Grade 2 - Education and Early Childhood Development · MUSIC CURRICULUM GUIDE: K - 6 89 GRADE 2 - ORGANIZERS Grade 2 ... Grade Two – Öµ £ ° new. 92 MUSIC ... (- two. • •

MUSIC CURRICULUM GUIDE: K - 6 89

GRADE 2 - ORGANIZERS

Grade 2

Rhythm and Metre

Melody/Pitch

Harmony

Form

Expression

Contexts

Organizers

MUSIC CURRICULUM GUIDE: K - 690




Rhythm and Metre

Students will be expected to

1. perform, listen to and create

• beat• rhythm• groupings of two, three,

and four beats•

Melody/Pitch



• l s m r din the keys of F, C, and G(r d new)

2. develop, alone and withothers, in-tune andexpressive singing(prepare d 1 )

HarmonyStudents will be expected to


• simple ostinati(melodic/rhythmic)

• rounds/canons• two-part rhythmic

exercises

Form


1. perform, listen to and createlike and unlike phrases andsections

• a b• A B• simple rondo new

Expression


1. perform, listen to and createreflecting sensitivity tomoods/feelings

• fast/slow (tempo)• louder/softer (dynamics)• gradually louder/softer

(cresc. decresc.)• smooth/choppy

(articulation)• sounds• notations

2. identify basic percussioninstruments and the fourfamilies of the orchestra

Contexts


1. perform, listen to and createvaried selections representing

• their own and othercultures

• time periods

Grade Two

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Suggestions for Teaching and LearningOutcomes

Organizer: Rhythm and Metre

Performing includes:singingplayingspeakingmovingconducting (simple/compound duple) newreadingwriting/constructing

Listening includes:aurally identifyingresponding

Creating includes:improvisingcomposing

Includes• bar lines• prepare Ö-µ

Performing• Continue with activities from previous grades to reinforce beat.

Singing games with movement are excellent for beat.

• Play a “passing game”. See page 180, Obwisana, An OrffMosaic from Canada, for an excellent passing game.

• Provide students with a beat chart. Students point to the beatas they sing or chant a poem. See Listening Kit 2, page 16(reproducible).

• Keep the beat to recorded music. See Listening Kit 2, Track14: Sleighride (triple metre) and Track 31: Contradance(quadruple metre).

• Using a known song, students put the beat in the feet andthen clap the rhythm. On a given sign, students alternatebetween the beat and rhythm, then perform both together.

• The class or different groups echo the teacher’s rhythm patternwithout losing a beat. Do several patterns in succession.Individual students may echo the teacher. Individual studentsor groups may create and perform a rhythm pattern, which theclass echoes. The patterns may vary in length.


• beat• rhythm• groupings of 2, 3, and 4 beats• ±

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Resources/NotesSuggestions for Assessment


Note: The teacher should regularly use dualterminology to familiarize students with propernote names, (i.e., ta is a quarter note).

The Kodály Method I

Page 73 - Songs for presenting °Prepare ¶==» for Grade 3 - pages 212-213Chicken on a Fence Post, Golden Ring Around

Susan, Old Brass WagonChapters 3 and 4 - Grade 1 and 2, teaching

procedures, song material

Roots and BranchesPages 14-17 - Yo Mamana, Yo ( ³¼, body

percussion)Pages 28-31 - Hao Peng You (movement/game)Pages 46-49 - Ha’Kyo Jung (rhythmic

movement, instruments)Pages 64-67 - Cheki Morena (game, ostinato)Pages 100-103 - Uga Uga Uga (Öµ Öµ ± ±,

movement)Pages 142-143 - El Juego Chirimbolo

(movement)

An Orff Mosaic from CanadaPage 124 - Signs of Spring (speech rhythms,

ostinati)Pages 135-137 - Bear Comes Knockin’ (¶==»,

ostinati, instruments)Page 141 - Bees (speech)Page 215 - Breakfast SongPage 222 - On the BallPage 229 - Monday, MondayPage 267 - One Two ThreePage 280 - The ShoemakerChapter 24 - Tips for Teachers

See pages 99 and 101.




• Students echo patterns using classroom instruments.

• Extend echo activities to writing/constructing activities.Students may work alone or in pairs. Use baggie kits.

• Using a drum or technology, alternate between duple, triple,and quadruple metre. Students demonstrate throughmovement. When the drum stops, students “freeze” in place.Vary the tempi.

• Use CD Track 7: Wild Horsemen, Listening Kit 2, formovement and beat (compound duple). See teachingsuggestions.

• Students perform (clapping or using classroom instruments)ostinati of two and three subdivisions of the beat whilesinging or listening to a recorded example.

• Introduce the conducting pattern for duple metre. The wholeclass conducts together while singing or listening to selectionsin simple or compound duple metre. Individual studentsmay conduct the whole class. Divide the class into smallgroups with student conductors. See Conductor of the Day,Listening Kit 2, page 15.

• Students keep the beat while singing a song containing thehalf note (Who’s That Tapping At My Window), preferably atend of the phrase. Students will derive how many beats forthis sound. Make the half note conscious. Practise andreinforce in other familiar songs. See The Kodály Method I,pages 67-68.

• The teacher claps the rhythm pattern and students echo thepattern. Students then say to rhythm syllables, and alone orin pairs, write/construct the pattern.

• Use Chart Songs I or a score on an overhead, to speak andperform (clap, tap, play etc.) the rhythm patterns of songs(containing ± Öµ £ or ° ).

• Practise keeping steady beat and performing rhythm patternswith the several “Playalongs” suggested in Listening Kit 2.Try Track 13: Fig Leaf Rag.




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Teaching Towards Musical UnderstandingPage 54 - London’s Burning (triple metre)Pages 115-119 - Examples of improvisation

strategiesPages 155-157 - Exploratory activities using

movementPages 192-201 - Seventeen Step Beat/

Movement Teaching SequencePage 212 - Ton Moulin (duple, triple metre)Chapter 11 - RhythmSongs to prepare Grade 3 learnings ( ¶==» °. ¬ )

120 Singing Games and DancesAll these games are good for beat, rhythmpattern, movement, ostinato:AmaseeHere Comes a Bluebird ( ° )Great Big House in New Orleans ( ° ¦¼ )Billy BillyCircle Round the ZeroLong Legged SailorWeavily WheatOld Roger is Dead ( þ¾)Rocky Mountain ( ° )

Composing with BoomwhackersActivities 2, 3, 4 and 5.Note: NPP instruments may be substituted for

Boomwhackers. Use only known rhythms.Pages 15-16 - Two- and three-part rhythmic

exercises using known rhythms.

Name GamesGame 5 - Syllable GroupingGame 8 - Spelling Name (metre)Game 16 - Birthday Groups

See pages 99 and 101.





• Students clap or play from flashcards in succession. Provideopportunities for different individuals or pairs of students toperform one of the succession of flashcards. Note: Theteacher, or a student, should maintain a steady beat (on ahand drum for example) throughout this activity.

• Students play accents, beats, and rhythm patterns onclassroom instruments. Small groups may create anarrangement with one group of instruments playing theaccents, another the beats, and another the rhythm patterns.Each group performs its arrangement. Lead a discussion tofocus on their choices. Extend to a reflection. See AppendixA and Reproducibles.

• Rhythm erase: Write a four-measure rhythmic exercise on theboard which the class then performs while saying the rhythmsyllables or clapping/tapping. The exercise may be simplifiedby repeating one measure. Erase one measure. The studentsperform and say the rhythm syllables for the whole exercise(you may point to the empty measure and mark the beats).Continue until all the bars have been erased and the studentsperform the whole exercise from memory. Invite individualstudents to write the rhythm in the empty measures on theboard, or all students may construct the rhythm with sticks orwrite in their books.

• Sing known songs to rhythm syllables.

Listening• Keep the beat to recorded music. See Listening Kit 2, CD

Track 14: Sleighride (triple metre) and Track 31: Contradance(quadruple metre).

• Students in pairs or small groups derive the metre of a familiarsong and then the rhythm. Write/construct the rhythm usingbar lines.

• Provide opportunities through singing and listening forstudents to move to and derive metre. Use a variety ofmusical examples

• Isolate a measure from a known song to use for rhythmicdictation.



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Sound Ideas#6 - Passing Sounds - Beats#7 - Passing Sounds - Metre#18 - Percussion Poems - Son Macaron Two#31 - Rhythmic Notation

Musicplay2#4 - Engine, Engine - use to review beat and

rhythm#16 - Time to Play - Students create their own

rhythms#22 - Birds and Bats (compound duple)#35 - On Top of Spaghetti (triple metre)#54 - Pass the Stick (passing game)#63 - I’se the B’y (compound duple)#87 - Row Row Row Your Boat (compound

duple)Icka Backa, See Teacher’s guide page 23, #3 for

procedure explaining accents and measures.Page 38, No. 1 - procedure for rhythmicPage 40, No. 3 - dance the Hora (beat)Page 61 - Cinnamon Heart Listening Activity

(beat and metre)

Page 99 and 101.





• Place four flashcards on floor; put on a pocket chart or displayfor all the class to see. Clap in mixed up order. An individualwill place them in correct order. The class performs.

• Use listening examples to focus on the beat. Is the beat strongor weak? How does the strong (or weak) beat affect themood? Are the rhythms mostly long sounds or short sounds?How does this contribute to the mood of the music?Students may derive the metre. Use examples of differentcultures and time periods.

Creating

• The teacher and the students use NPP instruments. Theteacher performs a rhythm pattern to which the class respondsall together, each student creating his/her own pattern.Eventually progress to individual responses. The student’sindividual response may vary in length; it does not have to bethe same number of beats as the teacher’s.

• The class derives the metre of a short recorded musicalexample. Repeat the example as students mark the accentsand perform the beats. Using body percussion, classroominstruments or technology, students create a timbre for theaccents and another for the beats. Students can also createdifferent movements to show the strong and weak beats. SeeListening Kit 2, Track 14: Sleighride (triple metre) and Track20: Minuet in G (triple metre), and Music for Creative Dance.

• Working in small groups, students create rhythmic ostinatiand accompaniments using known elements. Perform ontraditional instruments or use technology.

• Create a rhythmic composition using Activity #4, Composingwith Boomwhackers. “Note Squares” may be found on page10.

• See page 69, The Kodály Method I, My Rhythm Composition.

• Provide opportunities for students to improvise shortrhythmic and melodic phrases. See pages 68-70, The KodályMethod I.

• See suggestions in Sound Ideas and Name Games.



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Listening Kit 1 and 2Page 16 - Beat Chart (reproducible)Beat/Metre, rhythm patternRhythm PlayalongsCD Track 3: Gigue - bounce balls to beat.CD Track 4: Crane - listen for long sounds,

weak beat.

Music for Creative Dance#4 - Weavers ( ¦¼)#6 - Pharaoh’s Waltz (³¼)

Use checklists (Appendix A).

Use a well known song such as Johnny Works WithOne Hammer (Teaching Towards MusicalUnderstanding). Form a double circle and give eachchild a rhythm stick. Students tap partner’s sticksduring the singing of the song (either keeping thebeat or tapping the rhythm, as directed). On therest at the end of the song, the outer circle jumps oneperson to the left. Begin again with new partner.Observe and record individual performance of beatand/or rhythm during the game.

Observe and note individual responses - playing,moving, reading, writing/constructing, alone or insmall groups. For example• notating with sticks• written worksheets. See Reproducibles.• conducting• performing an unknown rhythm pattern• identifying a mystery song from the rhythm• passing or bouncing a ball on the first beat to

show metre• moving to the beat

Provide opportunities for the creation of simplerhythmic compositions (performance and written).See Reproducibles and Composing withBoomwhackers.

Students write a short reflection. See Appendix A.

Use Chart Songs 1 and 2 and Flashcards to assessrhythmic reading.

Musicplay 2See reproducible sheets, pages 112-119. Thesecorrelate with the student book (circle the rhythmthat your teacher claps).Assessment - page x.Page 78 No. 1.See Checklists in back of book.





• Use a rhythm pattern found in the song for an ostinato or usewords for a speech ostinato. Students may create their ownostinato either individually or in pairs. See An Orff Mosaicfrom Canada for selections with ostinati.

• Improvise the missing measure. Place a four-measure rhythmin time containing known rhythms on the board, leavingthe second or third measure blank. The whole class practisesthe given measures. Then, all perform with one childimprovising the missing measure by clapping or playing aclassroom instrument. Restrictions may be given i.e., types ofrhythms to be used. See pages 68-69, The Kodály Method I.

• The students perform four quarter notes together as a class.An individual student improvises by changing one of thequarter notes to Öµ or £ . The whole class performs the fourquarter note pattern again. Another student then improvisesby changing one of the quarter notes. This is followed againby the class. Continue to allow several students to improvise(Rondo form).

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Chart Songs 1 and 2Use for reading and reinforcement of beat,metre, rhythm, bar lines.

Rhythm Flashcards

Songs to Read, Write, Sing and PlayUse in conjunction with Melody/Pitch toreinforce beat, rhythm, metre, bar lines.

ReproduciblesWorksheets related to rhythm.

Other:

French Songs Children Love

Note: Use a variety of songs and games fromdifferent cultures and time periods.

Teaching Towards Musical UnderstandingChapter 17 - Assessment and Evaluation

Provide opportunities for individual improvisationwhen playing games. Also see Sound Ideas.

Use a game such as Rhythmic Tic Tac Toe. Placenine rhythm cards on the floor and divide studentsinto two groups. As each child performs his/herrhythm, assess and record.

Listening Kit 2Use playalongs to assess beat and the performance ofrhythms.

Songs to Read, Write, Sing and Play reproducibleworksheets




Organizer: Melody/Pitch

Performing includes:singingplayingmovingreadingwriting/constructinginner hearing



Includes• a varied repertoire with an expanded range in both major

and minor tonalities

Performing

• See suggestions for high/low in Kindergarten and Grade 1.

• See Teaching Towards Musical Understanding for ninesequenced activities, High vs. Low (pages 235-238).

• Use #8 I Can Sing a High Note, Musicplay 2 for higher/lower.

• Sing songs and use activities to reinforce melodic directionand contour.

• Sing familiar songs containing s - m - d pattern (I See theMoon and Fuzzy Wuzzy, The Kodály Method I). Identify andmake d conscious, and show handsign.

• See The Kodály Method I, pages 57-63 for introducing andmaking conscious d and r.

• Make r conscious in songs containing mrd pattern. Use aknown song such as Bow Wow Wow (120 Singing Games andDances).



2. develop, alone and with others,in-tune and expressive singing(prepare d 1 )






Note: Students continue to practise melodiclearnings on their own individual staff. SeeGrade 1, Melody/Pitch.

See pages 105, 107, and 109.

See page 107.





• Students sing from hand signs and write in the keyplacements of F, C and G.

• Practise writing in the three key placements usingreproducible worksheets. See Reproducibles.

• Teacher sings melodic patterns in solfa from familiar songs andthe class echoes. Progress to small groups and individuals.Use students to present a melodic pattern. Students constructon their own staffs or staff paper.

• Class sings patterns from teacher or student’s hand signs.

• Class sings melodic flash cards and Chart Songs in solfa (thewhole class, small groups, pairs, individuals).

• Set up available pitched percussion instruments in F, C, or Gpentatonic. Each student is given a flashcard in one of thesekey placements which they play on the correspondinginstrument. Repeat.

• Sing well-known songs in solfa.

• Students read patterns from tone ladders.

• Students memorize a short pattern read from the tone ladderor from hand signs. They write the pattern from memory, onthe staff in F, C, or G.

• Students play patterns on boomwhackers, resonator bells,xylophones, glockenspiels, metallophones.

• Demonstrate melodic direction through body movement(Fuzzy Wuzzy).

• Sing songs in minor tonalities. Discuss the feeling/mood.

• Focus on good breathing techniques. Provide opportunitiesfor students to sing songs purely for the joy of singing.Provide opportunities to introduce elements of expressivesinging (phrasing, shaping, blending).

• Provide opportunities for individual singing.

• Use Chart Songs and overheads, for practice reading in solfa.

Listening

• See Listening Kit 2, Track 6, for higher/lower.








Note: The teacher may introduce some absolutenote names (such as AGF) as they arise in songphrases or Orff accompaniments.

The Kodály Method IPages 50 and 72 - Suggested Song Lists

(make conscious r and d and prepare d 1 )Chapters 3 and 4 - Grade 1 and 2

Roots and BranchesPages 46-49 - Ha’ Kyo Jung (l s m r d )Pages 100-103 - Uga Uga Uga (m r d )Pages 142-143 - El Juego Chirimbolo (l s m r d )

An Orff Mosaic from CanadaPage 114 - Fall is Fun (mrd )Page 142 - Five Fat Fleas (inner hearing)Page 150 - Train Ride (melodic contour)Page 187 - Gobble Gobble (solo singing)Page 189 - Here We Go Trick or Treat (solo

singing)Page 287 - Can You Play? (improvisation)Chapter 1 - Hello SongsChapter 24 - Tips for Teachers

Teaching Towards Musical UnderstandingPages 29-30 - Criteria for Selecting SongsPages 37-50 - Fifteen strategies to facilitate

development of in-tune singingPages 235-238 - Nine sequenced activities High

vs. LowPages 238-241 - Eight activities for melodic

contourPages 244-245 - Seven steps for introducting

and labeling pitch r d etc.Chapter 4 - Singing, pages 25-56Chapter 17 - Assessment and Evaluation

See page 107.




• Class identifies, from a set of four flash cards, the pattern theyhear. Note: Choose two or three flashcards with the samerhythm. Otherwise, students will identify through therhythm, not the melody.

• Teacher sings, or plays on an instrument, a melodic patternfrom a known song, identifying for the class only the startingpitch (in solfa). Students echo on ooh and then individuallyor in groups, derive the pattern. Extend by writing thepattern on their individual staffs in one (or more) of the threekey placements. Play on melodic instruments.

• Using a tone ladder or the flying note, point out melodicpatterns from the first phrase of familiar songs and havestudents recognize and identify songs by inner hearing.

• Place, on the board, a four-beat rhythm pattern with solfasyllables underneath. One beat is blank with no solfa. Singthe pattern, “humming” the blank. Students echo, andworking with a partner, derive the missing solfa (seeReproducibles).

• Provide frequent opportunities for students to listen tomusical examples in minor tonalities. Make connectionsbetween tonality and mood/feeling.

• When practising inner hearing, students show the hand signsof the hidden phrase.

• Write short reflections/responses (see Appendix A).

• Use Chart Songs to sing in solfa, such as #25 Old Witch or#27 Starlight. Sing the first two bars out loud, the next twosilent, etc. Next, try alternating one bar apart (innerhearing).

• Use Chart Songs, melodic flashcards, or an overhead. Sing insolfa. Sing all the s’s silently. Continue with m (innerhearing).

Creating

• Students create patterns and/or ostinati using ls mrd to beplayed on melodic instruments or boomwhackers whilesinging a known song.

• Ask a small group to sing the ostinato they created.

• Pairs or individual students can work at an activity centre to










Observe, listen to, and record student responses,individually and in small groups. For example• create a melodic contour map of a familiar song.

See Musicplay 2, page 55• demonstrate higher and lower through movement• complete written worksheets (see Reproducibles -

writing, aural identification)• sing individual response, echo, or phrase. See

Resources/Notes.• create, improvise/perform simple ostinati and

melodies• improvise answers to questions• identify mystery tunes• read Flashcards and Chart Songs

Teaching Towards Musical UnderstandingPages 42-49 (several good songs for individual

singing)Chapter 17 - Assessment and Evaluation

Composing with BoomwhackersActivity #14: Create a Three Note Melody (seeasessment rubric page 33)

Written reflection/response to creating activities andperformance (Appendix A and Reproducibles).

120 Singing Games and DancesCharlie Over The Ocean (individual singing)Mousie Mousie ( sd )Rocky Mountain ( lsmrd )The Mill WheelBow Wow Wow ( mrd )Ring Around The Rosy ( sd )

Composing with BoomwhackersActivity:#12 - Orchestrate a poem#13 - Play a Three Note Melody#14 - Create a Three Note MelodyThese should be adapted to Grade 2 outcomesand capability.

Musicplay 2 ( mrd )#17 - I am the Fastest Turkey (individual

singing)#21 - What’s That Creature (minor tonality)#24 - Witches Stew (individual singing)#28 - Sing for Peace and #29 - Make a

Difference (expressive singing)#32 - Doggie Doggie (individual singing)#41 - Who’s That (individual singing)#45 - Jolly Old St. Nicholas#54 - Pass the Stick ( smd )#59 - I See the Moon ( smd )#82 - Johnny One Hammer ( dms )#88 - Bought Me a Cat ( mrd )#95 - Here Comes a Bluebird ( mrd )Student Reproducible PagesPage 38 - Present d teaching procedure using

#37 Johnny Caught a FleaSongs to prepare d 1

NOTE: r is not “made conscious”in theMusicplay 2 curriculum, but it is easilyintroduced through the many songs in theteacher’s guide.





create their own melodies using l s m r d. Set up melodicpercussion instruments in the pentatonic scale (C, F or G).Students play their melody for the class (may be extended towriting).

• Set up available melodic instruments in the pentatonic scaleof a known song. The whole class sings the known pentatonicsong. The teacher then taps eight beats on the drum whilethe students at the instruments improvise (keeping with thebeat). The class sings the song again (ABA form). Repeatwith different students. It is important to provide frequentopportunities for students to improvise. Students willbecome more comfortable as time goes by. When they areimprovising with others, they will feel less threatened. Seeactivity #3, Composing with Boomwhackers.

• See three examples for melodic improvisation, pages 118-119,Teaching Towards Musical Understanding. Improvise withvoices and pitched percussion instruments.

• Students write a simple melody to a known rhyme such as“Jelly in a Bowl”. See three examples for melodicconstruction, pages 130-131, Teaching Towards MusicalUnderstanding.

• Students play a known melody on pitched instruments andusing the same pitches and tone set, create a short contrastingmelody.

• There are a number of excellent activities for composing andcreating using melody, in Composing with Boomwhackers.See Resources/Notes. These can be adapted to different levelsand situations and the use of pitched percussion instruments.

• Small groups each create a melodic phrase. Class sings byusing body representation of pitches on staff. See Grade 1.

• See page 70, The Kodály Method I, for improvising ananswer phrase to a question phrase.

• Provide opportunities for small groups to sing known songsfor the class. Focus on expressive singing.








Musicplay 2Reproducibles at the end of book may be used to

assess writing l s m r d on staff.Melodic Concepts/Singing checklistPage 47 - Assessing a Song

Songs to Read, Write, Sing and Play reproducibleworksheets

Worksheets to assess writing l s m r d (seeReproducibles).

Listening Kit 2 - reproducibles page 10.

Play a game such as Melodic Tic Tac Toe. Place ninemelodic cards on the floor and divide students intotwo groups. As each student sings his/her melodicpattern, assess and record.

Listening Kit 2Correlate with suggestions in the Teacher’sGuide

Song Charts 1 and 2

Melodic FlashcardsSee suggestions for teaching in this resource

Songs to Read, Write, Sing and Playreproducible sheets

Other:

Practice and Reinforcement of dFuzzy WuzzyI See The Moon

French Folk Songs Children Love




Organizer: Harmony

Performing includes:singingplayingspeakingmovingreadingwriting/constructing



Includes• partner songs

Performing

• Students sing a known song while performing a rhythmicostinato drawn from the song. Continue with some studentssinging or playing a melodic ostinato (Pease Porridge Hot).

• Use a simple pentatonic melody to create an ostinato that canbe sung or played as an accompaniment to a song.

• Students sing and play repeated notes on melodicinstruments, such as pedal tones or borduns, while singing aknown song. Use tonal centres such as doh and lah.

• Children should be confident singing a round in unison atfirst. The class begins singing the round and the teacherbegins after and sings all the way through regardless of thestudents’ reaction. Explain what a round is. Next the teacherwill begin and the class will enter after the teacher asinstructed. Divide the class in half and sing in two parts.Reverse. Two smaller groups may sing the round. Graduallymove from large groups to smaller groups, to pairs. SeeResources/Notes for suggested canons.

• Sing a song as a round. Add actions to each phrase. Sing theround with words and in solfa, while doing the actions. Theactions provide a visual reinforcement.



• rounds/canons• two-part rhythmic exercises





Organizer: Harmony

See page 115. See pages 113 and 115.




Organizer: Harmony

• Sing two pentatonic songs together as a partner song.

• Sing a simple pentatonic song as a round. Pease Porridge Hot,Bounce High, etc.

• Make two rows of flashcards (rhythmic or melodic). The classperforms each row. Divide the class in two and perform bothrows together. Switch parts. Note: establish steady beatthroughout.

• Perform two- and three-part exercises on NPP instruments.Perform with boomwhackers to create harmony or withpitched percussion instruments. For example, part one playthe rhythm on E, part two on C.

• When introducing aural rhythmic canons alternate from theleft to the right side of the body (i.e., one measure on the leftand then one measure on the right) to provide visualreinforcement. The teacher begins, followed by the class onebar later. It is better to alternate simple measures with moredifficult measures. For example, ° followed by Öµ ±.

• Students read a rhythmic pattern from notation or flashcards.Divide the class in half and perform as a canon. Try in fourparts. Each group will decide on a tone colour (timbre) e.g.,slapping legs, clapping hands, playing wood blocks, etc.

• Read melodic flashcards and perform as a canon. Maintain asteady beat throughout. Chart Songs and exercises onoverheads may also be performed in canon (rhythmic andmelodic).

• Students form an inner and outer circle. Sing a two-partcanon. Part one begins moving clockwise, the second part,counter-clockwise

Listening

• The class sings a well known song and the teacher sings/performs a melodic or rhythmic ostinato. The class derivesthe pattern of the ostinato. Half the class sings the song; theother half sings the ostinato. Move to smaller groups.







Organizer: Harmony

Note: See strategies under Rhythm/Metre andMelody/Pitch which support outcomes forHarmony.

The Kodály Method IPage 40 - Introducing OstinatoChapter 3 and 4 - Grade 1 and 2

Roots and BranchesPage 45 - Kaeru No Uta (ostinato and canon)

An Orff Mosaic from CanadaPage 117 - The SnowstormPage 124 - Signs of SpringPage 218 - Diddle Diddle Dumpling (combining

speech patterns)Page 267 - One Two Three (create body

percussion ostinato)Page 314 - Pond Song (combining ostinati)Pages 333-335 - Accompaniments

Teaching Towards Musical UnderstandingPages 54-56 - RoundsPage 85 - Harmonic Accompaniments on the

Xylophone (pedal tones, drones, borduns)Page 296-301, Bounce High, First Nations Song,

Johnny Works with One Hammer, Make NewFriends

Page 299 - Teaching Sequence for Harmonyand Texture

Chapter 15 - Harmony and TextureChapter 17 - Assessment and Evaluation

See page 115.




• Introduce a movement/rhythmic canon using bodypercussion. Start simply, using only quarter notes, andchange the movement after eight beats. For example, tapeight beats on your shoulders, then switch to tapping eightbeats on the floor, then clap eight beats, and stamp eightbeats with your feet. Students begin after the first eightbeats. The visual reinforcement helps students see the“switch”. You can also say the word “change” or “switch”.When the canon is secure, divide the class in half and performwith two groups. Try with four groups.

• Use the same principles for melodic canons using imitation.The teacher begins singing and the class enters two or fourbeats later. Start with only two pitches, s and m. Hand signsmay also be used as visual reinforcement.

• Students keep the beat while chanting a poem. Perform as acanon in two or three parts. See An Orff Mosaic fromCanada.

• Try canons with smaller groups. The remaining studentslisten for the entrance of the next voice.

Note: Students are listening and responding when performingand singing ostinati and/or part work. Include a short written/reflection/response with performing or creating activities.

Creating

• Pairs or small groups create simple rhythmic ostinati to beperformed on a percussion instrument or as body percussion,to accompany a song or recorded music.

• Students create, and sing or play on classroom instruments,ostinati and borduns, using known elements.

• Students work in pairs to create rhythmic and melodic(pentatonic) phases. Each group sings or plays as a canon.Provide parameters - e.g., two, four-beat measures usingknown rhythmic and melodic elements. The activity can beextended to a writing activity (students notate) and a readingactivity (read and perform another group’s canon).

Organizer: Harmony







Organizer: Harmony


Observation of and listening to small groups andindividuals, performing/creating ostinati, canons,exercises, and movement canons.

Provide opportunities for pairs of students to worktogether to create and perform ostinati and canons.

Students aurally identify a melodic or rhythmicostinato.

Written reflection, self assessment, peer assessment ofa creating and/or performance activity. See AppendixA and Reproducibles.

Composing with BoomwhackersPages 15-16 - two- and three-part rhythmicexercises

Name GamesGame 3 - Layering Name Rhythms

Musicplay 2#18 - Falling Leaves (round)#27 - Starlight (accompaniment)#42 - Holiday Round (round)#69 - A Pizza Hut (round)#85 - Japanese Frog Song#87 - Row Row Row Your Boat (round)

Melodic and Rhythmic FlashcardsUse for canons or combine for part work

Other:

The Orff Source (Themes and Variations)See Songs with simple pedal tone or bordunaccompaniments

Ride with Me (See Resources Appendix)




Organizer: Form

Performing includes:singingplayingspeakingmovingreadingwriting/constructing/diagramming



Includes• exploration of question and answer phrases

Performing

• See suggestions for Grade 1.

• Students derive and the teacher diagrams with shapes on theboard (to show a or b ), the phrases for a well known song(Hot Cross Buns). (The students can keep the beat as theteacher marks the beats for each phrase. How many beats ina? In b?) Use poetry as well.

• Diagram the melodic contour of each phrase. I See the Moon,Musicplay 2, pages 61-62. Students may show withmapping. Ask students to compare to determine like andunlike phrases.

• Draw different melodic contours on a board or chart. Thestudents pick the correct contour for a song.

• Students use scarves and/or movement to show melodiccontour and like/unlike phrases or sections.

• See Resources/Notes for examples of rondos, phrase andsectional forms using songs and poems/chants.

1. perform, listen to and create likeand unlike phrases and sections

• a b• A B• simple rondo (new)





Organizer: Form

Note: Outcomes related to form can beaddressed when students are engaged inperforming, listening, and creating activitiesfound in the other organizers.

Note: Diagram phrases with lower case letters(a, b) and sectional forms with upper caseletters (A or B).

The Kodály Method IPages 68-70 - Improvising and Composing

Roots and BranchesPages 54-55 - Tépok Amai-amai (a b a b - two

question and answer phrases)See listings under Rhythm/Metre and Melody/

Pitch

An Orff Mosaic from CanadaPage xix - Places in Canada (speech rondo)Page 3 - Welcome (speech rondo)Page 5 - Hello, Hello (speech rondo)Pages 60 - Dos à Dos (ABA)Page 135 - Rockets (speech rondo)Page 150 - Train Ride (ABA or rondo)Page 188 - Turkey in the Pan (speech rondo)Page 260 - On the Mountain (movement rondo)Page 332 - Question and answer/phrase

completion

Teaching Towards Musical UnderstandingPages 117-119 - Rhythmic and melodic

conversations (strategies for question andanswer phrases)

Chapter 14 - Form, pages 283-289 - includesexamples of phrase form and sectional form

Chapter 17 - Assessment and Evaluation

See page 121.




Organizer: Form

• Use a poem or rhyme for the A section which the whole classchants while keeping the beat. B, C, and D sections mayconsist of a simple rhythm pattern (four or eight beats long),performed/improvised on a classroom instrument by anindividual student or small group. The class keeps the beatall the way through as each section is performed. Alternatethe instruments for each section, e.g., B is performed on adrum, D on a tambourine, and C on rhythm sticks. Performall as a rondo.

• Use the same procedure but the B, C and D sections will usemovement (or body percussion). Small groups/individualswill create a simple movement while the remainder of theclass taps the beat.

• See page 221 An Orff Mosaic from Canada, for the chant ILove to Read. Follow procedure for rondo form.

• Sing simple question and answer phrases using Chart Songs 1.Half the class sings the question, the others the answer. Singwith words and solfa. See #20 - Apples, Peaches, #22 - PeasePorridge Hot, #23 - Apple Tree, #21 - Icka Backa.

Listening

• The class derives the form (e.g., ABA) for a known song.Create a different movement for the contrasting sections.Diagram with shapes. Perform.

• Use Listening Kit 2, CD Track 8: Hungarian Dance No. 5 asan example of rondo and to create constrasting movements foreach section.

• Sing/play simple songs for the class. Students aurally identifythe form. Discuss with the class.

• Students respond/reflect on activities related to form (creatingmovement, rhythms, melodies)

Creating

• Show the phrases through movement. Students keep the beatwith their feet and make a quarter turn at the end of eachphrase. Students create simple contrasting movements foreach phrase.






Organizer: Form

120 Singing Games and DancesWalk and Stop (“Statues” game)See suggestions given for this resource in

Rhythm/Metre and Melody/Pitch

Sound Ideas#12 - Question/Answer#23 - Poetic Structure

Composing With BoomwhackersActivity #6: Sing and Play a B Section (ABA

Form)Activity #7: Sing and Play A B Section (AABA

Form)Activity #8: Sing and Play a Rondo

These activities can be adapted to NPP andPP instruments and to fit grade 2 outcomes.

Musicplay 2#10 - Bounce High - create a rondo using a ball#24 - Witches Stew - speech rondo#36 - Bluebells - speech rondo

See page 49, Question and Answerimprovisation

#37 - Johnny Caught a Flea (phrase form)#55 - Love Grows Under the Wild Oak - page

58, poem, ABA sectional form#61 - Ham and Eggs - page 64, create a food

rondo

See page 121.




• The teacher creates a movement “question” phrase. Thestudents create an answer phrase.

• Use rhythm instruments to create question and answerphrases. See Sound Ideas.

• Create a simple movement rondo. Teach the class the Amovement and, with their assistance, create the B and C.Show visually on the board with shapes and then perfom.

• Students work in pairs to create a two-phrase melody usingvoice or classroom instruments. The phrase should be four oreight beats long and the second phrase should end on doh.Provide direction as to what pitches and rhythms may beused. One student creates the a phrase, the other the b(question and answer phrases).

• The teacher sings/plays a very simple four-beat phrase usingknown elements e.g., l s m or s m d and quarter and twoeighth notes. If playing instruments, all students in the classcan improvise and respond together with a contrasting b, eventhough their responses will vary. The teacher can graduallymove to individuals improvising a response by singing orplaying.

• The above can also be done using NPP instruments.

• See Activities 6, 7 and 9 Composing With Boomwhackers forcreating sectional forms and rondo.

Organizer: Form






Organizer: Form


Observe individual student responses throughmovement, answering questions, diagramming withshapes, performing or creating a contrasting phraseor section.

Use worksheets - aurally identify and circle thecorrect answer.

Students draw the melodic contour of two phrasesand determine if phrases are the same or different.

Students pick the correct contour from those given.

Listening Kit 2CD Track 12: Fossils - ABA sectional formCD Track 13: Fig Leaf Rag - rondo with

rhythm instrument playalong to highlightthe constrasting sections

CD Track 14: Sleighride - Use the listeningmap to reinforce repetition and constrastingsections.

Chart Songs 1 and 2Use for like and unlike phrases (a b)Overheads may also be used

Melodic and Rhythmic FlashcardsUse to show like and unlike phrases

Music for Creative Dance#1 - Whales (ABABA)#5 - Pizz. Ah! - use to reinforce length and

repetition




Organizer: Expression



Creating includes:improvisingcomposinginterpreting

Includes• traditional and non-traditional sounds and notations

Performing

• See strategies for previous grades and under Creating.

• Perform expressive elements in familiar songs (Hey Betty Martin).Students experiment and discuss what is appropriate for aparticular piece.

• Fans are excellent for the reinforcement of crescendo anddecrescendo. The leader/teacher controls the dynamic levels byopening and closing the fan. Use with the whole class in a shortclassroom song or in a choral piece. You can also divide the classin two, each having a leader and a fan. The leaders control thedynamic levels with the fan. The two groups may have differentdynamics at the same time. For example, one can be doing acrescendo, the other a decrescendo. Provide the opportunities formany students to have a turn as the leader.

• Use a poem such as those found in Musicplay 2. Discuss themood and feelings evoked in the poem. Explore with the class theuse of dynamics, crescendo/decrescendo, tempo, articulation andvocal timbres, to most appropriately express the mood.Appropriate instrumental effects, including electronically generatedsounds, could also be considered. Extend the activity by recordingthe final performance. The teacher plays the recording and leads adiscussion on the effectiveness of the expressive devices.

1. perform, listen to and createreflecting sensitivty to moods/feelings

• fast/slow (tempo)• louder/softer (dynamics)• gradually louder/softer (cresc.

descresc.)• smooth/choppy







See page 129. See pages 125, 127, and 129.





Listening

• Listen and identify dynamics, articulation, and tempo inrecorded music, poems, songs, and pieces played on classroominstruments. Use Track 25: Spring, Listening Kit 2.Reproduce listening map (page 44) for loud and soft. SeeResources/Notes for other selections.

• Students draw a picture to reflect the mood of the music thatthey hear. Display all the pictures and provide time for allstudents to view them. Provide the opportunity for studentsto discuss the pictures, and to ask and respond to questions.(Listening Kit 2 - CD Track 22: Claire de la Lune).

• Students write a sentence or two in their journal to describehow a known or unknown piece of music makes them feel.(Listening Kit 2 - CD Track 26: Summer).

• Students make a list of words to describe the feeling in a pieceof recorded music. Students can also enter their words intheir journal. Be sure to use musical examples from othercultures. (Listening Kit 2 - CD Track 22: Claire de la Lune).

• Using a short recorded example, small groups interpret andcreate a movement sequence to reflect the mood and feeling ofthe music. Use scarves and ribbons.

• Provide students with opportunities to suggest what classroominstrument(s) can be used to enhance the mood or feelingwhen singing a particular song or game. Give students lots ofopportunities to play available classroom instruments.

• Make connections to expression when working with otherorganizers.

Creating

• Divide the class into groups. Assign each group a simplephrase, sentence or chant. Students experiment by alteringtheir voices to explore dynamics, articulation, pitch, tempoand/or tone colour. Each group performs for the class. Lead adiscussion. How did each group’s choices affect the overallmood? Refer directly to the use of expressive devices.


• fast/slow (tempo)• louder/softer (dynamics)• gradually louder/softer (cresc./







Roots and BranchesPages 16-17 - Yo Mamana, YoWhere appropriate, use selections listed under

Rhythm/Metre and Melody/Pitch.

An Orff Mosaic from CanadaPage 43 - Acadian LullabyPages 135-137 - Bear Comes Knockin’

(instruments)Pages 104-105 - Northern Lights (creative

movement, instruments)Page 148 - Rockets (creating sound effects)Page 225 - Loose Tooth (instruments)Page 268 - Little Robot (sound exploration)Page 269 - Copycat (creative movement)Page 313 - This is My VoicePage 314 - Pond Song (voice, instruments,

movement)Chapter 21 - Listening Awareness and Music

Appreciation

Teaching Towards Musical UnderstandingPage 261 - Hey Betty MartinPage 266 - Closet Key (crescendo and

descrescendo)Pages 271-272 - Five activities for NPP (non-

pitched percussion timbres)Pages 274-278, Instruments of the OrchestraChapter 5 - Playing Classroom Instruments,

pages 65-74.Chapter 13 - Dynamics, Timbre, and

Expressive ElementsChapter 17 - Assessment and Evaluation

120 Singing Games and Dances

See page 129.





• Students in small groups explore and create suitable soundsfrom available sound sources, to create an effect, for example:sunshine, rain, thunderstorm, spring, winter, a busy street, orto express a feeling: angry, sad, joyful, scary, or represent apicture. Sound sources may include the use of traditional andnon-traditional instruments, midi key boards, synthesizers,software, environmental sounds, and voices. Diagram/notatethe sounds. Each group performs its effect. The remaininggroups try to guess what is being expressed. Anothervariation is to exchange the notated/diagrammed “score” withanother group. Each group then attempts to perform fromthe notated score. Both activities should be followed withdiscussion/reflection.

• Small group work should provide opportunities for studentsto work with available technologies to explore and createsound scapes, use dynamics, tempo, and articulation.

• Students in small groups can create a musical representationof a picture. This could include traditional and non-traditional sounds, voices, lyrics and so on.

• In small groups, using barred melodic instruments, studentsimprovise a melody using a given tone set and rhythmpattern. The group will chose its own tempo, dynamics andarticulation. Notate the melody in traditional or non-traditional notation. Students may title their compositionand perform for the class. Lead a discussion with the classconcerning their musical choices. Does the title fit?

• Dramatize a text through movement to show the mood,expression or story of the music, e.g., Carnival of the Animals,Peter and the Wolf. Add dramatization and movement to songsand games.

• Choose a story or create a story. Use available sound sources,instruments, and/or voice to accompany the telling of thestory. Include movement and dramatization.

• Use Listening Kit 2 to create movement to express the moodof the music. Use scarves and ribbons where appropriate. SeeCD Track #28: Butterfly, CD Track 9: Autumn, CD Track 22:Claire de la Lune.

Note: You may wish to use only a portion of the listeningexample.


• fast/slow (tempo)• louder/softer (dynamics)• gradually louder/softer (cresc.







Sound IdeasSelections that use percussion instruments#6 - Passing Sounds - Beat#7 - Passing Sounds - Metre#9 - Instrumental Grouping/Group Improvisation#18 - Percussive Poems

Musicplay 2#6 - Poor Little Bug (fast/slow/louder/softer)#11 - John Jacob Jingleheimer Schmidt

(dynamics)#14 - Tony Chestnut (tempo - fast and slow)#19 - I am a Fine Musician (instruments)#28 - Sing for Peace and #29 - Make a

Difference (expressive singing)Pages 99-100, No. 3 - Ooey Gooey

Marshmallows (create sound effects toaccompany the poem)

Listening Kit INote: All students in Grade 2 are to studyPeter and the Wolf. Carnival of the Animals(including video) may be re-visisted fromGrade 1.

Listening Kit 2CD Track 5: Galliard (loud/soft)CD Track 8: Hungarian Dance (fast and slow)CD Track 9: Autumn (tempo)CD Track 11: Fossils (xylophone)CD Track 13: Fig Leaf Rag (brass)CD Track 14: Sleighride (bells, timpani)See page 4, for more information on selections

reproducibles and student sheets.

Music for Creative Dance#1 - Whales#2 - Bee Beat#3 - Checkerboard (interpretive movement with

contrasting tempos, dynamics, andarticulations)

See page 129.





Includes:• aurally• visually

• Use Peter and the Wolf (Listening Kit I) to identify and studyinstruments of the orchestra.

• Use recorded examples that feature families and theirinstruments. Reinforce with pictures. Discuss the mood orfeeling evoked by percussion instruments or instrumentalfamilies in these examples. See Resources/Notes, ListeningKit 2.

• Display posters of the families of instruments and individualinstruments. See Listening Kit 2.

• Use Carnival of Animals (Listening Kit I) and Peter and theWolf to identify and study instruments of the orchestra.

• Use videos (see Resources/Notes). Where possible invite aninstrumentalist to perform and present the instrument to theclass.

2. identify basic percussioninstruments and the fourfamilies of the orchestra







Students circle the correct answer when the musicexample is played: faster/slower, louder/softer,smooth/choppy, strings/brass/woodwind/percussion.Vary the examples: recordings (instrumental andvocal), available classroom instruments, (pitched andnonpitched), unaccompanied singing by the teacher.

See worksheets in Reproducibles.

Students circle the picture: the family ofinstruments, or percussion instrument that they hearor see. (Listening Kits)

Observe and note the creating and performance ofexpressive elements by students alone, and in smallgroups. Performance may include singing, playing,moving, speaking.

Note students’ verbal responses through discussion.

Sing a song or play a short piece twice on a classroominstrument or piano. Change an element the secondtime - dynamics, articulation, tempo. Can they namethe element that was changed? Which version didthey feel was most suitable? Why?

Note written, verbal, and movement responses tomood and feeling in the musical selections.

Reflection questions/response journal writing. SeeAppendix A and Listening Kits.

Musicplay 2See end of Teacher’s Guide for Assessment checklists(Expressive Concepts/Creative/Communicate)

Interactive WebsitesNational Arts Centre - www.artsalive.ca - video

clips (pictures), musical examplesNew York Philharmonic - www.nyphilkids.orgDallas Symphony Orchestra - www.dsokids.comComposers, instruments, expressive terms -

www.classicsforkids.com

Musicplay 2page xvweb sites related to instruments

VideosCarnival of the AnimalsTune Buddies - Strings, Woodwinds, Brass,

Percussion

Other:Scarves and ribbons are excellent to use with

creative movement

Poems and stories found in the Language ArtsProgram

Peter and the Wolf (See Appendix B forteaching strategy)

Listening selections from Peer Gynt

BooksOrchestranimalsZin Zin Zin, a ViolinListen to the RainJelly BellySee Appendix F

Musicanada 2The Percussion FamilyThe Brass FamilyMusic Man




Organizer: Contexts




Includes• selections related to their own environment - home, family,

school, seasons, celebrations, events• the use of technology

Performing

• Continue to build a repertoire of songs and games withmovement, including those from their own and othercultures.

• Perform songs related to Thanksgiving, Remembrance Dayand other special celebrations. Sing songs related to specialholidays and seasons. Explore how music enhances theseoccassions.

• Teach the class a simple Newfoundland and Labrador folkdance (I’se the B’y). Make connections between music anddance. Explore the text of the song with the class. What inthe text reflects our Newfoundland and Labrador culture?Perform with a simple dance.

• Make connections where possible between music, culture andlife experiences. For example, perform and discuss how a songmay reflect the life, traditions, and practices of a place orcountry, in particular Newfoundland and Labrador (e.g.,Saltwater Joys). Introduce the idea that time and placeinfluences the resulting music.


• their own and other cultures• time periods





Organizer: Contexts

See page 135. See pages 133 and 135.




Organizer: Contexts

• Sing songs/play games and listen to authentic musicalexamples from other cultures. See Roots and Branches.Make connections between the time, place, and community.

• Sing songs about the world in which they live, see Resources/Notes. Make connections with other subject areas wherepossible.

Listening

• Lead a discussion about where music might be found in theschool or the community and what it contributes. Forexample, at the mall, a wedding, a church, a parade, a party, askating rink. Is the music produced by live musicians? Is itelectronically generated, or is it a combination of both?Discuss what type of music would be used. Play examples.How is the music at a store different from music at a parade?

• Explore with the class the types of sounds that can begenerated by a synthesizer or midi keyboard.

• Ask a community member or grandparent to sing songs from“the old days” and talk about traditions of the past inNewfoundland and Labrador. Discuss the influences of timeand place.

• Discuss the technologies used when making music in the olddays. Contrast the technologies of music making of the past,with those of the present and future. For example,accordions, spoons, ugly stick, electric guitar, synthesizedsounds. Play musical examples.

• Provide opportunities for students from other cultures toshare with their classmates - a song, a dance, “show and tell”.Students may invite a family member to speak to the classabout their culture.

• Listen to authentic recordings from other cultures (Roots andBranches).

• Take a nature walk, real or imagined, and list all the soundsyou hear. This could be done as a class or in small groups.






Organizer: Contexts

Note: Make connections to time, place, andcommunity whenever opportunities arise. Seestrategies for other organizers.

The Kodály Method ISongs and games

Roots and BranchesPages 14-17 - Yo Maman (Mozambique)Pages 28-31 - Hao Peng You (China)Pges 46-49 - Ha’ Kyo Jung (Korea)Pages 64-67 - Cheki Morena (Puerto Rico)Pages 100-103 - Uga Uga Uga (Israel)Pages 140-143 - El Juego Chirimbolo (Ecuador)

An Orff Mosaic from CanadaPages 104-105 - Northern LightsPage 172 - African Children’s Clapping SongPage 179 - Kagome (Japanese)Chapters 2-9 - Music from CanadaChapter 10 - Weather and SeasonsChapter 13 - Our WorldChapter 15 - HolidaysChapter 17 - Stories, Fables, Music and Drama

Teaching Towards Musical UnderstandingNumerous songs from Canada and othercultures as well as traditional children’s songs

120 Singing Games and DancesI’se the B’ySongs and games listed under other Organizers

See page 135.




Organizer: Contexts

• Avail of opportunities for live performances and presentationsin the school that reflect our own and other cultures.

• Play authentic recordings of traditional performers singing themusic of Newfoundland and Labrador.

• Use the Daily Intercom Listening Kit for music andmusicians from different historical periods.

Creating

• Students dramatize the story of program music or createmovement to music. See pages 176-177 Teaching TowardsMusical Understanding and An Orff Mosaic from Canada forsuggestions.

• When students are engaged in creating/compositionactivities found in other organizers connect to a context.Create a sound scape, melodic phrase, or ostinato for a seasonlike spring, an event such as Halloween or Christmas.

• Take a nature walk, real or imagined, and list all the soundsthat are heard. What could be used in the classroom tocreate these sounds? Explore creating the sounds made byrustling leaves, wind in the trees, sticks hitting each other, acrow calling, etc. Connect how the sounds created areaffected/influenced by the time and place. For example,would the same sounds be heard in February as November?Would the same sounds be found in the city as the country?Relate to creating activities found under the organizer,expression.






Organizer: Contexts

Musicplay 2#7 - Okkitokiunga#28 - Sing for Peace#29 - Make a Difference#34 - Lukey’s Boat (Nova Scotia version)

Songs of other cultures - #12 Obwisana#48 - Japanese New Year Song#63 - I’se the B’ySee song List for more songs of Canada, Native

peoples, and other cultures.See page xv for web sites related to Holidays/

Multicultural

Listening Kit 2Examples from historical periods

Other:

French Folk Songs Children Love

Books:Famous Children Series (Composers)


Note students’ verbal responses through discussion.

Observe students’ performance/composition work.

Observe student engagement when performing songsand games of their own and other cultures.

Students write a short paragraph, or draw a picturethat demonstrates how music is found in their dailylives.

Keep a journal for one day (the student will recordeach time he/she hears music). Follow with adiscussion. Was the music live or recorded?

Identify through songs and games, and recordings,music from Newfoundland and Labrador, Canada,and other cultures.

Encourage questioning and discussion during visits orpresentations by guests. Students can write a shortreflection focusing on• two things they learned• what they liked about the music presented• contrasting one aspect of the culture/time

presented, to their own culture/time e.g., singingstyle, instruments, technology, dance, clothing,food etc.

Musicplay 2See end of Teacher’s Guide for Assessment Checklists(Expressive Concepts/Creative/Communicate).



Grade 2 - Education and Early Childhood Development · MUSIC CURRICULUM GUIDE: K - 6 89 GRADE 2 - ORGANIZERS Grade 2 ... Grade Two – Öµ £ ° new. 92 MUSIC ... (- two. • •

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