) . First, I reviewed and compared the course goals from Hoover High and LVA, and found them to be very similar. I kept the district approved Solo Guitar Playing, Book 1 by Frederick Noad that was used by Hoover High as part of my curriculum, but researched additional intermed iate level repertoire in various styles that would enhance student learning . In the second step of the backward design process, I thought about the different evidence needed to determine whether students achieved the knowledge and skills desired in the co urse goals . The performance, written, and aural skills assessments to be utilized are described more completely in the Assessment Evidence section below. The learning plan was determined by activities, experiences, and lessons that would lead to the achievement of the course goals and success at the assessments. I chose other activities , such as the WebQuests and compositi on projects, because they fulfill ed Califor nia music standards, while also allow ing students to practice real world and twenty first century skills that could be use d outside of the classroom.
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GUITAR AS A CURRICULAR ALTERNATIVE 19 High School Guitar 3 4 Course of Study Brief Course Description The major empha sis of this c ourse is to foster student achievement through the study of guitar repertoire and other musical forms , including c hamber music. The course develop s the ability to perform on an instrument with considerable skill, accuracy, and aesthetic sensitivity, establish skill s in score reading, and gain an understanding and appreciation of artistic expression. The course provides opportunities for increasing skill in ensemble playing, and provides acquaintance with and study of the standa rd repertory of classical guitar that is technically and qualitatively advanced. The student is provided with opportunities to examine and study the fundamental arts components including, where applicable, the perceptual, creative, historical, and critical . Textbooks/Supplemental Instructional Materials Title: Solo Guitar Playing, Book 1 with CD Publication Date: 1994 Publisher: Omnibus Press Author(s): Frederick Noad Usage: Primary text, near entirety Title: Ensemble Series, Volume Two Publication Date: 2010 Publisher: Bill Swick Author: Bill Swick URL Resource: www.billswick.com Usage: Primary text, entirety Title: Ensemble Series, Volume Five Publication Date: 2010 Publisher: Bill Swick Author: Bill Swick Usage: Primary, entirety
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GUITAR AS A CURRICULAR ALTERNATIVE 20 Title: Wohlfahrt Studies Publication Date: 2010 Publisher: Bill Swick Author: Bill Swick URL Resource: www.billswick.com Usage: Supplemental text, near entirety Title: Jazz Rhythms Publication Date: 2010 Publisher: Bill Swick Author: Bill Swick URL Resource: www.billswick .com Usage: Supplemental text, near entirety Title: Essential Elements Jazz Standards Publication Date: 2011 Publisher: Hal Leonard Usage: Supplemental text Title: Repertoire Series: Gaspar Sanz Publication Date: 2010 Publisher: Bill Swick Author: Bill Swick Usage: Supplemental Title: Ensemble Series, Volume Three Publication Date: 2010 Publisher: Bill Swick Author: Bill Swick Usage: Supplemental, near entirety Title: Ensemble Series, English Suite by John Duarte Publication Date: 2010 Publisher: Bill Swick Usage: Supplemental, entirety Title: Essential Elements Pop Hits Publication Date: 2009 Publisher: Hal Leonard Usage: Supplemental, near entirety Title: Essential Elements Rock Classics Publication Date: 2009 Publisher: Hal Leonard Usage: Supplemen tal, near entirety
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GUITAR AS A CURRICULAR ALTERNATIVE 21 Course Purpose The purpose of this c urriculum is to provide an advanced, classroom based guitar course of study for high school students. The curriculum includes materials and activities to facilitate students' (a ) development of ad vanced level right hand techniques including the use of slides, slurs, hammers, pull offs, and trills, (b) composition of melodies using all elements of music, (c) performance in a variety of ensemble settings, (d) evaluation of their own and others' perfo rmances, and (e) understanding of musical styles, genres, and composers and their relationship to world history. Students will also evaluate career opportunities related to music and guitar. Technique Development Bi weekly, students will be studying Wolf ahrt for Guitar , which are 36 single string violin studies that have been transcribed by Grammy award winning guitarist and educator Bill Swick. Single string studies are an important part of guitar education. Students frequently learn not e reading and not e placement through playing single string studies. These studies contain wide skips, which are always challenging on guitar. These studies are also very useful in improving sight reading skills. Students will be studying Jazz Rhythms by Grammy award winning guitarist and educator Bill Swick. These single string studies are ideal for teaching swing style on the guitar. These studies are also written with chord symbols providing an opportunity to learn chords, chord strumming and the ar t of accompaniment. As with the Wohlfahrt studies, these are useful in improving sight reading skills, note reading, and note placement. They will also be studied bi weekly.
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GUITAR AS A CURRICULAR ALTERNATIVE 22 Each week the students will play a solo piece to be played for the teacher. The repertoire will come from Solo Guitar Playing or the Repertoire Series textbooks. The teacher will have one on one time with the student in order to monitor the students' progr ess. The teacher will be listening for tone quality, musicianship, technique, posture, and accuracy. Throughout the first semester, students will learn to play the major scales C, G, D, and A, and their relative minors. They will learn these not only to i mprove finger strength and dexterity, but also to learn the notes that can be used in melodies and during improvisation. The transcription of these major and minor scales will improve students' aural capabilities and improvisation skills. Assessment Evide nce Tests. The students will have written, aural, and performance tests on the major scales and their relative minors. In the age of technology, it is possible for students to use a notation pro gram to create printed notation , with out them fully understan ding the meaning of that notation . By having the students write out scales o n manuscript paper, they will receive hands on experience of writing out notes on the lines and spaces of the staff , learning h ow to do it correctly. The aural tests will assess st udents ' aural skills development . Aural skills are extremely important since many students learn by ear, utilizing site such as YouTube in order to learn new songs. Performance tests will also be used as a method of formative and summative assessment. Be sides having a performance test on the major/minor scales, the students will have performance tests for their individual and small ensemble pieces as well. Rubrics will be used to evaluate the performance s, providing the students with feedback
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GUITAR AS A CURRICULAR ALTERNATIVE 23 about their strengths and weaknesses in regards to their mastery of guitar technique , both individually and in a group context. Performance Analysis . Throughout the year, the students will be video recorded as a group and individually. The students will analyze the performances of themselves and each other using the following criteria: intonation, tone quality, musicianship (interpretation, expression , phrasing, dynamics, and nuances), technique, accuracy/precision notes, rhythm, and pulse), and balance/blend. These criteria will be denoted on a rubric that the students will complete . There will also be room for additional comments, if needed. Studen ts will use this rubric during the Skype performance (Semester 4, Week 16) to critique the other group. For this project, the class will use Skype to perform for another high school guitar ensemble. Similar to performing at an adjudicated music festival, each ensemble will play for the other and fill out the rubric. The teachers for each group will give a live critique to the other group, and students from each performing ensemble will also be given the opportunity to critique the group as well. Midter m Performance First Semester . For the Trio Group project, students will be divided into groups of three, with each student playin g their own part of the Bouree by G. F. Handel. They will also choose a song to play from the Essential Elements Rock Classics. At the end of three weeks of practice, each trio will perform for another trio in the class as part of a midterm performance grade. Each trio will analyze tone quality, musicianship, technique, posture, and accuracy of the other using rating sheets to be turned in to the teacher. Each student will turn in two rating sheets, one for each piece.
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GUITAR AS A CURRICULAR ALTERNATIVE 24 Composition in G Major . Using their knowledge of the G major scale and chord progressions, students will compose an 8 measure melody that will be hand written on m anuscript paper. Students will use whole, half, quarter, and eighth notes and rests. The teacher will provide the chord progression that the students must compose over. This short composition will demonstrate students' knowledge of musical notation, chord progressions, and ability to compose an aesthetically pleasing melody. The students will play their compositions for the class and have a discussion about the musical qualities of the piece. Quartet Group Project. The class will be divided into groups of four. Each student in the group will take a different part of G.F. Handel's "Minuet." Also, each group will choose a piece from Essential Elements Pop Hits. Each quartet will perform both pieces for the class. The audience members will analyze tone qualit y, musicianship, technique, posture, and accuracy of the other using rating sheets to be turned in to the teacher. Each student will turn in two rating sheets. Theme and Variation Project . The students will create a theme and v ariation composition using t he free music composition software MuseScore. The teacher will provide an 8 measure chord progression in the key of C. The students will create an 8 measure melody that will serve as the theme. They will then create three more variations of the theme, mak ing the composition a total of 32 measures. The students will then export their composition as a digital audio file and import it into GarageBand. They will then add a drum loop and at least one other loop to their composition. The finished compositions wi ll be played for the class. Students will complete a rubric for each
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GUITAR AS A CURRICULAR ALTERNATIVE 25 composition and have a class discussion about the musical qualities of each piece, using their rubrics as evidence. ÔGuitars' of the World WebQuest . For this WebQuest students will study various guitar like instruments that are used throughout the world. They will examine the history, construction, uses, and cultural significance of the instrument. The students will also compare and contrast the instru ment with the guitar that we use in the United States, including cultural differences and similarities. The students will include all of this information in an 8 10 minute PowerPoint presentation that will include audio and/or video examples of the instrum ent. Careers in Music WebQuest . For this WebQuest a group of two students will research different careers that are available in the field of music. Each group will research the education required, equipment/resources needed, career path, prime locations, and examples of people and their accomplishments in this career. Once the students have gathered their research, they will create a 5 10 minute presentation that will be presented in PowerPoint. Musical examples and YouTube videos that are related to the music career topic may also be included. Each group will also create a handout for the class to keep with the career information. The students will be evaluated with a rubric that will include content accuracy, required elements, use of class time, attract iveness of PowerPoint, and the handout with resources listed. Performances Students perform publicly and demonstrate their knowledge of the techniques and musical concepts learned throughout the semester. After each public performance, the students an d teacher watch a recording of the performance and critique it using a rubric.
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GUITAR AS A CURRICULAR ALTERNATIVE 26 End of Semester Concert Guitar 3 . The students will choose one solo piece from our previously studied repertoire to play for a public performance at the end of the semester. Each student will need to get approval on the piece from the teacher, in order to ensure a concert program that includes a diverse selection of music . Students will also play ensemble pieces that have been studied throughout the semester. Midterm Recital Guitar 4 . The students will choose 2 solo pieces from our previous repertoire to play for a public performance. They will also choose their own 3 4 person group and will choose a piece from Essential Elements Pop Hits to perform. Each group will get appr oval for their piece from the teacher so that there are no repeats. End of Year Concert Guitar 4 . The students will play ensemble repertoire that has been studied this semester for an end of the year public performance. Assessment Methods and Tools Projects. The group projects in this course stress content and cooperation with others. In the Trio and Quartet projects, students increase musical ability through the practice and playing of the music, as well as cooperating with others, a real world skil l. In the WebQuests, students research new material and work with a partner to create a presentation that shows the work of the two students as a whole. Again, it reinforces cooperation while the students learn new concepts and material. Peer Assessment. T he students will have several opportunities to assess each other throughout the year in order to reinforce their learning of the subject matter. This is seen in the Trio and Quartet group projects, as well as the Skype performance. The students will eva luate one another's compositions and performances using a rubric. This
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GUITAR AS A CURRICULAR ALTERNATIVE 27 will develop the students' sense of aesthetic evaluation and use of academic language through the act of critiquing. Self Assessment. Throughout the year, students have the opportunit y to record themselves on video and watch it in order to critique their performance. Often times students hear their performance differently while they are playing it live. Therefore, it is beneficial in developing students' performance ability and musicia nship to have them critique themselves. Performance Assessment. These summative assessments occur at the end of each semester. Students perform publicly and demonstrate their knowledge of the techniques and musical concepts learned throughout the semeste r. After both public performances, the students and teacher watch a recording of the performanc e and critique it using an adjudication form . Class Presentations. At the end of the Careers in Music and ÔGuitars' of the World WebQuests, the students must create a PowerPoint presentation, and in the case of the former, a handout. The students practice public speaking while sharing what they learned, and demonstrate t heir ability to create a well made and aesthetically pleasing handout. These are both real world and 21 st century skills that students will need upon graduation from high school. Instructional Methods and Strategies Throughout the course, a variety of i nstructional methods and strategies are used. The course includes direct instruction/lecture, projects, research, class discussions and group work. When learning new concepts or reviewing old ones, direct instruction/lecture is used. The lessons in which t his method is used are learning about and constructing
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GUITAR AS A CURRICULAR ALTERNATIVE 28 major and relative minor scales, dotted sixteenth rhythms, theme and variation, full barre chords, seventh position on the guitar, and Broadway/show tunes. This instructional method is best because the teacher can tell the students about the concept, use audio/visual examples, and demonstrate them on the guitar. Students need to have a strong musical foundation regarding these concepts; therefore, direct instruction is best. The three WebQuests (The J azz Age, ÔGuitars' of the World, and Careers in Music) are research projects. Students are given websites to use, however they must read and locate information pertinent to the project. WebQuests help students learn real world skills through online resear ch and creating and presenting PowerPoint presentations in front of their peers. Class discussions get the students involved in their own learning. Through the facilitation of the teacher, students can draw on previous knowledge of topics and build upon t hat knowledge. They learn from one another, with guidance from the teacher, increasing their musical intelligence as they gain knowledge. Through group work, the students learn a real world skill: cooperation. While working on the Careers in Music and ÔGuitars' of the World WebQuests, as well as the small ensemble pieces (Trio and Quartet Group projects), students are responsible for their o wn part of the whole. They develop competencies and creative skills in problem solving, communication, and management o time and resources that contribute to lifelong and career skills.
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GUITAR AS A CURRICULAR ALTERNATIVE 29 Course Outline Guitar 3 Semester Plans Week 1 (CA Standards 1.0, 2.0, 3.0 and 4.0 see Appendix A for the California music standards ): • Wohlfahrt Studies #1 • Listening Activity: "Andante" by Ferdinando Carulli. The class will compare/contrast 2 performances of the piece after watching them on YouTube. Class discussion w ill include tone quality, musicianship, technique, and accuracy. • Solo Guitar Playing : "Andante" by Ferdinando Carulli • Introduction to Relative Major/Minor and the Construction of Scales • Construct major and minor scales; perform the C major and A minor scal es in first position • Ensemble Series, Vol. 2 : "Kemp's Jig" by Anonymous Week 2 (CA Standards 1.0, 2.0, and 3.0): • Jazz Rhythms #17 • Solo Guitar Playing : "Andante" by Ferdinando Carulli students will be ready to perform for the teacher by the end of the week • Ear Training: C major and A minor scales recognition; students will be able to transcribe a 4 measure melody in A minor and C major with rhythms no smaller than a quarter note. • Ensemble Series, Vol. 2 : "Kemp's Jig" by Anonymous and "Largo" by Antonio Vivaldi Week 3 (CA Standards 1.0, 2.0, 3.0, and 4.0): • Wohlfahrt Studies #2 • Solo Guitar Playing : "Waltz" by Ferdinando Carulli • Test: Written, performance, and aural quiz on C major and A minor scales. Students will write out the C major and A minor scales on manuscript paper, as well as play 2 octaves of the scales. Students must also aurally identify each scale. • Ensemble Series, Vol. 2 : "Kemp's Jig" by Anonymous and "Largo" by Antonio Vivaldi • "Kemp's Jig" will be performed and video recorded during class at the end of the week. The class will watch the video during class and analyze the performance. Week 4 (CA Standards 1.0, 2.0, 3.0, and 5.0): • Jazz Rhythms #18 • Solo Guitar Playing : "Waltz" by Ferdinando Carulli and "Etude" by Ferdinando Carulli. "Waltz" will be performed for the teacher at the end of the week.
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GUITAR AS A CURRICULAR ALTERNATIVE 30 • Perform the G major and E minor scales in first position • Ensemble Series, Vol. 2 : "Largo" by Antonio Vivaldi • Essential Elements Jazz Standards: "All of Me" • Begin Jazz Age WebQuest Desi red r esults for WebQuest . Students in Guitar 3,4 will have already studied the history of jazz in previous music courses. The purpose of this assignment is to study and analyze the historical and cultural significance of jazz. This assignment is placed at the beginning of the school year because the students will begin their year long study of jazz rhythms and repertoire during the week of this assignment. Evidence for week 4 WebQuest . Students will demonstrate their understanding of the culture and events that affected the Jazz Age with short answer and paragraph form questions. Also, students will write a 2 3 page paper reflecting on what was learned and what they believe to be the his tori cal significance of the Jazz Age. Learning Plan for week 4 WebQuest . In this WebQuest the students will work individually to answer a series of questions about the Jazz age by visiting the various sites provided. With each site, one or more question s must be answered. The students will find the answers to most these questions by reading the information on the websites. Some questions may be critical thinking oriented, where they may have to offer their personal thoughts rather than just finding a rig ht/wrong answer. Examples of these questions are, "Why do you think women chose to abandon the conservative Victorian and Edwardian style of dress? What do you think sparked this drastic change? Explain in 1 2 paragraphs." "Do you believe Prohibition was d oomed to failure from the start? Explain in 1 2 paragraphs." "Why do you think jazz music was so incredibly popular? Explain in 1 2 paragraphs." Last, students will write a 2 3 page paper reflecting on what was learned and what they believe to be the histo rical significance of the Jazz Age.
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GUITAR AS A CURRICULAR ALTERNATIVE 31 Week 5 (CA Standards 1.0, 2.0, 3.0, and 5.0): • Wohlfahrt Studies #3 • Solo Guitar Playing: "Etude" by Ferdinando Carulli • Ear training: G major and E minor scale recognition • Transcribe 4 measure melodies in E minor and G major with rhythms no smaller than a quarter note • Ensemble Series, Vol.2: "Largo" by Antonio Vivaldi and "Bouree" by G.P. Telemann • Essential Elements Jazz Standards: "All of Me." Students will learn and practice the blues scale of the key this piece is written in. Complete Jazz Age WebQuest, to be turned in at the end of the week • Begin Trio Group Project, "Bouree" by G.F. Handel and each group will choose a piece from Essential Elements Rock Classics Week 6 (CA Standards 1.0, 2.0, 3.0, and 4.0): • Jazz Rhythms #19 • Solo Guitar Playing: "Etude" by Ferdinando Carulli. Students will video record their performance using class iPads and MacBooks and will analyze their performance before playing it for the teacher at the end of the week. Students will analyze t one quality, musicianship, technique, posture, and accuracy. • Ensemble Series, Vol. 2: "Bouree" by G.P. Telemann and " Rhondo" by J.P. Rameau • Essential Elements Jazz Standards: "All of Me." Students will take turns playing notes of the blues scale over the chord progressions. • Continue work on Trio Group Project Week 7 (CA Standards 1.0, 2.0, 3.0, and 4.0): • Wohlfahrt Studies #4 • Solo Guitar Playing: "Minuet" by Robert DeVisee. Students will watch a video performance of this piece during class on YouTube. • Ense mble Series, Vol. 2: "Bouree" by G.P. Telemann and "Rhondo" by J.P. Rameau • Essential Elements Jazz Standard: "All of Me." Students will practice improvising over the chord progressions • Continue work on Trio Group Project Week 8 (CA Standards 1.0, 2.0, an d 3.0): • Jazz Rhythms #20 • Solo Guitar Playing: "Minuet" by Robert DeVisee • Ensemble Series, Vol. 2: "Rhondo" by J.P. Rameau • Essential Elements Jazz Standard: "All of Me." Students will practice improvising over the chord progressions • Midterm Performance: "Bo uree" by G. F. Handel and chosen piece from Essential Elements Rock Classics
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GUITAR AS A CURRICULAR ALTERNATIVE 32 Week 9 (CA Standards 1.0, 2.0, and 3.0): • Wohlfahrt Studies #5 • Solo Guitar Playing: "Minuet " by Robert DeVisee, to be played for the teacher at the end of the week. • Students will learn to play and notate the D major and B minor scales. • Students will learn to play slurs utilizing the hammer on and pull off technique. • Students will be able to correctly perform a melody in the key of D major utilizing the slur technique. • Ensemble Series, Vol. 2: "Nun Danket" by Anonymous • Essential Elements Jazz Standard: "All of Me." Students will continue to practice improvising over the chord progressions. Students will volunteer to play a solo improvisation of the chord progressions. Week 10 (CA Standards 1.0, 2.0, and 3.0): • Jazz Rhythms #21 • Introduction to Compound Meters students will listen to examples of guitar pieces written in the compound meter as part of the lesson. • Solo Guitar Playing: "Canarios" by Gaspar Sanz. Students will demonst rate their knowledge and understanding compound meter and hammer ons/pull offs through the practice and performance of this piece. • Ensemble Series, Vol. 2: "Nun Danket" by Anonymous and "C Major Study No. 1" by Fernando Sor • Begin Composition in G Major Pro ject Week 11 (CA Standards 1.0, 2.0, and 3.0): • Wohlfahrt Studies #6 • Solo Guitar Playing: "Canarios" by Gaspar Sanz • Ensemble Series, Vol. 2: "C Major Study No. 1" by Fernando Sor • Continue Composition in G Major Project Week 12 (CA Standards 1.0, 2.0, 3. 0, and 4.0): • Jazz Rhythms #22 • Solo Guitar Playing: "Canarios" by Gaspar Sanz • Ensemble Series, Vol. 2: "C Major Study No. 1" by Fernando Sor and "Anglaise" by J.S. Bach • Finish Composition in G Major Project. The students will play their compositions for the class and have a discussion about the musical qualities of the piece. Week 13 (CA Standards 1.0, 2.0, 3.0, and 4.0): • Wohlfahrt Studies #7 • Students will learn to play and notate the A major and F# minor scales. • Solo Guitar Playing: "Bouree in A major" by J.S.Bach
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GUITAR AS A CURRICULAR ALTERNATIVE 33 • Rhythm: Sixteenth notes • Quartet Group Project: The students will demonstrate their knowledge of sixteenth notes by performing the four part piece "Minuet" by G.F. Handel. They will also choose a piece from Essential Elements Pop Hits • Ensemble Series, Vol. 2: "Anglaise" by J.S. Bach and "Polonaise" by Ana M. Bach • Class discussion: Listen to and analyze 3 different versions of "Georgia on My Mind," watching live performances on YouTube Week 14 (CA Standards 1.0, 2.0, and 3.0): • Jazz Rhythms #23 • Pract ice A major and F# minor scales • Solo Guitar Playing: "Bouree in A major" by J.S.Bach • Ensemble Series, Vol. 2: "Polonaise" by Ana M. Bach and "Air in E Minor" by Henry Purcell • Essential Elements Jazz Standard: Begin practicing "Georgia on My Mind" • Quartet Group Project: "Minuet" by G.F. Handel and piece from Essential Elements Pop Hits Week 15 (CA Standards 1.0, 2.0, and 3.0): • Wohlfahrt Studies #8 • Review C, G, D, and A major, and their relative minor scales. Students will be able to perform and notate scales. • Repertoire Series: Gaspar Sanz: "Marionas" • Ensemble Series, Vol. 2: "Air in E Minor" by Henry Purcell and "Paddy Whack" Irish Traditional • Essential Elements Jazz Standard: Continue practicing "Georgia on My Mind" and begin experimenting with improvisation • Quartet Group Project: "Minuet" by G.F. Handel piece from Essential Elements Pop Hits Week 16 (CA Standards 1.0,2.0, 3.0, and 4.0): • Jazz Rhythms #24 • Test on C, G, D, and A major, and their relative minor scales. Students will perform and notate scales. • Repertoire Series: Gaspar Sanz: "Marionas" • Ensemble Series, Vol. 2: "Air in E Minor" by Henry Purcell and "Paddy Whack" Irish Traditional • Essential Elements Jazz Standard: Continue practicing "Georgia on My Mind" and begin experimenting with improvisation • Quartet Group Project: "Minuet" by G.F. Handel piece from Essential Elements Pop Hits. Each quartet will perform for the class.
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GUITAR AS A CURRICULAR ALTERNATIVE 34 Week 17 (CA Stan dards 1.0, 2.0, and 3.0): • Students will choose a different Wohlfahrt study that has been previously played, one for each day of the week • Students will prepare one solo that was previously studied during the semester, for the upcoming End of Semester public performance. • Students and class as a whole will practice the ensemble pieces that have been previously studied this semester in preparation for the upcoming End of Semester public performance Week 18 (CA Standards 1.0, 2.0, and 3.0): • Students will choo se a different Jazz Rhythm study that has been previously played, one for each day of the week • Continue to practice for upcoming public performance • End of Semester public performance will be during this week Guitar 4 Semester Plans Week 1 (CA Standards 1.0, 2.0, 3.0, and 4.0): • Wohlfahrt Studies #9 • Students and teacher will watch the previous week's End of Semester concert recording and discuss tone quality, musicianship, technique, posture, and accuracy of the performance • Lesson on Rhythm: Dott ed sixteenth notes • Lesson on Theme and Variation • Solo Guitar Playing: "Sonatine Op. 71, No.1" by Mauro Giuliani This piece contains theme and variations with subdivisions of eighth notes, sixteenth notes, and triplets. • Ensemble Series, Vol. 3: "Gigue" by R obert De Visee • Essential Elements Jazz Standard: Continue practicing "Georgia on My Mind" and continue experimenting with improvisation • Theme and Variation Composition Project Week 2 (CA Standards 1.0, 2.0, and 3.0): • Jazz Rhythms #25 • Solo Guitar Playing : "Sonatine Op. 71, No.1" by Mauro Giuliani • Ensemble Series, Vol. 3: "Gigue" by Robert De Visee • Essential Elements Jazz Standard: Continue practicing "Georgia on My Mind" and continue experimenting with improvisation • Theme and Variation Composition Project Week 3 (CA Standards 1.0, 2.0, 3.0, and 4.0): • Wohlfahrt Studies #10 • Solo Guitar Playing: "Sonatine Op. 71, No.1" by Mauro Giuliani. In groups of two, the students will play this piece for one another and analyze tone
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GUITAR AS A CURRICULAR ALTERNATIVE 35 quality, musicianship, technique, p osture, and accuracy of the other using a rubric to be turned in to the teacher. • Ensemble Series, Vol. 3: "Gigue" by Robert De Visee • Ensemble Series, Vol. 5 : "Two Guitars" Russian Traditional • Essential Elements Jazz Standard: Continue practicing "Georgia o n My Mind" with improvisation • Theme and Variation Composition Project. Students will play their compositions for the class. Week 4 (CA Standards 1.0, 2.0, and 3.0): • Jazz Rhythms #26 • Lesson on the full barre • Solo Guitar Playing: "Etude in B Minor" by Fernando Sor. This piece contains the full barre • Ensemble Series, Vol. 5 : "Two Guitars" Russian Traditional and "LaFirolero" Mexican Traditional • Essential Elements Jazz Standard: "It's Only a Paper Moon" • ÔGuitars' of the World WebQuest We ek 5 (CA Standards 1.0, 2.0, and 3.0): • Wohlfahrt Studies #11 • Lesson on Circle of Fifths • Solo Guitar Playing: "Etude in B Minor" by Fernando Sor • Ensemble Series, Vol. 5 : "LaFirolero" Mexican Traditional and "A Welch Dance" by Hans Neusidler • Essential Elemen ts Jazz Standard: "It's Only a Paper Moon" begin experimenting with improvisation • ÔGuitars' of the World WebQuest Week 6 (CA Standards 1.0, 2.0, and 3.0): • Jazz Rhythms #27 • Solo Guitar Playing: Choose any 2 pieces from our past repertoire to prepare for t he Midterm recital in Week 8 • The students will choose their own 3 4 person group and will choose a piece from Essential Elements Pop Hits to play for the Midterm recital in Week 8 • Ensemble Series, Vol. 5 : "A Welch Dance" by Hans Neusidler and "Vals Seren o" Brazilian Traditional • Essential Elements Jazz Standard: "It's Only a Paper Moon" continue experimenting with improvisation • Continue ÔGuitars' of the World WebQuest Week 7 (CA Standards 1.0, 2.0, and 3.0): • Wohlfahrt Studies #12 • Solo Guitar Playing: Prepare chosen pieces for Midterm solo recital
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GUITAR AS A CURRICULAR ALTERNATIVE 36 • Ensemble Series, Vol. 5 : "Vals Sereno" Brazilian Traditional and "Packington's Pound" by Anonymous • Essential Elements Jazz Standard: "It's Only a Paper Moon" continue experimenting with improvisation • Class Pr esentation: ÔGuitars' of the World WebQuest Week 8 (Midterm) (CA Standards 1.0, 2.0, and 3.0): • Jazz Rhythms #28 • Solo Guitar Playing and small ensemble piece : Preparation and dress rehearsal of public Midterm recital • Ensemble Series, Vol. 5 : "Vals Sereno" Brazilian Traditional and "Packington's Pound" by Anonymous • Essential Elements Jazz Standard: "It's Only a Paper Moon" continue experimenting with improvisation Week 9 (CA Standards 1.0, 2.0, 3.0, and 4.0): • Wohlfahrt Studies #13 • Students and teacher wil l watch the previous week's Midterm concert recording and discuss tone quality, musicianship, technique, posture, and accuracy of the performance • Lesson on the seventh position • Solo Guitar Playing: The students will be able to demonstrate their knowledge o f the seventh position by performing "Prelude in D minor" by Robert De Visee • Ensemble Series, Vol. 5 : "Packington's Pound" by Anonymous and "Nine of Us Have Left" Asian Traditional • Ensemble Series "English Suite" by John Duarte, "No.1 Prelude," in preparat ion for Skype performance • Essential Elements Jazz Standard: "The Surrey with the Fringe on Top." Class discussion/lesson on Broadway/Show Tunes Week 10 (CA Standards 1.0, 2,0 and 3.0): • Jazz Rhythms #29 • Solo Guitar Playing: "Prelude in D minor" by Rober t De Visee • Ensemble Series, Vol. 5 : "Nine of Us Have Left" Asian Traditional and "Kojo No Tsuki" by Rentaro Taki • Ensemble Series "English Suite" by John Duarte, "No.1 Prelude," in preparation for Skype performance • Essential Elements Jazz Standard: "The Surrey with the Fringe on Top" Week 11 (CA Standards 1.0, 2.0, 3.0, and 5.0): • Wohlfahrt Studies #14 • Solo Guitar Playing: "Prelude in D minor" by Robert De Visee
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GUITAR AS A CURRICULAR ALTERNATIVE 37 • Ensemble Series, Vol.5: "Kojo No Tsuki" by Rentaro Taki and "Dark Eyes" Russian Tradi tional • Ensemble Series "English Suite" by John Duarte, "No. 2 Folk Dance," in preparation for Skype performance • Essential Elements Jazz Standard: "The Surrey with the Fringe on Top" begin improvising • Careers in Music WebQuest Week 12 (CA Standards 1.0, 2.0, 3.0, and 5.0): • Jazz Rhythms #30 • Solo Guitar Playing: "Bouree in E minor" by J.S. Bach • Ensemble Series, Vol. 5 : "Dark Eyes" Russian Traditional and "El Vito" Spanish Traditional • Ensemble Series "English Suite" by John Duarte, "No. 2 Folk Dance," in preparation for Skype performance • Essential Elements Jazz Standard: "The Surrey with the Fringe on Top" continue improvising • Careers in Music WebQuest Week 13 (CA Standards 1.0, 2.0, 3.0 and 5.0): • Wohlfahrt Studies #15 • Solo Guitar Playi ng: "Bouree in E minor" by J.S. Bach • Ensemble Series, Vol. 5 : "El Vito" Spanish Traditional and "Two Waltzes" by John Strauss • Ensemble Series "English Suite" by John Duarte, "No. 3 Round Dance," in preparation for Skype performance • Essential Elements Jazz Standard: "The Surrey with the Fringe on Top" continue improvising • Class Presentation: Careers in Music WebQuest Week 14 (CA Standards 1.0, 2.0, and 3.0): • Jazz Rhythms #31 • Solo Guitar Playing: • Ensemble Series, Vol. 5 : "Two Waltzes" by John Strauss • Ensem ble Series, Vol. 3 : "Suite in Dm" by Robert De Visee, "No.1 Prelude" • Ensemble Series "English Suite" by John Duarte, "No. 3 Round Dance," in preparation for Skype performance Week 15 (CA Standards 1.0, 2.0, and 3.0): • Wohlfahrt Studies #16 • Solo Guitar Pla ying: • Ensemble Series, Vol. 3 : "Suite in Dm" by Robert De Visee, "No.1 Prelude" and "No. 2 Minuet" • Ensemble Series "English Suite" by John Duarte, in preparation for Skype performance
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GUITAR AS A CURRICULAR ALTERNATIVE 38 Week 16 (CA Standards 1.0, 2.0, 3.0, and 4.0): • Jazz Rhythms #32 • Solo Guitar Playing: • Ensemble Series, Vol. 3 : "Suite in Dm" by Robert De Visee, "No.1 Prelude" and "No. 2 Minuet" • Skype performance for another high school of Ensemble Series "English Suite" by John Duarte Week 17 (CA Standards 1.0, 2.0, and 3.0): • Student choice of any Jazz Rhythm or Wohlfahrt Study that we've practiced this semester • Solo Guitar Playing: • Ensemble Series, Vol. 3 : "Suite in Dm" by Robert De Visee, "No.1 Prelude" and "No. 2 Minuet" • Ensemble Series "English Suite" by John Duarte • Review of ensemble pieces and jazz pieces played this semester for year end final public performance Week 18 (CA Standards 1.0, 2.0, and 3.0): • Student choice of any Jazz Rhythm or Wohlfahrt Study that we've practiced this semester • Ensemble Series, Vol. 3 : "Suite in Dm" by Robert De Visee, "No.1 Prelude" and "No. 2 Minuet" • Ensemble Series "English Suite" by John Duarte • Review of ensemble pieces and jazz pieces played this semester for this week's End of the Year final public performance Conclu sion It is my goal as a music educator to provide my students with the knowledge and skills needed to continue learning and playing music thr oughout their lives. M any secondary band, orchestra, and choir students do not continue after graduation (Shuler, 2011; Will iams, D.A., 2011 ) , one reason being that they "are depend ent upon the rest of the ensemble for their complete musical experience" ( Haley, 2009, p. 50 ). The two instruments that students are most likely to play after high school are the guitar and keyboard (Sh uler , 2011). They are also the best selling instruments in the United States (NAMM, 2007).
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GUITAR AS A CURRICULAR ALTERNATIVE 39 Knowing this, music educators should be providing instruction on these instruments, with the reasoning that if they pursue these instruments outside of school, they will pursue them in school as well (Re imer, 2012). When learning an instrument from a traditional ensemble, it can take years for a student to become proficient enough to continue study on his or her own. However, t he guitar is an instrument that a student can continue to learn independentl y after only one year of pro per instruction (Williams, 2011 a ). A guitar class is one of the few music curricula that can provide students with the necess ary skills and understanding to satisfy their own particular musical tastes, and the option to become independent, lifelong music learners. It is possible because guitar class teach es a variety of genres i n an authentic manner , and allows for composition and song covers, as well as reading notated music. These aspects give students the capability to independently create or replicate music throughout their lives .
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GUITAR AS A CURRICULAR ALTERNATIVE 40 References About Our School. (n.d.). In Point Loma High School. Retrieved from http://www.pointlomahigh.com/apps/pages/index.jsp?uREC_ID=20635 6&type=d &pREC_ID=452976 Abril, C.R. & Gault, B.M. (2008). The state of music in secondary schools: The principal's perspective. Journal of Research in Music Education, 56 (1), 6 8 81. DOI: 10.1177/0022429408317516 Betts, J.R., Zau, A.C, & Volz Bachofer, K. (2013). College readiness as a graduation requirement: an assessment of San Diego's challenges. Retrieved from http://www.ppic.org/main/publication.asp?i=1049 Campbell, P.S., Connell, C., & Beegle, A. (2007). Adolescents' expressed meani ngs of music in and out of school. Journal o f Research in Music Education, 55 (3), 220 236. DOI: 10.1177/002242940705500304 Carter, W.L. (2000). Response to Judith A. Jellison's "how can all people continue to be i nvolved in meaningful music participation?" Retrieved from www.menc.org/publication/vision2020/carter.html Choate, R., Fowler, C.B., Brown, C.E., & Wersen, L. The T anglewood symposium: music in American society. Music Educator's Journal, 54 (3) , 49 80. Criswell, C. (2009). Music technology: The innovative path to a "really big show . " Teaching Music, 17 (1), 20 21. Retrieved from http://search.proquest.com/docview/1520871?accountid=10920 Elpus, K. & Abril, C. (2011). High school music st udents in the Unit ed States: A demographic profile. Journal of Research in Music Education , 59 (2), 128 145.
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GUITAR AS A CURRICULAR ALTERNATIVE 4 1 Fehr, R. C. (2006). Guitar workshops advance the fine art of picking. Teaching Music, 14 (2), 18. Retrieved from http://search.proquest.com/docview/227143180?accountid =10920 "#$%&'#(!)*!+*!,-../0*! !"#$%&'(")*"+,--.'"/0-"#'0,)%" 1,21"#31))."2$,4/%"5%)2%/+#",0" 6).)%/-) 7"80-'%#4/0-,02"3$%%,3$./%"-'#,209" ,1' 2#'!34*!5-565./(!78&9#'$&:;!44?4'@240*! :%);$'#4"<,##'%4/4,)0#"/0-"=1'#'#>" (!AB C AB!D*!+#:' #2! <'4%! =::DEFF$#@'G=*D'4HI#$:*G4%F24G9JF5.K5.56B-L@GG4I8:&2M6.A-. ! ,5.K5.56B-0*! ! Gustafson, G. (1996). Class guitar in the middle school classroom. Music Educators Journal 83 (1), 33 38. Guitar in the classroom task force . (2011). American String Teacher, 61 (4), 66 67. Retrieved from http://search.proquest.com/docview/918007496?accountid=10920 Haley, R. (2009). Music makers: Guitar build it, and they will come. Canadian Music Educator, 50 (4), 49 50. Retrieved from http://search.proquest.com/docview/1029291?accountid=10920 Hinsley, M. (2011). Classroom classical guitar. American String Teacher, 61 (2), 32 34. Retrieved from http://search.proquest.com/docview/881982651?accountid=10920 Kratus, J. (2007). Music educati on at the tipping point. Music Educators Journal, 94 (2), 42 48. DOI: 10.1177/002743210709400209 Marsters, N. (1999). Class guitar and the string program. American String Teacher, 49 (4), 48 50. Retrieved from http://search.proquest.com/docview/966858?accoun tid=10920
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GUITAR AS A CURRICULAR ALTERNATIVE 42 McCarthy, G. (2013). Is all state guitar in your state's future? Teaching Music, 20 (4), 28 31. Retrieved from http://search.proquest.com/docview/1413415181?accountid=10920 McCarthy, G., Morris, B. & Goldsmith, R. (2014, July). Teaching Guitar Workshop . Presentation given at NAMM, Carlsbad, CA. Miksza, P. (2013). The future of music education: Continuing the dialogue about curricular reform. Music Educators Journal 99 (4) 45 50. DOI: 10.1177/0027432113476305 Mixon, K. (2009). Engaging and educating stude nts with culturally responsive performing ensembles. Music Educators Journal, 95 (4), 66 73. DOI: 10.1177/0027432109335479 Olson, C. A. (2011). California dreaming. Teaching Music, 19 (3), 44. Retrieved from http://search.proquest.com/docview/ 921594420?accountid=10920 Pecoraro, J. (2012). Guitar forum: Starting a class guitar program. American String Teacher, 62 (3), 54 57. Retrieved from http://search.proquest.com/docview/1041302584?accountid=10920 Purse, W.E., Jordan, J.J, & Marsters, N. (1998). Guitar: A strategy for teaching. Music Educators Journal, 84 (5), 6 7. Regelski, T. (2013). Another perspective: A response to "toward convergence." Music Educators Journal, 99 (4), 37 42. DOI: 10.1177/0027432113478982 Reimer, B. (2012) . Another perspective: Strugglin g toward wholeness in music education. Music Educators Journal, 99 (2), 25 29. DOI: 10.1177/0027432112463856
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GUITAR AS A CURRICULAR ALTERNATIVE 43 Shuler, S.C. (2011). Music education for life: Building inclu sive, effective twenty first century music programs. Music Educators Journal, 98 (1), 8 13. DOI: 10.1177/0027432111418748 Teaching Guitar Workshops: History. (n.d.) In GAMA Guitar & Accessories Marketing Association. Retrieved from http://www.discoverguitar.com/history/ Tobias, E.S. (2013). Toward convergence: Adapting music education t o contemporary society and participatory culture. Music Educators Journal, 99 (4), 29 36. DOI:10.1177/0027432113483318 University of California A G Guide. Retrieved from http://www.ucop.edu/agguide/ Wiggins, G., & McTighe, J. (201 1) The understanding by d esign guide to creating high quality u nits. Alexandria, VA: ASCD. Williams, D.A. (2011 a ). The elephant in the room. Music Educators Journal, 98 (1), 51 57. DOI: 10.1177/0027432111415538 Williams, D.A. (2011b). Readers comment. Music Educators Journal, 98 (2), 14 16. DOI:10.1177/0027432111428875 Williams, D.B. (2011). The non traditional music student in secondary schools of the United States: Engaging non participant students in creative music activities through technology. Journ al of Music, Technology and Education, 4 (2+3), 131 147. Wilson, Ken (2007). 2007 NAMM global report music US A: a statistical review of the music products industry. Retrieved from JJJ* 8@%% *4'NF<&?#$F OI$& ! 7P)-..Q*D2<
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GUITAR AS A CURRICULAR ALTERNATIVE 44 Woody, R. H. (2007). Popular music i n school: Remixing the issues. Music Educators Journal, 93 (4), 32 37. Woody, R. H. (in press). Vernacular musicianship: Moving beyond teenage popular music. In E. Costa Giomi & S. J. Morrison (Eds.), Research perspectives on the national standards. National Association for Music Education.
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GUITAR AS A CURRICULAR ALTERNATIVE 45 Appendix A California Visual and Performing Arts: Music Content Standards Grades Nine Through Twelve Proficient Note: The proficient level of achievement for students in grades nine through twelve can be attained at the end of one year of high school study within the discipline of music after the student has attained the level of achievement in music required of all students in grade eight. 1.0 ARTISTIC PERCEPTION Processing, Analyzing, and Responding to Sensory Information Through the Language and Skills Unique to Music Students read, notate, listen to, analyze, and describe music and other aural information, using the terminology of music. Read and Notate Music • 1.1 Read an instrumental or vocal score o f up to four staves and explain how the elements of music are used. • 1.2 Transcribe simple songs when presented aurally into melodic and rhythmic notation (level of difficulty: 1 on a scale of 1 6). • 1.3 Sight read music accurately and expressively (level o f difficulty: 3 on a scale of 1 6). Listen to, Analyze, and Describe Music • 1.4 Analyze and describe the use of musical elements and expressive devices (e.g., articulation, dynamic markings) in aural examples in a varied repertoire of music representing di verse genres, styles, and cultures. • 1.5 Identify and explain a variety of compositional devices and techniques used to provide unity, variety, tension, and release in aural examples. • 1.6 Analyze the use of form in a varied repertoire of music representing diverse genres, styles, and cultures.
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GUITAR AS A CURRICULAR ALTERNATIVE 46 2.0 CREATIVE EXPRESSION Creating, Performing, and Participating in Music Students apply vocal and instrumental musical skills in performing a varied repertoire of music. They compose and arrange music and improvise melodies, variations, and accompaniments, using digital/electronic technology when appropriate. Apply Vocal and I nstrumental Skills • 2.1 Sing a repertoire of vocal literature representing various genres, styles, and cultures with expression, technical accuracy, tone quality, vowel shape, and articulation written and memorized, by oneself and in ensembles (level of di fficulty: 4 on a scale of 1 6). • 2.2 Sing music written in three or four parts with and without accompaniment. • 2.3 Sing in small ensembles, with one performer for each part. • 2.4 Perform on an instrument a repertoire of instrumental literature representing v arious genres, styles, and cultures with expression, technical accuracy, tone quality, and articulation, by oneself and in ensembles (level of difficulty: 4 on a scale of 1 6). • 2.5 Perform on an instrument in small ensembles, with one performer for each p art. Compose, Arrange, and Improvise • 2.6 Compose music, using musical elements for expressive effect. • 2.7 Compose and arrange music for voices or various acoustic or digital/electronic instruments, using appropriate ranges for traditional sources of sound. • 2.8 Arrange pieces for voices and instruments other than those for which the pieces were originally written. • 2.9 Improvise harmonizing parts, using an appropriate style. • 2.10 Improvise original melodies over given chord progressions. 3.0 HISTORICAL AND CU LTURAL CONTEXT Understanding the Historical Contributions and Cultural Dimensions of Music Students analyze the role of music in past and present cultures throughout the world, noting cultural diversity as it relates to music, musicians, and composers. R ole of Music • 3.1 Identify the sources of musical genres of the United States, trace the evolution of those genres, and cite well known musicians associated with them.
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GUITAR AS A CURRICULAR ALTERNATIVE 47 • 3.2 Explain the various roles that musicians perform, identify representative individuals who have functioned in each role, and explain their activities and achievements. Diversity of Music • 3.3 Describe the differences between styles in traditional folk genres within the United States. • 3.4 Perform music from various cultures and time periods. • 3.5 Classify, by genre or style and historical period or culture, unfamiliar but representative aural examples of music and explain the reasoning for the classification. 4.0 AESTHETIC VALUING Responding to, Analyzing, and Making Judgments About Works of Music Students critically assess and derive meaning from works of music and the performance of musicians according to the elements of music, aesthetic qualities, and human responses. Analyze and Critically Assess • 4.1 Develop specific criteria for making informed critical evaluations of the quality and effectiveness of performances, compositions, arrangements, and improvisations and apply those criteria in personal participation in music. • 4.2 Evaluate a performance, composition, arrangement, or improvisat ion by comparing each with an exemplary model. Derive Meaning • 4.3 Explain how people in a particular culture use and respond to specific musical works from that culture. • 4.4 Describe the means used to create images or evoke feelings and emotions in musical works from various cultures. 5.0 CONNECTIONS, RELATIONSHIPS, APPLICATIONS Connecting and Applying What Is Learned in Music to Learning in Other Art Forms and Subject Areas and to Careers Students apply what they learn in music across subject areas. They develop competencies and creative skills in problem solving, communication, and management of time and resources that contribute to lifelong learning and career skills. They also learn abou t careers in and related to music.
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GUITAR AS A CURRICULAR ALTERNATIVE 48 Connections and Applications • 5.1 Explain how elements, artistic processes, and organizational principles are used in similar and distinctive ways in the various arts. • 5.2 Analyze the role and function of music in radio, television, and advertising. Careers and Career Related Skills • 5.3 Research musical careers in radio, television, and advertising. Questions: State Board of Education | 916 319 0827 Last Reviewed: Thursday, January 23, 2014
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GUITAR AS A CURRICULAR ALTERNATIVE 49 Appendix B Guitar P erformance Adjudication Form STUDENT NAME________________________________________ CLASS PERIOD__________________ SELECTION TITLE AND COMPOSER______________________________________ CRITERIA CIRCLE ONE GENERAL COMMENTS 1. Intonation 100 95 94 85 84 75 74 60 2. Tone Quality 100 95 94 85 84 75 74 60 3. Musicianship 100 95 94 85 84 75 74 60 Interpretation, Expression Phrasing, Dynamics, Nuances 4. Technique 100 95 94 85 84 75 74 60 5. Accuracy/Precision 1 00 95 94 85 84 75 74 60 Notes, Rhythm, Pulse 6. Balance/Blend 100 95 94 85 84 75 74 60 7. Appropriateness of Literature 100 95 94 85 84 75 74 60 8. Posture/ Gtr. Position 100 95 94 85 84 75 74 60 SUPERIOR EXCELLENT GOOD FAIR 95 100 85 94 75 84 65 74 Teacher's Signature___________________________________________ Additional Comments
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