Sharon Cho

EdTPA: Task 1, Part B

UbD- Lesson Plan 1
Title of Unit
Curriculum Area
Developed By

Introduction: Terms and Connecting Notes to

Grade Level
Text
Music- Chamber Choir
Time Frame
Sharon Cho
Identify Desired Results (Stage 1)

10th, 11th, and 12th grade

15 minutes

Content Standards
Illinois Learning Standards for the Fine Arts:
25.A.5 Analyze and evaluate student and professional works for how aesthetic qualities are used to convey intent, expressive ideas and/or
meaning.
27.B.4a Analyze and classify the distinguishing characteristics of historical and contemporary art works by style, period and culture.
National Standards for Music Education:
1. Singing, alone and with others, a varied repertoire of music.
5. Reading and notating music
6. Listening to, analyzing, and describing music.
7. Evaluating music and music performances.
9. Understanding music in relation to history and culture.
Understandings
Overarching Understanding
1. Students will learn/ review seven terms: Secular Music,
Madrigal, Word Painting, Downbeat, Crescendo, Word Stress,
and Legato.
2. How to analyze music beyond the ink using the text.
3. Students will understand how to express and tell a story
through the understanding of the text, use of dynamics, word
stress, legato and staccato singing, overall phrasing, and
terms from their Introduction sheet.
Related Misconceptions

Essential Questions
Overarching
Can a singer tell a story without
words?

Topical
How can we use dynamics to
express an emotion?

What is the emotion behind

someone who is trying to
impress someone else?

What does it mean to have

dynamic contrast?

What is the importance between

the relationship between the
notes and the text in music?
After reading the translation,

Where do accents typically lie in

cut time?
How does the music change
during the 'dancing' section?

A singer must only sing and perform what is inked on the

score.
The text and notes should be worked on as individual ideas.

Knowledge
Students will know
1. The definitions for Secular Music, Madrigal, Word Painting,
Downbeat, Crescendo, Word Stress, and Legato.
2. How to analyze and listen to notes in relation to the text.
3. The style and sound of a Secular, Madrigal piece.

what is the overall mood of the

piece? How can we execute this
through the notes?
How is Word Painting useful
when telling a story?
Skills
Students will be able to

Why did Orlando di Lassus

arrange the word stress to be
different than how it is properly
pronounced?

1. Analyze, perform, and create a parallel between the notes

and text of Matona, mia cara.
2. By decoding the text and listening to the movement of the
notes through singing, students will compare and
understand the relationship between the notes and text.
3. Incorporate Dynamics, legato and staccato notes to bring
the text to life.
4. Listen throughout the room, beyond their section, to create
a blend and tell the story as one person with one idea.

Assessment Evidence (Stage 2)

Performance Task:
Informal assessment will be done through verbal feedback:
Students will answer the Essential Questions.
Informal assessment will be done through verbal feedback when the singers sight read the first page:
Through vocal modeling, and conducting the phrases, I will give the students immediate feedback.
Other Evidence:
Students will write any extra notes and comments made in their music and worksheets.
Learning Plan (Stage 3)
Learning Activity in order:
1. Hand out the Matona mia cara worksheet and Matona mia cara music.
2. Discuss the meaning of Secular versus Sacred. Secular: Non-religious music compared to Sacred: Religious music. (Will return to
this step.)

3. Discuss what a Madrigal piece is: secular, vocal music, based on poetry often about love, and traditionally unaccompanied. Note that
there is no piano part in the music. In addition, discuss how Madrigal composers focused a great deal on expressing the emotions
through each line.
4. Flow into the definition of Word Painting: Taking the text and paralleling its' movement through the notes. (Will come back to this
term.)
5. Point out the missing bar lines in the music. Instead there are suggested, dotted bar lines. Often times in the Renaissance, music
was printed without bar lines and the text becomes very conversational. This was never a problem, because the singer just followed
the text. Again, there is a great importance between the text and the notes. Also to note that this piece will be sung in cut time. Refer
to the essential questions to engage students.
6. Go over the definition of a Downbeat.
7. To continue this idea of being in tune to the text and expressing that emotion, ask the overarching essential question, Can a singer
tell a story without words? Open up for discussion: guide discussion through the use of Academic Language like Crescendo,
Decrescendo, Legato, Fast, Short, Staccato, etc.
8. Lead into asking, What is the importance between the relationship between the notes and the text in music? Conclude discussion
through looking over the definitions for Crescendo, Decrescendo, Legato, and Staccato.
9. Transition into discussing the context of this piece. Introduce the characters in the piece and read through the three bulleted points in
the Introduction page. Refer to the Topical essential questions to move along the discussion.
10. Give definition for Word Stress and why it is important that the word stresses in this Italian piece is different/ inaccurate compared to
how you would properly pronounce it/ accent the words.
11. Have a student read the first three lines of the Translation.
12. Have students find the Word Painting example from those three lines. Answer: In measure 13, the notes descend on the word,
under.
13. Have a different student read through the last 2 sections of the translation.
14. Ask students to raise their hands if they think this is a Secular piece; repeat process for Sacred piece.
15. Discuss why it is a Secular piece.
16. Have students turn to page 5 and look at measures 68- 77. Point out the movement in the notes and how it could parallel the
movement of water from a fountain, or something flowing in the wind very elegantly, etc.
17. Students will sight read just measures 18- 23- Don don section.
18. Discuss what this German solider might be doing in this section: Dancing, flirting, etc.
19. Have them parallel this movement with their sound and notes.
20. If time allows, speak the text for the first line and have students repeat after you- Matona, mia cara, Mi follere canzon.
21. Wrap up and overview terms from worksheet, the essential questions, and the importance of connecting the notes to the text to not
only sell the story, but to also express what the composers intended for a secular, Madrigal piece.

From: Wiggins, Grant and J. Mc Tighe. (1998). Understanding by Design, Association for Supervision and Curriculum Development
ISBN # 0-87120-313-8 (ppk)
UbD- Lesson Plan 2

Title of Unit
Curriculum Area
Developed By

Expression: Reading Notes and Connecting

Grade Level
the Meaning of the Text.
Music- Chamber Choir
Time Frame
Sharon Cho
Identify Desired Results (Stage 1)

10th, 11th, and 12th grade

15 minutes

Content Standards
Illinois Learning Standards for the Fine Arts:
25.A.5 Analyze and evaluate student and professional works for how aesthetic qualities are used to convey intent, expressive ideas and/or
meaning.
26.B.5 Create and perform a complex work of art using a variety of techniques, technologies and resources and independent decision
making.
27.B.4a Analyze and classify the distinguishing characteristics of historical and contemporary art works by style, period and culture.
National Standards for Music Education:
1. Singing, alone and with others, a varied repertoire of music.
5. Reading and notating music
6. Listening to, analyzing, and describing music.
7. Evaluating music and music performances.
9. Understanding music in relation to history and culture.
Understandings
Overarching Understanding
4. Students will review terms from Day 1: Secular Music,
Madrigal, Word Painting, Downbeat, Crescendo, Word Stress,
and Legato.
5. How to analyze music beyond the ink using the text.
6. Students will understand how to express and tell a story
through the understanding of the text, use of dynamics, word
stress, legato and staccato singing, overall phrasing, and
terms from their Introduction sheet.
Related Misconceptions

Essential Questions
Overarching
What can we do with the notes
to tell a story of this German
soldier pining for this lovely
Maiden?
After understanding the
translation, what is the overall
mood of the piece?
How is Word Painting useful
when telling a story?

Topical
What is the difference between
the verses and the Don Don
sections?
How can we contrast these
sections beyond what is written?
How can we use dynamic
contrast to parallel the above
statement?
What can we do with our

A singer must only sing and perform what is inked on the

score.
The text and notes should be worked on as individual ideas.

Knowledge
Students will know

How can Dynamics parallel an

emotion?

breaths to allow the word

stresses to come through?

Skills
Students will be able to

1. The definitions for Secular Music, Madrigal, Word Painting,

Downbeat, Crescendo, Word Stress, and Legato.
2. Why the word stresses are in the incorrect spots.
3. The meaning and story behind this piece.
4. How to analyze and listen to notes in relation to the text.
5. The style and sound of a Secular, Madrigal piece.

1. Analyze, perform, and create a parallel between the notes

and text of Matona, mia cara.
2. By decoding the text and listening to the movement of the
notes through singing, students will compare and
understand the relationship between the notes and text.
3. Incorporate Dynamics, legato and staccato notes to bring
the text to life.
4. Listen throughout the room, beyond their section, to create
a blend and tell the story as one person with one idea.
5. Understand the importance of how the notes are written.
6. Not only execute a contrast between the legato and
staccato section, but visualize why we do this.

Assessment Evidence (Stage 2)

Informal assessment will be done through verbal feedback:
Students will answer the Essential Questions throughout the lesson.
Informal assessment will be done through verbal feedback when the singers read through the first and second verse.
In addition, immediate feedback will be given through vocal modeling, comments, or conducting.
Other Evidence:
Students will write any extra notes and comments in their music. Students may also wish to take out their Introduction sheets and mark
comments in there as well.
Learning Plan (Stage 3)
Learning Activity in order:

1. Take out Matona mia cara.

2. Review why Lassus had placed the wrong stressors on the downbeats throughout the piece.
3. Speak the text for the first verse we reviewed from Day 1. Keep in mind, the tall vowels and jaw hole technique we do for warm ups.
(jaw hole- putting a finger where the chin and ear meet. When opening the mouth tall enough, you will feel the space where your
jaw unhinges.)
4. Review the meaning and story behind the text: German Mercenary soldier swooning a lovely maiden.
5. Lead the singers into reviewing the notes from Day 1: verse 1. Remind students as needed about good technique.
6. Listen for dynamics and remind singers of the parallel between the notes and text.
7. Repeat phrases as needed to solidify notes and dynamics. Focus on individual parts and overall blend of the ensemble. Remind the
singers to listen throughout the room to other sections. Be one soldier, not an army.
8. Go onto verse 2: speak text in rhythm and have the students repeat after.
9. Model notes as needed to solidify sections.
10. Introduce students to the context of the second verse: The soldier is bragging how great he is singing to the lovely lady. What does
this mean in terms of execution of notes? What is the dynamic?
11. Speak the text of the second half of the second verse and have the students repeat after model. If the students struggle with their
individual rhythms here have them speak the text on staccato, separate the parts by Altos/ Tenors and Sopranos/ Basses.
12. Remind the singers that the purpose of this section is to brag, be confident, and profess an interest to this lovely lady.
13. Run through verse 1 and 2, cleaning and listening for the correct rhythms, notes, dynamics, articulations, breath support, and blend.
14. Review the purpose for the word stress, dynamics and the relation it has to the text and meaning.

From: Wiggins, Grant and J. Mc Tighe. (1998). Understanding by Design, Association for Supervision and Curriculum Development
ISBN # 0-87120-313-8 (ppk)

UbD- Lesson Plan 3

Title of Unit
Curriculum Area

Expression: Connecting the Meaning of the

Text through Dynamics and Identifying Word
Stress
Music- Chamber Choir

Grade Level

10th, 11th, and 12th grade

Time Frame

7 minutes

Developed By

Sharon Cho
Identify Desired Results (Stage 1)

Content Standards
Illinois Learning Standards for the Fine Arts:
25.A.5 Analyze and evaluate student and professional works for how aesthetic qualities are used to convey intent, expressive ideas and/or
meaning.
26.B.5 Create and perform a complex work of art using a variety of techniques, technologies and resources and independent decision
making.
27.B.4a Analyze and classify the distinguishing characteristics of historical and contemporary art works by style, period and culture.
National Standards for Music Education:
1. Singing, alone and with others, a varied repertoire of music.
5. Reading and notating music
6. Listening to, analyzing, and describing music.
7. Evaluating music and music performances.
9. Understanding music in relation to history and culture.
Understandings
Overarching Understanding
7. Students will review the purpose for and placement of different
Dynamics and Word Stresses from Day 2.
8. How to listen to other parts and analyze music beyond the ink.
9. Students will understand how to express and tell a story
through the understanding of the text, use of dynamics, word
stress, legato and staccato singing, overall phrasing, and
terms from their Introduction sheet.
Related Misconceptions

A singer must only sing and perform what is inked on the

score.
The text and notes should be worked on as individual ideas.
Quiet means to sing softer using smaller mouth shapes and
less air, while louder means to push through more air and open

Essential Questions
Overarching
Think about the word, modesty.
If you were to give it a dynamic,
which one would it be? Why?
After understanding the
translation, what is the mood
between the first, second, and
third verse?
What is constant, and what
changes? A feeling? An action?
How is Word Painting useful
when telling a story?
How can Dynamics parallel an
emotion?

Topical
When comparing the translation
of verse 2 and the third verse
we are singing, what is the
difference? (Confidence versus
Modesty)
How can we show contrast in
these two verses through
dynamics, word stress, legato
and staccato singing, and
overall breath support and
phrasing?
Should the mouth shape change
when we execute different
dynamics?

up wider.
What is the importance of
stressing the words as written
as opposed to how you would
say it?
Skills
Students will be able to

Knowledge
Students will know
1. The definitions for Secular Music, Madrigal, Word Painting,
Downbeat, Crescendo, Word Stress, and Legato.
2. Why the word stresses are in the incorrect spots.
3. The meaning and story behind verses 1, 2 and 3.
4. How to analyze and listen to notes in relation to the text.
5. The style and sound of a Secular, Madrigal piece.
6. How to execute a tall, proper vowel sound.

What changes when performing

different dynamics?

1. Discuss and answer essential questions using the

Academic Language from their Introduction worksheet, as
well as scaffold their learning to understand similar terms.
2. Analyze, perform, and create a parallel between the notes
and text of Matona, mia cara.
3. By decoding the text and listening to the movement of the
notes through singing, students will compare and
understand the relationship between the notes and text.
4. Incorporate Dynamics, know when to sing legato, or
staccato, and accentuate the proper syllables to tell this
story.
5. Listen throughout the room, beyond their section, to create
a blend and tell the story as one person with one idea.
6. Understand the importance of how the notes are written.
7. Not only execute a contrast between the legato and
staccato section, but visualize why we do this.

Assessment Evidence (Stage 2)

Informal assessment will be done through verbal feedback:
Students will answer the Essential Questions throughout the lesson.
Informal assessment will be done through verbal feedback when the singers read through the first and second verse, as well as I Am Not
Yours.
In addition, immediate feedback will be given through vocal modeling, comments, or conducting.
Other Evidence:
Students will write any extra notes and comments in their music. Students may also wish to take out their Introduction sheets and mark
comments in there as well. Students will also demonstrate their memory from reviewing the Matona mia cara sections, as well as I Am Not

Yours.
Learning Plan (Stage 3)
Learning Activity in order:
1. Take out Matona mia cara.
2. Review why Lassus had placed the wrong stressors on the downbeats throughout the piece.
3. Go over cuts and have students mark up their music: breath marks, dynamics, and tricky entrances.
4. Discuss different ways to improve each element discussed in class: Dynamics, Rhythm, Notes, Text, and overall Performance. We
learn how to take deep breaths, how to use our diaphragm to help execute the different dynamics, that singing softly does not mean
to hold back air or sing with a smaller shape, the jaw hold technique to enforce good habit and proper vowel sounds, marking help in
music like starting pitch of the next page for tricky page turns, writing in the beats, or intervals, what the text means, etc.
5. Sing through verse 1, Don Don section and verse 2.
6. Clean sections and overall sound as needed, using the elements discussed above and how to better the sound.
7. Sing all the way through I Am Not Yours- Randall Stroope. Not fixing notes, or rhythms today.
8. Though I Am Not Yours is not a Madrigal, or a piece from the Renaissance, there are markings for Dynamics, Word Painting
instances throughout the piece, as well as accents for Word Stresses in sections. There are many parallels from what we learned in
Matona mia cara that can be executed for this piece as well.
9. Discuss the importance of connecting the text to the notes and how the emotion is told through it.
10. Wrap up class and leave with discussing the essential questions.

From: Wiggins, Grant and J. Mc Tighe. (1998). Understanding by Design, Association for Supervision and Curriculum Development
ISBN # 0-87120-313-8 (ppk)

UbD- Lesson Plan 4

Title of Unit
Curriculum Area
Developed By
Content Standards

Expression: Analyzing and Expressing

Grade Level
Music- Chamber Choir
Time Frame
Sharon Cho
Identify Desired Results (Stage 1)

10th, 11th, and 12th grade

10 minutes

Illinois Learning Standards for the Fine Arts:

25.A.5 Analyze and evaluate student and professional works for how aesthetic qualities are used to convey intent, expressive ideas and/or
meaning.
26.B.5 Create and perform a complex work of art using a variety of techniques, technologies and resources and independent decision
making.
27.B.4a Analyze and classify the distinguishing characteristics of historical and contemporary art works by style, period and culture.
National Standards for Music Education:
1. Singing, alone and with others, a varied repertoire of music.
5. Reading and notating music
6. Listening to, analyzing, and describing music.
7. Evaluating music and music performances.
9. Understanding music in relation to history and culture.
Understandings
Overarching Understanding
10. Each performance may differ in execution.
11. How to listen to other performances, analyze, and reflect how
to better our sound.
12. Students will understand how to express and tell a story
through the understanding of the text, use of dynamics, word
stress, legato and staccato singing, overall phrasing, and
terms from their Introduction sheet.
13. Students will begin to familiarize the elements discussed in
class to discuss essential questions.
Related Misconceptions

The ensemble must sing what is inked on the score.

The text and notes should be worked on as individual ideas.
Quiet means to sing softer using smaller mouth shapes and
less air, while louder means to push through more air and open
up wider.

Essential Questions
Overarching
What can we benefit from
listening to other performances?

Topical
What positive things can we
take away from the NPR video?

How should we reflect other

people's performances?

How were the singers in the

video able to tell us the story?
(Facial Expressions, Dynamics,
clean distinction between the
short and legato sections, Word
Stresses all in the correct spots
and exaggerated, etc.)

Should we reflect our own

singing? How can we do this?
What can we learn from doing
this?

Knowledge
Students will know

Skills
Students will be able to

1. The definitions for Secular Music, Madrigal, Word Painting,

Downbeat, Crescendo, Word Stress, and Legato.
2. Why the word stresses are in the incorrect spots.
3. The meaning and story behind verses 1, 2 and 3.
4. How to analyze and listen to notes in relation to the text.
5. The style and sound of a Secular, Madrigal piece.
6. How to execute a tall, proper vowel sound.
7. How to listen to another performance to better the individual
and ensemble sound.

1. Discuss and answer essential questions using the

Academic Language from their Introduction worksheet, as
well as scaffold their learning to understand similar terms.
2. Analyze, perform, and create a parallel between the notes
and text of Matona, mia cara.
3. By decoding the text and listening to the movement of the
notes through singing, students will compare and
understand the relationship between the notes and text.
4. Incorporate Dynamics, know when to sing legato, or
staccato, and accentuate the proper syllables to tell this
story.
5. Listen throughout the room, beyond their section, to create
a blend and tell the story as one person with one idea.
6. Understand the importance of how the notes are written.
7. Not only execute a contrast between the legato and
staccato section, but visualize why we do this.
8. Listen and analyze a performance to better the sound of the
ensemble.
9. Put together the piece in its' entirety for it to be cleaned on
the final day.

Assessment Evidence (Stage 2)

Informal assessment will be done through verbal feedback:
Students will answer the Essential Questions throughout the lesson.
Informal assessment will be done through verbal feedback when the singers read through the first to third verse.
In addition, immediate feedback will be given through vocal modeling, comments, or conducting.
Other Evidence:
Students will write any extra notes and comments in their music. Students may also wish to take out their Introduction sheets and mark
comments in there as well. Students will also be providing vocal feedback and commentary through the discussion portion after the video.
Learning Plan (Stage 3)

Learning Activity in order:

1. Warm up the choir: Lip buzzing up to a fifth and back down, sliding and hitting each note, then lip buzzing up to a fifth and dropping
the jaw into an ah for the way back down. Reinforce tall vowels and the jaw hole technique through the 5th exercise, buzz buzz ah
ah.
2. Singers will be asked to find a fourth from a given pitch in their heads then sing fa-fa-fa-do-re-mi-fa on the syllable, Don. Move up
the scale in half steps, having them find fa without the help of a piano. Encourage students and identify proper tall vowels and remind
students of the short and bouncy feel this section must have. Have the singers sing it legato to compare.
3. Transition into watching a video/ recording of Matona mia cara.
4. After watching, students will be asked what the ensemble did well using the elements discussed on previous days: Dynamics, Word
Stress, Legato and Staccato section, Rhythms, Notes, etc.
5. Discuss essential questions and how we can use this analysis of their performance into our own.
6. Run through Matona mia cara from beginning unto the third verse.
7. Discuss different ways to improve each element discussed in class: Dynamics, Rhythm, Notes, Text, and overall Performance. We
learn how to take deep breaths, how to use our diaphragm to help execute the different dynamics, that singing softly does not mean
to hold back air or sing with a smaller shape, the jaw hold technique to enforce good habit and proper vowel sounds, marking help in
music like starting pitch of the next page for tricky page turns, writing in the beats, or intervals, what the text means, etc.
8. Have students mark the cuts for the ending. (From verse 3 into the last Don Dons)
9. Run through the last verse and ending.
10. Clean sections and overall sound as needed, using the elements discussed above and how to better the sound.
11. Discuss the importance of connecting all of the discussed elements to execute a great sound.
12. Wrap up class and leave with discussing the essential questions.

From: Wiggins, Grant and J. Mc Tighe. (1998). Understanding by Design, Association for Supervision and Curriculum Development
ISBN # 0-87120-313-8 (ppk)

UbD- Lesson Plan 5

Title of Unit
Curriculum Area
Developed By

Expression: Performance, Recording, and

the Elements
Music- Chamber Choir
Sharon Cho

Grade Level

10th, 11th, and 12th grade

Time Frame

10 minutes

Identify Desired Results (Stage 1)

Content Standards
Illinois Learning Standards for the Fine Arts:
25.A.5 Analyze and evaluate student and professional works for how aesthetic qualities are used to convey intent, expressive ideas and/or
meaning.
26.B.5 Create and perform a complex work of art using a variety of techniques, technologies and resources and independent decision
making.
27.B.4a Analyze and classify the distinguishing characteristics of historical and contemporary art works by style, period and culture.
National Standards for Music Education:
1. Singing, alone and with others, a varied repertoire of music.
5. Reading and notating music
6. Listening to, analyzing, and describing music.
7. Evaluating music and music performances.
9. Understanding music in relation to history and culture.
Understandings
Overarching Understanding
14. A great sound can be executed through the combination of all
of the elements.
15. How to listen to the ensemble and sections to better the overall
sound.
16. How to listen to music in a different way
17. Recording and reflecting on the individual and class sound is
important for the development of the ensemble.
Related Misconceptions

The ensemble must sing what is inked on the score.

The text and notes should be worked on as individual ideas.
Quiet means to sing softer using smaller mouth shapes and
less air, while louder means to push through more air and open
up wider.
You can not tell a story without words.

Essential Questions
Overarching
What can we benefit from
listening to other performances?
To our own?

Topical
List the elements we should be
focusing on when rehearsing
and recording the piece.

What can we gain from

reflecting our own
performances?

What things can we take from

the recording/ video from day 4?

Should we reflect our own

singing?
How can we implement what we
analyze to our rehearsals and
practice?
Can you record and practice at
home?

What are some breathing

techniques we can think about
when starting each phrase?
How should you pronounce the
vowels in Matona mia cara?
Does it change for I Am Not
Yours?

Knowledge
Students will know

Skills
Students will be able to

1. The definitions for Secular Music, Madrigal, Word Painting,

Downbeat, Crescendo, Word Stress, and Legato.
2. Why the word stresses are in the incorrect spots.
3. The meaning and story behind verses 1, 2 and 3.
4. How to analyze and listen to notes in relation to the text.
5. The style and sound of a Secular, Madrigal piece.
6. How to execute a tall, proper vowel sound.
7. How to listen to another performance to better the individual
and ensemble sound.
8. How to prepare their breaths and mouth for the starts of each
phrase.
9. How to take this week's learnings of the elements and
implement them in own singing.

1. Discuss and answer essential questions using the

Academic Language from their Introduction worksheet, as
well as scaffold their learning to understand similar terms.
2. Analyze, perform, and create a parallel between the notes
and text of Matona, mia cara.
3. By decoding the text and listening to the movement of the
notes through singing, students will compare and
understand the relationship between the notes and text.
4. Incorporate Dynamics, know when to sing legato, or
staccato, and accentuate the proper syllables to tell this
story.
5. Listen throughout the room, beyond their section, to create
a blend and tell the story as one person with one idea.
6. Understand the importance of how the notes are written.
7. Not only execute a contrast between the legato and
staccato section, but visualize why we do this.
8. Listen and analyze a performance to better the sound of the
ensemble.
9. Listen to their own recording and critique the performance
based on the elements and example from day 4.
10. Take the recording, analyze it, and figure out solutions to
overcome the trouble spots.
11. Create an overall reflection of their music learning.
12. Take new music and analyze it using context from the text,
rhythms, and notes.
13. Use academic language to respond to their assessment
sheet.
Assessment Evidence (Stage 2)

Formal assessment will be done through Assessment sheets.

Informal assessment will be given through verbal feedback when discussing the essential questions.
Informal assessment will be done through verbal feedback when the singers sing through I Am Not Yours after the recording and
assessment. In addition, immediate feedback will be given through vocal modeling, comments, or conducting.

Learning Plan (Stage 3)

Learning Activity in order:
1. Students will run through Matona mia cara straight through without any stops.
2. We will review the Essential Questions and go through the elements.
3. I will hand out the Assessment sheet and Rubric plus explain how it will be graded. (Two grades based on participation and the
elements- 4 point scale)
4. Students will be given time to mark up their scores before the recording session to insure success.
5. Singers will run through Matona mia cara and will be recorded using a Zoom pointed at the ensemble.
6. Zoom will be hooked up to the computer and getting ready to play while I discuss what to listen for and remind them of how we
evaluated the recording from Day 4.
7. I will play back the recording using the Smart Board system and computer while students will write in their Assessment worksheets
and fill in questions.
8. I will collect the worksheets and the class and I will discuss the few things they had written in there and what their solutions were.
9. Singers will be asked to take out I Am Not Yours.
10. I will run through the entire piece, stopping as necessary to correct entrances, dynamics, word stress, legato and accented sections,
plus any other element discussed this week while running Matona mia cara.
11. I will ask the students to conduct themselves through the legato section into the accented section, Oh plunge me deep in love.
Students may opt to conduct the pattern, a shape, the dynamic, punch- for accents, etc.
12. Students will perform the same section only using their bodies- notes will be sung in their heads.
13. Students will put all thoughts together and sing the notes paralleling the movement and conducting they had just done.
14. Discuss the meaning of the piece and how the notes and dynamics play a part throughout this piece.
15. Wrap up segment by discussing the parallels we see in both Matona mia cara and in I Am Not Yours.

From: Wiggins, Grant and J. Mc Tighe. (1998). Understanding by Design, Association for Supervision and Curriculum Development
ISBN # 0-87120-313-8 (ppk)