Page 182 - The Ontario Curriculum, Grades 11 and 12: The Arts, 2010

Grade 12, University/College Preparation
C3. Conventions and Responsible Practices
THE ONTARIO CURRICULUM, GRADES 11 AND 12 | The Arts
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C2.2 analyse, on the basis of in-depth research, and report on the characteristics of and ideas in a variety of forms of traditional and contempo- rary music, including Aboriginal music, from Canada and around the world (e.g., the charac- teristics of serial music, in contrast to those of traditional Western tonal music; the characteristics of Cajun music from Louisiana and Acadian music from Maritime Canada; the use of the didgeridoo in Aboriginal music in Australia; the ideas in traditional Russian ballads)
Teacher prompts: “What are some of the ideas expressed in the contemporary music that you listen to? How are these ideas different from those in popular music of the 1960s?” “What characteristics do Cajun and Acadian music share? How can you account for the similarities?”
By the end of this course, students will:
C3.1 demonstrate an understanding of perform- ance-related injuries connected to the field of music and ways of minimizing such injuries (e.g., the impact on the auditory system of repeated exposure to loud sound; injuries that can result from poor posture, playing position, or technique; the purpose of various types of protective or ergonomic equipment)
Teacher prompt: “What types of repetitive strain injuries are a concern for musicians? What can be done to reduce their incidence?”
C3.2 extend their understanding of conventions associated with various types of musical per- formances, from the perspective of performers and audience members (e.g., the set-up of and responsibilities in a symphony orchestra; the use of surtitles at operas; how musical genres such as jazz or punk rock challenged traditional musical conventions)
C3.3 demonstrate an understanding of legal and ethical practices with respect to both consumers and producers of music, with a particular emphasis on the recording industry (e.g., the function of the Canadian Musical Reproduction Rights Agency [CMRRA]; the methods of obtaining “mechanical licensing”; the implications of supporting musicians through legal purchase of their music as opposed to illegal file sharing)
Teacher prompt: “What agencies collect royal- ties on behalf of composers when their music is recorded for sale in Canada? How do they obtain their data?”