Page 171 - The Ontario Curriculum, Grades 11 and 12: The Arts, 2010

B2. Music and Society
By the end of this course, students will:
B2.1 identify and explain the interrelationships between traditional, commercial, and art music in specific cultures or communities (e.g., the integration of elements of traditional music from multiple cultures into commercial music in Canada; the use of Hungarian folk songs in the work of art music composers from that country)
Teacher prompts: “Who are some art music composers who have benefited from a strong folk music tradition in their culture? What impact has this tradition had on their music?” “What elements of traditional music can you identify in the music you hear around you in a typical day?”
B2.2 describe significant contributions of individ- uals, groups, or organizations within a commu- nity or culture to presentation and production aspects of traditional, commercial, and art music (e.g., how groups and individuals such as the Rolling Stones, Michael Jackson, Madonna, or Rush have contributed to the format of large-scale music concerts popular in the West; how the East Coast Music Awards provide a vehicle for and encourage musicians from Atlantic Canada; how John Hammond helped broaden the audience for African-American musicians in the 1930s; how the concepts and intent of the salon music of Schubert and his contemporaries are reflected in modern-day performance and production practices)
Teacher prompts: “What evidence do you hear of a cross-pollination of traditional, commercial, and art music in the music of Great Big Sea?” “How has the work of Andrew Lloyd Webber influenced the production and presentation of musical theatre?”
B2.3 explain the role of traditional, commercial, and/or art music in various communities or cultures (e.g., the use of commercial music in advertising; how certain urban or rural communities have been stereotyped by the music they produce or listen to; how concerts can bring together a community)
Teacher prompts: “What role has French- Canadian music played in maintaining a distinct francophone culture in Canada?”
“In what ways do musical styles and preferences define and express the concerns of various youth communities?”
B3. Skills and Personal Growth
By the end of this course, students will:
B3.1 explain how the study of music has con- tributed to their self-awareness, their values, their ability to express themselves, and their understanding of others (e.g., how exposure to the values expressed in contemporary music has shaped or reinforced their values or behaviour; how honing their performance, production, and creative skills has enabled them to express them- selves more effectively; how musical activities have contributed to their knowledge and understanding of the communities or cultures of their peers)
Teacher prompts: “What aspects of the study of music have enhanced your ability to express yourself?” “How has studying music from a variety of cultures affected your identity?”
B3.2 identify and analyse their musical production and performance skills and knowledge, and describe the steps they will take to ensure con- tinued improvements in these areas (e.g., critique their own performance from a technical or aesthetic perspective, and identify areas for improvement; reflect regularly on their rehearsal of a selection
in order to identify areas for improvement; develop and carry out a practice strategy for overcoming a performance weakness; review their contributions to group planning or production meetings, and identify how they could improve their personal input)
Teacher prompt: “What contribution have you made to ensuring the success of this production? Are there any areas you found particularly challenging and/or where you had to enlist the help of your peers? How could you improve your skills in these areas?”
B3.3 demonstrate leadership and collaborative skills when planning, promoting, producing, and performing in a variety of musical presen- tations (e.g., facilitate and participate in group planning processes; follow protocols for effective meetings; consult with the other members of their ensemble or production team, listen meaningfully, and reflect on their ideas; devise and implement innovative ideas to promote a performance)
Teacher prompts: “Why is it important to build trust when working as part of a team?” “When your ensemble is preparing for a recital, what skills are most likely to ensure success?”
REFLECTING, RESPONDING, AND ANALYSING
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Music
AMU3O