Middle School Choir

Pennsylvania Academic Standards for Arts and Humanities:

• 9.1.8.A Know and use the elements and principles of each art form to create works in the arts and humanities.
• 9.1.8.B Recognize, know, use and demonstrate a variety of appropriate arts elements and principles to produce, review, and revise original works in the arts.
• 9.1.8.C Identify and use comprehensive vocabulary within each of the arts forms.
• 9.1.8.G Explain the function and benefits of rehearsal and practice sessions.

National Core Arts Standards:

• MU:Pr6.1.7b Demonstrate performance decorum (such as stage presence, attire, and behavior) and audience etiquette appropriate for venue, purpose, and context.

• Students will know the elements and conventions of musical notation in choral literature.
• Students will know the Solfege tone ladder.
• Students will know appropriate rehearsal etiquette.
• Students will know compound meter in duple and triple subdivisions.
• Students will know proper voice production, breath control, and support.

• Students will know proper breath control, voice production, and support and how these aspects affect ensemble quality.
• Students will know how to manipulate, through vocal performance, the elements and conventions of musical notation in choral literature.
• Students will know how to use the solfege tone ladder to enhance musical accountability with regard to sight-reading simple melodic lines.

• Students will demonstrate sight-reading using Do, Re, Mi, Fa, Sol, La, Ti, Do in unison.
• Students will be able to demonstrate proper breath control, voice production, and support to enhance the overall quality of the choral ensemble.
• Students will be able to manipulate, through vocal performance, the elements and conventions of musical notation in choral literature.
• Students will be able to sight-read selections at their reading level, using the solfege tone ladder (7th grade with movable DO, and 8th grade with key signatures).
• Students will demonstrate this understanding of the musical markings in their repertoire and will demonstrate it while performing/practicing.

• How can knowledge of the solfege tone ladder help us to sight-read choral music?
• How is a melody created?
• What is the difference between melody and harmony?
• Can solfege knowledge help students enhance their musical accountability?
   

• Using solfege can the students sing a major scale in tune?
• Given a starting syllable on a staff, can the students identify the correct solfege syllables on a simple melodic line and sing it with accurate rhythms and pitches?
• Using a key signature (8th grade choir), can the students give the starting solfege pitch based on the key signature?
• Can students give the correct solfege syllables in a simple melodic line and sing them with accurate rhythms and pitches?
   

• The Jenson Sight Singing Course (Book 1) by Bauguess (c. 1984)
• Solfege Tone Ladder
• Schoology Resource Folder
   

• Scales
• Major
• Minor
• Ear-Training
• Pitch
• Melody
• Breathing 
• Phrasing

• Written Assessment: Constructed Response Quiz
• Performance: Oral Sight Singing Assessment
• Formative Assessment: Teacher Observation
   

Pennsylvania Academic Standards for Arts and Humanities:

• 9.1.8.A Know and use the elements and principles of each art form to create works in the arts and humanities.
• 9.1.8.B Recognize, know, use and demonstrate a variety of appropriate arts elements and principles to produce, review, and revise original works in the arts.
• 9.1.8.D Demonstrate knowledge of at least two styles within each art form through performance or exhibition of unique works.
• 9.1.8.G Explain the function and benefits of rehearsal and practice sessions.

National Core Arts Standards:

• MU:Pr6.1.7a Perform the music with technical accuracy and stylistic expression to convey the creator’s intent.
• MU:Pr6.1.7b Demonstrate performance decorum (such as stage presence, attire, and behavior) and audience etiquette appropriate for venue, purpose, and context.

• Students will know the fundamental connection between the conductor/director and the choir team.
• Students will know how to get their musical cues from the conductor.
• Students will understand “appropriate vocal technique”.

• Students will know why the relationship between the conductor, musical cues, and choir is important to the integrity and quality of the repertoire and performance.
• Students will know components of appropriate vocal technique.
• Students will know how to practice and implement appropriate vocal technique.
• Students will know the difference between appropriate and inappropriate rehearsal etiquette. 
   

• Students will be able to demonstrate the ability to perform music using proper technique.
• Students will be able to follow musical instructions using the conductor as a further guide for interpretation.
• Students will demonstrate proper breathing and posture.
• Students will be able to demonstrate appropriate rehearsal etiquette.
• Students will be able to demonstrate appropriate vocal technique.

• What are components of appropriate vocal technique?
• What is appropriate rehearsal etiquette?
   

• Are students able to demonstrate appropriate vocal technique?
• Are students able to demonstrate appropriate rehearsal etiquette?

• The Choral Warm-Up Collection by Albrecht
• Tongue Twisters A-Z by Brian Kane (c. 2005)
• Various musical choral scores (2-3 part)
• Selected repertoire varying from year to year, from various publishing companies like JW Pepper
   

• Breathing
• Posture
• Tone
• Diction
• Expression 
• Dynamics

• Performance: Concert Evaluation
• Formative Assessment: Teacher Observation

Pennsylvania Academic Standards for Arts and Humanities:

• 9.1.8.C Identify and use comprehensive vocabulary within each of the arts forms.
• 9.1.8.D Demonstrate knowledge of at least two styles within each art form through performance or exhibition of unique works.
• 9.2.8.E Analyze how historical events and culture impact forms, techniques, and purpose of works in the arts.
• 9.2.8.J Identify, explain, and analyze historical and cultural differences as they relate to works in the arts.

National Core Arts Standards:

• MU:Pr4.2.7b When analyzing selected music, read and identify by name or function standard symbols for rhythm, pitch articulation, dynamics, tempo, and form.
• MU:Pr4.2.8c Identify how cultural and historical context inform performances and result in different musical effects.
• MU:Pr4.3.8a Perform contrasting pieces of music, demonstrating as well as exploring how the music’s intent is conveyed by their interpretations of the elements of music and expressive qualities (such as dynamics, tempo, timbre, articulation/style, and phrasing).
• MU:Pr5.1.7a Identify and apply collaboratively-developed criteria (such as demonstrating correct interpretation of notation, technical skill of performer, originality, emotional impact, and interest) to rehearse, refine, and determine when the music is ready to perform.
• MU:Pr6.1.7a Perform the music with technical accuracy and stylistic expression to convey the creator’s intent.

• The students will know appropriate articulation of choral literature based on directed interpretation.
• The students will know techniques to help increase proper breath support, control, and voice production.
• The students will know differences in choral literature as they pertain to cultural, historical, stylistic/genre, and expressive components.
• The students will know elements of musical notation (including vocabulary) in choral literature and what they mean/represent.
• The students will know pitch matching skills.

• The students will know how the historical, cultural, style/genre, expressive context of choral repertoire can differ.
• The students will know how to demonstrate proper voice production, breath control, and support and its effect on ensemble quality.
• The students will know the techniques used to develop pitch matching and listening skills.
• The students will know how to manipulate, through vocal performance, the elements and conventions of musical notation in choral literature.

• Students will be able to perform choral music in up to three parts.
• Students will be able to demonstrate an understanding of musical terminology in choral literature.
• Students will be able to demonstrate and understand proper voice production, breath control, and support.
• Students will be able to perform ensemble literature in at least two public performances, as a realization of the study of choral literature.
• Students will be able to manipulate the elements of musical notation, as it differs in each piece, through vocal performance.

• What components contribute to appropriate articulation of choral literature based on the directed interpretation? (Including but not limited to: stylistic, historical, cultural, and expressive means)
• How do we know a selection is performance ready?
• How does proper breath support, control, and voice production of individuals help contribute to a choral ensemble?

• How do we demonstrate appropriate articulation of choral literature based on directed interpretation? (Including but not limited to: stylistic, historical, cultural, and expressive means)
• How do we know that our studied choral literature is ready for a public performance?
• What are techniques of proper breath support?
• How does articulation of choral literature differ across musical works of various genres/styles, cultures, historical periods, and expressive means?
   

• CYMS Choral Library
• Various musical choral scores (2-3 part)
• Selected repertoire varying from year to year, various publishing companies like JW Pepper

• Interpretation
• Style
• Musical Terms/Vocabulary (forte, crescendo, allegro, vivace, staccato, etc.)
• Genre
• Historical Context
• Expression
• Phrasing
• Balance
• Articulation

• Performance Assessment: Choral Concert Performance
• Performance: Concert Evaluation
• Formative Assessment: Teacher Observation

Pennsylvania Academic Standards for Arts and Humanities:

• 9.1.8.D Demonstrate knowledge of at least two styles within each art form through performance or exhibition of unique works.
• 9.3.8.C Identify and classify styles, forms, types, and genre within art forms.
• 9.3.8.D Evaluate works in the arts and humanities using a complex vocabulary of critical response.

National Core Arts Standards:

• MU:Pr4.2.8c Identify how cultural and historical context inform performances and result in different musical effects.
• MU:Re7.2.7b Identify and compare the context of music from a variety of genres, cultures, and historical periods.
• MU:Re8.1.7a Describe a personal interpretation of contrasting works and explain how creators’ and performers’ application of the elements of music and expressive qualities, within genres, cultures, and historical periods, convey expressive intent.

• The students will know techniques for pitch matching and aural skills.
• The students will know how to achieve ensemble blend and balance in ensemble settings.
• The students will know how to evaluate and appropriately critique musical performances of at least two different styles (live or recorded).
• The students will know the importance and value of listening in an ensemble setting.
• The students will know musical elements that can be identified in a musical performance through listening.

• The students will know how to appropriately match pitch in an ensemble setting.
• The students will know what role listening plays in a vocal ensemble.
• The students will know how to evaluate and appropriately critique musical performances of at least two various styles (live or recorded).
• The students will know that, when appropriately articulated in a musical performance, music elements can be identified through listening alone.
• The students will know how ensemble blend and balance can increase or decrease the quality of the musical performance.

• Students will demonstrate an understanding of how important listening is in a vocal ensemble to the quality of the performance.
• Students will demonstrate their ability to appropriately match pitch in an ensemble setting.
• Students will be able to appropriately evaluate and critique a musical performance (live or recorded).
• Students will demonstrate their ability to identify various musical elements through listening (blend/balance, pitch, tempo changes, dynamics, expressive elements, etc.).

• What elements can be identified in a musical performance through listening?
• What techniques can be used to help with matching pitch in an ensemble?
   

• Through listening (live or recorded), are students able to appropriately recognize stylistic and expressive interpretation of selected repertoire?
• How does a lack of vocal balance and matched pitch take away from a musical performance?
   

• Various recordings (live or canned)
• Various musical choral scores (2-3 part)
• Selected repertoire varying from year to year, various publishing companies like JW Pepper

• Interpretation
• Diction
• Listening
• Dynamics
• Musicality
• Breath Support
• Tone

• Verbal Assessment of Aural Skills
• Listening Critique: Constructed Verbal Response 
• Formative Assessment: Teacher Observation

Pennsylvania Academic Standards for Arts and Humanities:

• 9.2.8.D Analyze a work of art from its historical and cultural perspective.
• 9.3.8.B Analyze and interpret specific characteristics of works in the arts within each art form.
• 9.3.8.C Identify and classify styles, forms, types, and genre within art forms.
• 9.3.8.D Evaluate works in the arts and humanities using a complex vocabulary of critical response.

National Core Arts Standards:

• MU:Pr4.2.8a Compare the structure of contrasting pieces of music selected for performance, explaining how the elements of music are used in each.
• MU:Re9.1.7a Select from teacher-provided criteria to evaluate musical works or performances.

• The students will know the solfege tone ladder.
• The students will know how to find voice part locations in music.
• The students will know music terminology (e.g. dynamics, staccato, repeat, measure, beat, time signature, etc.).
• The students will know open vowels.
• The students will know the components involved in the physicality of singing. 
• The students will know proper breathing techniques for choir/singing.
• The students will know how to evaluate and critique musical performances.
   

• The students will know how to use the solfege tone ladder for sight-reading vocal music.
• The students will understand that sheet music is an instruction that tells us how music is to be performed: counted, verbalized, articulated, etc.
• The students will know how to use music terminology to help us increase the quality of our performance and understanding of the music.
• The students will know how the body and the use of open vowels can increase the quality of pitch and breathing.
• The students will know what muscles are used for singing and proper ensemble breathing (e.g. diaphragm).
• The students will know how to appropriately evaluate and critique musical performances (live or recorded).

• Students will be able to demonstrate knowledge of their vocal part.
• Students will be able to sight-read selections at their reading level, using the solfege tone ladder (7th grade with moveable DO, and 8th grade with key signatures).
• Students will demonstrate an understanding of the musical markings in their repertoire and will demonstrate it while performing/practicing.
• Students will utilize their sheet music and use it to help them perform (rather than relying on rote learning only).
• Students will be able to appropriately evaluate a musical performance (self or peer), which could include its historical or cultural perspective.

• What should be considered when completing a self-evaluation of a performance?
• What are the appropriate terms to utilize and consider when self-evaluating a performance?
• How do you evaluate aesthetic response and artistic choice in a performance (self or peer)?
• How do we judge the quality of musical works and performances and use that knowledge to improve our own performances?
• How can group feedback help to increase the quality of individual voices within the group?

• Are students able to develop a constructive critique of a musical performance (live or recorded), for the sole purpose of increasing the quality of their ensemble?
• Are students able to demonstrate that they have learned their individual voice part in regard to pitch, rhythm, phrasing, enunciation, and overall musicality?
• What are the types of music symbols and technique markings that we have written into our selected repertoire?  How are they showcased in our sheet music?  What do they mean?  (dynamics, articulation, endings, repeats).
• Why is phrasing important in a choir setting?  What can concepts like staggered breathing do to help the quality of the ensemble’s phrasing?
• Why is enunciation/diction important in a choir?  How does it differ from genre to genre (Jazz vs Classical vs Pop)?
• What are students able to take from the group feedback, to demonstrate their understanding of their own individual part?
   

• Various performances (live and recorded)
• Various musical choral scores (mostly 3-part; on occasion, 7th grade may use 2-part and 8th grade 4-part)
• Selected repertoire from year to year, from various publishing companies such as JW Pepper
   

• Evaluation
• Critical Analysis
• Phrasing 
• Diction
• Enunciation
• Pitch
• Dynamics
• Blend 

• Aural Evaluation
• Summative Choir Concert Singing Vocal Evaluation (2x a year)
• Formative Sight Singing Evaluation (2x a year)