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A DESIGN FOR INTEGRATING THE MUSIC AND THE ARTS IN THE
FIFTH GRADE IN TAIWAN

By

Yu-Ting Chen

A THESIS

Submitted to
Michigan State University
in partial fulfillment of the requirements

for the degree of

MASTER OF MUSIC

Department of Music Education

2002

ABSTRACT

A DESIGN FOR INTEGRATING THE MUSIC AND THE ARTS IN THE
FIFTH GRADE IN TAIWAN
By

Yu-Ting Chen

The purpose of this research is to explore the integration of music into curricula.
The specific problem of the study is to develop a set of music lesson plans and
accompanying assessments for use in the “Arts and Humanities Domain” with the
fifth grade students in Taiwan. The design of these ten music lesson plans is based on
Gordon’s Music Learning Theory, the Arts & Humanities Domain of The Curricular
Guidelinesfm‘ a Nine-Year Joint Curricular Plan for Elementary and Junior High
Schools in Taiwan, and Snyder‘s Integration Model. In addition, a set of assessments
to evaluate students’ music achievement and integrated arts learning are designed to
accompany the plans. The expectation is that the holistic learning in this integrated
arts unit, “Exploring Taiwan,” would help students learn about Taiwan from the

different perspectives of Taiwanese vernacular music, visual art, theater, and culture.

ACKNOWLEDGMENTS

Sincere appreciation is given to Dr. Cynthia C rump Taggart. who Shared her wisdom
and expertise in the field of music education. and to the other members of my committee,
Dr. Bruce Taggart and Dr. John Kratus, for their guidance through this research. Special
thanks go to Tao-Bin Yang. Dr. Rick Townsend, Paul Schroeder, and Jean Fickett for their.
encouragement and assistance. A hearty thank to my parents and siblings for supporting
me to study in the United States. Thanks to all of the friends who helped me to

accomplish this project.

TABLE OF CONTENTS

LIST OF FIGURES ............................................................................ vii
CHAPTER 1
INTRODUCTION ................................................................................ 1
Definition of Integrated Curricula ........................................................ I
Rationale of Integrated Curricula ......................................................... 2
Music and Curricular Integration ......................................................... 6
Background ................................................................................. 7
Purpose ....................................................................................... 8
Problems ..................................................................................... 8
Organization ................................................................................. 8
Limitations .................................................................................. 8
CHAPTER 2
REVIEW OF LITERATURE ................................................................... 9
Integration Models on Integrated Curricula ............................................. 9
Jacobs’ Models ........................................................................ 9
Fogarty’s Models .................................................................... 11
The Story Model ..................................................................... 13
Integrated Models for Music ............................................................ 16
The Facets Model ................................................................... 16
Snyder’s Model ..................................................................... 18
The Four-Level Model ............................................................. 19
Existing Examples on Integrated Arts Curricula ...................................... 21
Related Research on Integration Models ............................................... 21
Summary ................................................................................... 23
CHAPTER 3
A MUSIC COURSE DESIGN IN "ARTS & HUMANITIES DOMAIN" IN THE
ELEMENTARY SCHOOLS IN TAIWAN ................................................... 24
Philosophy of Lessons .................................................................... 24

Principles ............................................................................. 24

Curricular Goals. . . . . . .. ............................................................. 26
Objectives ............................................................................ 27
Maintaining Integrity of Subject Matter ............................................... 36
Methodology-Gordon‘s Music Learning Theory ................................ 36
Learning Sequence Activities ..................................................... 43
Classroom Activities ................................................................ 45
Tonalities and Meters ............................................................... 46
Integration of Subject Matter within the Arts ......................................... 47
Summary ................................................................................... 54
CHAPTER 4
MUSIC LESSON PLANS IN "ARTS & HUMANITIES DOMAIN" IN THE
ELEMENTARY SCHOOLS IN TAIWAN .................................................. 55
Lesson Plan 1 .............................................................................. 56
Lesson Plan 2 .............................................................................. 6O
Lesson Plan 3 .............................................................................. 63
Lesson Plan 4 .............................................................................. 66
Lesson Plan 5 .............................................................................. 69
Lesson Plan 6 ............................................................................... 72
Lesson Plan 7 .............................................................................. 75
Lesson Plan 8 .............................................................................. 78
Lesson Plan 9 .............................................................................. 80
Lesson Plan IO ............................................................................ 83
Projects and Assessments ................................................................ 86
CHAPTER 5
CONCLUSIONS .............................................................................. 101
Summary ................................................................................. IOI
Conclusions .............................................................................. 101
Recommendations for Implementation ............................................... 102
Recommendation for Future Research ................................................ 103

APPENDICES

A. Map of Taiwan ....................................................................... 104
B. Music Scores of Taiwanese Songs and Listening Activities ................... 106
REFERENCES ................................................................................. 114

vi

LIST OF FIGURES

1. Real-World Web ........................................................................ I4

2. The Story Model ........................................................................ 15

vii

CHAPTER 1
INTRODUCTION

Integrating music into the general curriculum is being discussed with fervor among
music teachers world-wide. The School Music Program (MENC. 1994) affirms the value
of integration when it states that music should be integrated into the general curriculum
appropriately, and the curriculum should emphasize relationships among the arts and
relationships between the arts and other disciplines. Much has been written about arts
integration. Liora Bresler (May/June. 1995 & Sept/Oct. 1995) examined the diverse
visions and practices of arts integration in the United States, Israel, Hungary. and
Australia. There are many articles (Aaron. 1994; Campbell. 1995; Wiggins & Wiggins.
1997) and even whole issues of journals (General Music ”Ioday, Fall, 2000; Music
Educators Journal, March, 2001) that focus on the topic of integrating music with other
disciplines. In general. some educators support integrating curricula, because it invites
teachers and students to take a broader world view and implies a holistic approach to
learning and teaching; others oppose it. because it might put music in the role of serving
the rest of the curricula rather than standing on its own as a discipline (Veblen & Elliott,
2000).

Definition of Integrated Curricula

Integration is the process or the result of bringing together and identifying parts into
a whole in a higher order (English and English. 1958‘). Integrated curriculum is defined in
the Dictionary of Education as "a curriculum organization which cuts across subject-
matter lines to focus upon comprehensive life problems or broad based areas of study that

brings together the various segments of the curriculum into meaningful association”

(Good, 1973, p. 159). Another term that is often used synonymously with integrated
curriculum is interdisciplinary curriculum. Jacobs (1989. p. 8) defines interdisciplinary as
"a knowledge view and curricular approach that consciously applies methodology and
language from more than one discipline to examine a central theme, issue, problem, topic,
or experience.” Those who support curricular integration hold a strong belief that schools
must look at education as a process for developing students‘ abilities required in life.
rather than as a means of mastering discrete and departmentalized subject matter. In Short,
all of the definitions of integrated curriculum or interdisciplinary curriculum include: “a
combination of subjects. an emphasis on projects. sources that go beyond textbooks.
relationships among concepts, thematic units as organizing principles, flexible schedules,
and flexible student groupings” (Lake, 1994).
Rationale for Integrated Curricula

Many educators (Jacobs, 1989; Vars, 1991; Beane, 1997) believe that curricular
integration could help students to synthesize. rather than fragment, their understanding of
academic material as well as their lives as a whole. The interest in and the need for
curricular integration have intensified for several reasons.
1. The Growth of Knowledge

With the development of technology and the fast pace of change in society.
knowledge is being gained exponentially in all fields of study. Teachers do not have
enough time to teach each area of knowledge at school as a separate entity (Jacobs, 1989).
Jacobs (1989) suggests that educators rethink the ways in which they select the various
areas of study. Combining subjects into an interdisciplinary curriculum is a possible way

to help students integrate the newest and most valuable knowledge into their lives.

IQ

2. The Relevance of Different Disciplines

In their daily lives, persons are faced with problems and concerns that are holistic,
not out of a single discipline of knowledge (Jacobs. 1989; Beane, I997). Jacobs (1989)
considered that schools should create learning experiences that periodically demonstrate
the relationships of different disciplines in order to help students understand how
different subject areas influence their lives. It also will help them learn to solve problems
by looking at them through multiple perspectives.
3. Brain Research

Research related to how children learn supports curricular integration. Shoemaker
(1989, p. 13) states, “the human brain actively seeks patterns and searches for meaning
through these patterns.” Caine and Caine (1991) connect neuro-psychology and
educational methodologies for brain-based learning. They believe that the human brain
can process parts and wholes simultaneously and organize new knowledge on the basis of
previous experiences and meaning. They also believe that learning becomes faster and
more complete when it is presented in meaningful contexts with an experiential
component. Cromwell (1989. p. 62) states, “when we see relationships and patterns,
isolation diminishes and integration becomes meaningful." It is clear that an appropriate
learning environment suggested by brain research could be found in an integrated
curriculum approach. because the relationships among the disciplines make it easier for
the students to see patterns and connections between areas of study.

Moreover, there are several philosophical underpinnings for curricular integration as
follows:

1. Progressive and Constructive Education

DJ

The root of integration is found in the philosophy of progressive education that
flourished at the beginning of the twentieth century. The emphasis of the progressive
movement on child-centered curriculum and holistic learning promoted the idea of
integration between curricular disciplines. John Dewey (1934), an influential figure in the
development of progressive education, believed that experience in general and aesthetic
experience in particular were the basis around which education should revolve. rather
than formal and symbolic curricula. Later. constructionists advocated that everyone must
construct his/her own reality in learning. and that experience is the key to meaningful
learning. Both of these philosophies support learning from real life rather than separated—
subject and textbook-dominated school curricula. This feeds naturally into integrated
curricula, which focus on the relationship between subjects and experiential learning.

2. Multiple Intelligences

The movement toward integrated curricula has been fueled by Howard Gardner’s
discussion of Multiple Intelligences. Gardner (1995) believes that there are at least eight
intelligences. those being verbal-linguistic. logical-mathematical, spatial, bodily-
kinesthetic, musical. interpersonal. intrapersonal. and naturalist. Music. movement, and
the visual are identified as discrete and specific ways of knowing that are equivalent to
and unique from linguistic and mathematical understanding. Gardner advocates that all
intelligences are necessary for the complete development of human beings. He believes
that it is most effective to learn similar or the same material from the views of different
intelligences. which is similar to a thematic approach model of integrated curricula. Key
School, located in Indianapolis. Indiana. was the first school to implement a “Multiple

Intelligences” curriculum. Teachers in all disciplines or intelligences organize curricula

around themes. and students choose menus of intelligence-based activities to explore and
increase skills and understandings in all intelligences (Snyder, 2001 ).
3. Reimer‘s Aesthetic Philosophy in Music Education

Curricula can be integrated between the arts and other subjects as well as between
the arts themselves. Bennett Reimer. an advocate for aesthetic philosophy in music
education. states, “ All art yields experiences of feeling through the same way of sharing.
which is to perceive the conditions expressive of feeling and to react to their affective
power” (1989, p. 229). He presents three points concerning the value of multiart
approaches. which are “to make each art clearer by showing its uniqueness as contrasted
with the others. to clarify the underlying principles that make all the arts members of the
same family. and to give a broad view of each an as an individual in a family and of the
family of art as one among many” (1989, p. 230). According to Reimer, a successful
approach to arts study must preserve the integrity of each art while illustrating its nature
as a member of the arts family.
4. National Standards

The K-12 National Standards for Music Education (MENC. 1994, p. 2) in the United
States includes two references to integrating curricula. which are (1‘) Content Standard 8:
Understanding the relationships between music. the other arts. and disciplines outside the
arts; and (2) Content Standard 9: Understanding music in relation to history and culture.
Similar standards exist in other disciplines. Such a focus on curricular integration can be
found in standards outside of music as well. For example. the curricular Standards of the
National Council for the Social Studies (1994. p. xiii). includes the following: “Describe

ways in which language. stories. folktales. music. and artistic creations serve as

expressions of culture and influence behavior of people living in a particular culture.”
The incorporation of such statements into venues as substantive as National Standards
imply that many educators believe that deep understanding often depends on the
intersections and interactions of the disciplines (Barrett, 2001).
Music and Curricular Integration

The arts, especially music. play an important role in our lives and provide a unique
way of thinking and knowing. Traditionally, music has been taught as a discrete
discipline and has been applied to help teach other disciplines as well (Miller, 1996).
With the increasing interest in curricular integration. integrating music into curricula has
become popular again. Veblen (Veblen & Elliott. 2000. p. 4) states, “integrating curricula
makes the most sense when it is employed in a richly contextual way to teach music.” It
invites teachers and students to take a holistic approach to learning and teaching. In
addition, learning can become much more meaningful by connecting the arts to students’
real lives and studies (Krug and Cohen-Evron. 2001). There are many ways to integrate
music throughout an arts or general curriculum; however. it is necessary to maintain the
integrity of music in the curriculum. and music should be taught for its own sake (MENC.
1994). Jackie Wiggins and Robert Wiggins (1997. p. 38) state, “ the ability to think
musically is developed through interaction with music and through performing. creating.
and analytical listening.” They believe that “an interdisciplinary approach to curriculum
is a viable possibility when the connections among disciplines are legitimate -— when they
are based on conceptual commonalities and recognize the different cognitive and
affective thought process within the various disciplines" (1997. p. 41). Both discipline-

based and interdisciplinary experiences are important to curricular integration. A broad

education in the arts can provide students with the Skills to meet the challenges in the
twenty-first century. It is the responsibility of music teachers to provide exemplary arts
education to enable complete development of students.

In short. the movement towards curricular integration is a possible way to help
students develop their abilities to make connections. to solve problems with multiple
perspectives, and to incorporate information from different fields in their real lives.
However. educators also believe that it is important to maintain the integrity of music and
teach it for its own sake when integrating music into curricula.

Background

In 2001. Taiwan started to implement a national curriculum based on The Curricular
Guidelines/or a Nine- Year Joint (.‘urricular Plan/0r Elementary and Junior High
Schools (2000). The focus of this educational reform in Taiwan is to integrate curricula in
elementary schools and junior high schools. All disciplines are divided into seven
domains. Music, visual art, and theater are integrated in “the Arts & Humanities
Domain.” All arts teachers from first through ninth grade must adapt the new curricular
guidelines to develop students‘ abilities in and deep understanding of each art and make
connections between the arts family. In this thesis. I discuss the underpinnings of
curricular integration and have designed sample music lesson plans for the music class
being taught in the context of "the Arts and Humanities Domain” in Taiwan. My hope is
that, with thorough consideration of the merits and drawbacks of curricular integration in
music, Taiwanese teachers will improve teaching and, as a result. help students learn

more efficiently.

Purpose
The purpose of this research is to explore the integration of music into curricula.
Problems

The specific problem of the study is to develop a set ofmusic lesson plans and
accompanying assessments for use in the "Arts and Humanities Domain” with the fifth
grade students in Taiwan.

Organization

Chapter 1 presents an introduction and a background for this study. Chapter 2
presents integration models. examines the existing examples. and reviews related
research concerning integration models. Chapter 3 proposes the philosophical base, the
educational foundations, and the integration model of the following set of lesson plans.
Chapter 4 consists often music lesson plans and a set of assessments for use in the Arts
& Humanities Domain with the fifth grade students in Taiwan. Chapter 5 draws
conclusions and offers suggestions for future research.

Limitations

This study is narrowed to focus on integrating music with the other arts in fifth
grade classrooms in Taiwan in the context of the Arts & Humanities Domain. The plans
are not designed to be implemented in any other setting. Moreover. the music lesson
plans would need to be discussed and revised to include input from the other arts teachers
and/or classroom teachers in Taiwan before they could be successfully implemented in

any educational setting.

CHAPTER 2
REVIEW OF LITERATURE

Educators for a long time have discussed the ways in which curricula Should be
organized in order to be the most beneficial for students. AS the values and advantages of
curricular integration have become clear. a variety of curricular integration models have
developed. A review of literature on curricular integration models and specifically
integrating music into curricula as well as existing examples of implementing curricular
integration and related research on integration models are presented in this chapter.

Integration Models on Integrated Curricula

There are many versions of integration that have been adapted for classroom use.
Three examples of integration models developed in the United States and Canada are
described below.
Jacobs ' Models

Heidi Hayes Jacobs (1989) presents a continuum of design options for curricular
integration in the book Interdisciplinary Curriculum: Design and Implementation. These
options are as follows. (I) Discipline-Based Content Design: it focuses on a strict
interpretation of the disciplines with separate subjects in separate time blocks during the
school day. (2) Parallel Discipline Designs: teachers teach their lessons sequentially to
correspond to lessons in the same area in other disciplines. (3) Complementary Discipline
(Multi-Disciplinary) Units or Courses: certain related disciplines are brought together in a
formal unit or course to investigate a theme or issue. (4) Interdisciplinary Units/Courses:
periodic units or courses of study bring together the full range of disciplines in the

school’s curriculum with discipline-based perspectives. (5) The Integrated-Day Model is

a full-day program based on themes and problems from the children’s world and their
interests, such as in the British Infant School movement in the 19605. (6) The Complete
Program is the most comprehensive form of interdisciplinary work. Students live in the
school environment and create the curriculum from their day-to-day lives. such as in AS.
Neill’s Summerhill Weill. 1960). Jacobs suggests diagnosing the needs and possibilities
of the school when choosing an option for curricular integration for use with students.

F urthermore. Jacobs presents the Interdisciplinary Concept Model. a systematic
approach for developing integrated units of study (Jacobs. 1989). Four steps are outlined
as follows.

Step 1: Selecting an Organization Center

The teacher starts to select an organizing center to focus curricular development.
The topic could be a theme. subject area. event. issue. or problem as the center of study.
Step 2: Brainstorming Associations

Brainstorming is an open-ended technique to generate ideas. Teachers and students
are encouraged to use a graphic device. a six-spoked wheel. to explore the topic or theme
from all discipline fields. The organizing center for the theme or topic is the center of the
wheel. Each spoke represents a discipline area that involves math. science, social studies.
language arts, the arts. or humanities/phiIOSOphy. The aim is to promote the deliberate
examination of the topic through all discipline perspectives.

Step 3: Establishing Guiding Questions to Serve as a Scope and Sequence

The third step takes the array of brainstormed associations from the wheel and

organizes them through guiding questions that serve as a scope and sequence to help

students investigate the organizing center of the unit.

10

Step 4: Writing Activities for Implementation

Finally, teachers design activities to help students answer the questions about the
interdisciplinary organizing center. In association with each of the activities. Jacobs
suggests that teachers employ well-formed behavioral objectives that involve the subject.
an action verb, a product. the conditions, and the evaluation standard.

The Interdisciplinary Concept Model has been adapted at all levels of instruction.
Teachers have a scope and sequence of guiding questions to avoid a scattered sampling of
activities as well as use the integrity of each discipline unified around the organizing
center (Jacobs. 1989).

F ogarty 's Models

Robin Fogarty (1991) offers a continuum of ten models of curricular integration.
which range from the interconnection within one discipline to the commonalities shared
by many related disciplines. and to how the students think and make sense of the
curricular connections.

The first three models are taught separately within Single disciplines.

(1) "The Fragmented Model” is a traditional model in which a subject is taught in a

separate class period by a separate teacher. such as math in the math class.

(2) “The Connected Model” focuses on making explicit connections within each
discipline. For instance. the earth science teacher might relate the geology unit
to the astronomy unit by emphasizing the revolutionary nature of each.

( 3) “The Nested Model” views the curriculum through multiple dimensions. The
teacher targets multiple skills for one topic or unit. For example, a teacher

designs the unit on the circulatory system to target the conceptual skills of

11

understanding the system and the thinking skills ofcause and effect.

The next five models focus on interaction across several disciplines.

(4) In “The Sequenced Model.” similar ideas and content are taught within each
discipline, although the disciplines are addressed separately. For instance, the
English teacher presents an historical poem from a particular period while the
history teacher teaches the same historical period.

('5) “The Shared Model” involves team planning/teaching work on shared concepts.
skills. or attitudes between two disciplines. For example, science and math
teachers might share the concepts of data collection. charting, and graphing in
team teaching.

(6) “The Webbed Model” uses a theme as a base for instruction in many disciplines.
For instance, the teaching team chooses a theme. such as inventions, that leads
to the study of simple machines in science. to reading and writing about
inventors in language arts. to designing models in industrial arts. and so on.

(7) “The Threaded Model” weaves thinking skills. social skills. multiple
intelligences, and study skills throughout the disciplines. For example, the
teaching staff targets prediction in reading. math, and science lab experiments.
whereas social studies teacher targets forecasting current events. and thus
threads the Skill of prediction across disciplines.

(8) “The Integrated Model” blends the disciplines by finding the overlapping skills,
concepts and attitudes through team teaching. For instance. an interdisciplinary
team discovers that they can apply the concept of argument and evidence in

math, science. social studies. fine arts. and language arts.

The last two models place the burden of the integration on the learners.

(9) “The Immersed Model” views all learning through the perspective of one area of
interest. For example, a student who has an area ofexpert interest in chemistry
integrates all learning related to his field ofchemistry.

(10) In “The Networked Model,” the learner directs the integration process through
selection of a network ofexperts and resources. For instance. a student who has
interest in researching native Americans attends a summer camp of an
archeological dig. where he meets people of different fields, such as a geologist,
an archeologist, and so on. Therefore. his networks are taking shape.

These ten models function as useful prototypes for one single teacher to teacher
teams. Teachers could work with these models to explore the connections within and
across disciplines and within and across learners to implement curricular integration
(Fogarty. 1991).

The Story :l-loclel

The Story Model was designed by Susan M. Drake (Drake et al., 1992) for
curricular integration in Canada. It can be used at any age level. and the teacher controls
the amount of the curriculum that is self-directed and how much is teacher-directed. This
transdisciplinary approach uses the story as a way of learning. It focuses on past. present.
and future. as well as explores any topic through personal. culture. global, and universal
lenses in the real world context. Personal growth and social change are the two major
objectives in the story model (Drake. 1998). Drake (1998. pp. 104-105) presents an
overview of steps of her Story Model below:

(1) Have the content area chosen by teachers or students.

(2) Select a major goal or Standard for the unit that incorporates complex cross-
disciplinary Skill.

(3) Determine how the "being” characteristics and complex skills can be evaluated.
Teachers create rubrics or suitable instruments and give students themselves the
opportunity to develop the criteria.

(4) Teachers brainstorm the content and decide on the appropriate activities that lead
to the goals or standards.

(5) Both teachers and students are encouraged to engage in the following steps to
implement the story model.

a. The teacher should tell his or her story about the topic and invite students to
tell their personal stories as well.

b. Start to develop a cultural story of the topic. Students brainstorm and make
connections between the topic and the focus words within the real-world
web (Figure 1). The focus words could involve politics. law. environment.

technology. global view. social. economics. and media.

 

      
 
    
       

    
 
    
    

Po lures

Media I Lay.)
ECOnomicS €____—— - ._.—-) Environment
SOCIQl l TQCJVWloa‘!

élobal Vrm

 

Figure l. Real-World Web (Drake. 1998. p. 103)

c. Follow the story model map (Figure 2). Use the real-world web through
personal, culture. global, and universal lenses to develop the stories of the
present, the past, the ideal future (which is the best although idealistic
outcome of the story), and projected future (where things are heading if
they do not change in the future) as well as identify the values, beliefs, and
assumptions among them. Then design a new story by integrating the good
things (the necessary) from the projected story and the possible things (the

realistic) from the ideal story in collaboration.

 

Universal

filohal
Cu Rural

Pagonal

 

 

 

 

 

01d Attic

Sim-y

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Figure 2. The Story Model (Drake, 1998, p.102)
d. Students connect the new story to develop an action plan of their personal
stories.
(6) Develop activities that can be done while teaching the unit. Students use research
skills to answer the question developed from the real-world web and develop both
a written component and a creative presentation.

Educators who support curricular integration believe that integrating curricula helps

15

students make valuable connections in learning. whereas traditional single discipline
curricula leave students with a fragmented view. Teachers who adapt some means of
integrating curricula could invent their own designs or use the integration models
discussed above.
Integration Models for Music

There are many possible ways to integrate music into curricula. Some teachers
infuse music to help students learn other disciplines. whereas others integrate music into
curricula so that music is learned in a holistic way. Three examples of integration models
for music developed in the United States are illustrated below.
The Facets Model

The Facets Model. developed by Janet R. Barrett. Claire W. McCoy. and Kari K.
Veblen (1997), is a model designed like an octagonal gem for use in studying artistic
works. It encourages interacting with a work from many perspectives that are posed in
the form of eight questions within three kinds of facets. Janet R. Barrett (2001) applies
the Facets Model to music to make valid interdisciplinary connections between music and
other disciplines. In her application. the first two facets, the Contextual Facets and the
Elemental and Structural F acets. focus on interdisciplinary aspects of music study in a
music classroom and the third one. the Expression Facets. demonstrates its validity in a
collaborative setting across disciplines.

(1) In the Contextual Facets of the gem. music teachers ask these three questions to

encourage students to think about the origins ofthe music: “Who created it?”
and “When and where was it created?” and “Why and for whom was it created?”

The time, the place. and the composer often have influence on the stylistic

l6

performance and interpretation of the piece ofthe music. Situating a piece of
music in its time and place of origin counteracts a generic view of works as mere
combinations of pitches and rhythms (Barrett. 2001).

(2) In the Elemental and Structural Facets. the two questions “What kind of
structure or form does it have?” and “What does it sound or look like?” draw
attention to the formal and textural aspects of the music. Students learn to
perceive the remarkable features of the music. such as rhythm, melody, timbre.
harmony, and dynamics. In addition, teachers can pair a musical work with a
work in another art form that Shares common features and expand students’
abilities to find complementary relationships among the arts families (Barrett.
2001)

(3) In the Expressive F acets, these three questions “What is its subject?” and “What
is being expressed?” and “What technologies did its creator use to help us
understand what is being expressed?” focus on the range of meanings that a
work may embody. Barrett suggests that music teachers collaborate with
different teachers across disciplines and use extramusical work as the creative
impulse for musical creation and expressive response in interdisciplinary
curricula. Thus, students could learn about interactions among art, music, poetry
and movement and generate new ideas (Barrett. 2001).

Barrett believes that a comprehensive music education embraces valid

interdisciplinary relationships. Exploration of the work’s context, musical elements and
structure, and expressive meanings deepen students’ understanding of and appreciation

for the music. In sum, the Facets Model prompts students and teachers to consider

17

content from the lens of other disciplines and strengthens the connections between music
teachers and other teachers in an interdisciplinary curriculum (Barrett. 2001).
Snyder 's Model

Sue Snyder (1996) presents three ways in which to link disciplines or intelligences.
including the linking of music with other arts or other disciplines. She presents three
types of curricular integration as follows:

(1) Connection: In a connection. materials or concepts from one discipline are used
to help teach a concept in another discipline area. For example. students learn
the alphabet from singing the “Alphabet Song.” In this situation, music is in the
service of another discipline. “Connection” is the most used and least
meaningful way of linking disciplines.

(2) Correlation: A correlation is made when two or more disciplines Share common
materials or activities. Two or more teachers use the same materials or address
the same topics at the same time; however. there is no plan that is made to
develop important ideas across disciplines to form generalizations.

( 3) Integration: Each discipline or intelligence addresses the theme from its unique
perspective. which is similar to the curriculum in Key School. In “Integration,”
the highest level in Snyder’s model. a broad theme is chosen that cuts across
disciplines. Each content or intelligence can explore the central idea in a
meaningful way. which helps students develop deeper understanding and critical
thinking through comparing and contrasting of ideas. Snyder suggests four
decisions that are necessary when planning an integrated unit sequentially.

a. Choosing a theme: Teachers cooperate to choose a broad theme or concept to

provide meaningful exploration through each discipline.

b. Determining big questions: Teachers determine three or four big questions that
focus on larger concepts. skills and global generalizations. The students should
answer these at the end of the thematic unit.

c. Determining discipline-specific adaptations of big questions: Teachers of
different disciplines adapt the big questions to fit their own discipline’s
concepts and skills.

(I. Creating overarching and disciplines-specific assessments for big questions:
Teacher teams determine the assessments for the big questions. and individual
teachers should have informal and formal assessments for discipline-specific
learning

Snyder believes that thematic units are effective in interdisciplinary curricula and
that the integrity of each discipline or intelligence should be maintained. Strong music
programs featuring sequential instruction of age-appropriate concepts and skills must be
firmly in place before integrating across the curricula (Snyder. 2001).

The F our-Level Model

Melissa K. Berke (2000) illustrates James Banks’ F our—Level Model (Bank &
Banks, 1997) that is used to improve the integration of multicultural education and is
easily applied to integrating music with the general curriculum as well. These levels are
as follows:

(1) In the contributions approach. classroom teachers use music as background or

for nonmusical purposes, and the value of music is not recognized.

(2) In the additive approach. musical activities are added to the general curriculum

l9

when music teachers and teachers of other disciplines work together. Music
functions as a supplement rather than as an integral part of the curriculum.
These two approaches above are similar to Snyder’s first level, Connection.

(3) In the transformation approach. music becomes an integral part of the curriculum.
Students experience the subject matter from more than one point of view, and
music and classroom teachers share the responsibility for providing instruction
for students.

(4) In the social action approach. music is combined with other disciplines. and
students examine both subjects to identify issues/problems/concepts, make
decisions, and take action upon their findings. This highest level of integration
among these four levels is more appropriate for older children because of its
reliance on complex critical thinking skills in music and other disciplines.

Finally, Berke (2000) suggests some guidelines for successful integration.

a. Get organized: Organize the integrated units and share the ideas with a
classroom teacher.

b. Inform the principal: Let the administrator know about the projects.

c. Start small: Choose an appropriate teacher to cooperate in the integrated units at
the beginning. After succeeding. introduce it to larger groups.

(I. Be proactive: Be eager in participating in the integrated units.

e. Be flexible: Be flexible and find ready solutions for the challenges as they
present themselves during unit implementation.

f. Evaluate the effort: Discuss and evaluate the efforts with classroom teachers.

Existing Examples on Integrated Arts Curricula

There are many examples of implementing curricular integration in different
countries. such as United States, Hungary. Israel. and Australia (Bresler. 1995, May/June
& Sept/Oct). Bresler examined the different ways that the arts are integrated from a
functional perspective into US. elementary schools and found the following styles of
integration (1995. May/June, pp. 33). “( l) The subservient style means that the arts is in
the service of the basic academic curriculum in its contents, pedagogies, and structures.
(2) The co-equal, cognitive integration style brings in the arts as an equal partner,
integrating the curriculum with arts-specific contents, skills. expressions, and modes of
thinking. (3) The affective integration style emphasizes feelings evoked by and attitudes
towards arts as well as student-centered learning and initiative; it incorporates ideals of
creativity and self-expression that teachers and principals acknowledge are not served by
the academic curriculum. (4) The social integration style emphasizes the social function
of the school and its role as a community.” In her findings, it is clear that successful arts
integration projects must give arts equal weight to other disciplines; otherwise the arts
will become superficial.

Related Research on Integration Models

Experimental and program evaluation research on integrated curricula is difficult to
conduct, because it is time—consuming. requires the cooperation of teachers, and is
affected by different developmental levels of individual students. According to the
reports on National Association for Core Curriculum (1984), Gordon Vars (1991, p. 15)
has discovered that “more than eighty normative or comparative studies have been

carried out on the effectiveness of integrative programs.” He believes that students in

interdisciplinary programs do as well as, and often better than students in conventional
programs. However, few of these studies focus on music integration.

In “A Critical Evaluation of Arts for Understanding. an Integrated Music and Arts
Project in a Chartered Nonpublic School.” Ed Duling and Jaime B. Cadegan (2001)
evaluated an integrated arts project in a Montessori school in Ohio. with an emphasis on
the role of music in the program. The school, containing grades one through six, decided
to improve its arts (music, visual art. dance, drama) instruction using Comprehensive
Arts Education: Ohio’s Model Competency-based Program (The CAE Model). The CAE
Model supports “life-centered learning.” and consists of four “Program Goals” across all
four of the arts: performance/production. history/culture, aesthetics. and criticism. In the
project “Arts for Understanding.” the arts teaching team followed the framework of CAE,
formulated and carried out the pilot unit “Native Americans” and a main unit “Europeans
and Early Americans,” which were related to the school’s social studies in European
cultures. After the pilot unit occurred over a period of eight school days, the main unit
was taught. with one month for each art area and one month of integration in turn. At the
end of the project, the researchers analyzed the qualitative data and found the following
results. First. the depth and variety of understanding in music. the other arts, and other
subject areas brought about by this particularly comprehensive, integrated arts framework
varied greatly among the students. Second, communication between the planners and the
classroom teachers was often lacking. In conclusion. the researchers suggested finding a
balance between children’s rich and plentiful art-specific and pan-arts experiences and

those comprehensive approaches linking arts and non-arts subject areas.

Summary

Educators have discovered the value of curricular integration. However, they also
find that music sometimes becomes a servant of other content areas or is devalued in a
superficial attempt at curricular integration. Heidi Hayes Jacobs says. “there is a need for
both interdisciplinary and discipline—field perspectives in design” (1989, p. 2). She also
states, there are no right or wrong choice for integration, only a range of options with
distinct advantages and disadvantages” (1989, p.24). Teachers must preserve the integrity
of music when designing an integrated curriculum. However, they must also help

integrate Ieaming when it serves the needs of the students.

to
b.»

CHAPTER 3
A MUSIC COURSE DESIGN IN ARTS & HUMANITIES DOMAIN IN THE
ELEMENTARY SCHOOLS IN TAIWAN
Philosophy of Lessons

Arts are the products of human culture and are viewed by many as central to life and
the fundamental of sound education. John Dewey (1967. p.274) said. “Art is the attempt
to satisfy the aesthetic side of our nature.” The Taiwanese educational system placed
value on the arts when it included an “Arts and Humanities Domain” in The Curricular
Guidelinesfor a Nine- Year Joint (Z'urricular Plan/or Elementary and Junior High
Schools. The emphasis of the Arts and Humanities Domain. including visual art, music,
and theater, is to learn arts from life and culture to cultivate humanity in Taiwan.
“Exploration & Creativity.” “Aesthetics & Understanding.” and “Cultures &
Comprehension” are the three main curricular goals in the Arts & Humanities Domain.
which aim to develop students’ abilities to integrate the arts into daily life (2000).
Therefore, this music unit for use with the Arts & Humanities Domain is designed to
teach students to understand music by preserving the integrity of music learning and also
by helping them understand the arts in life by integrating music with other arts and
culture.

Translations of the principles. curricular goals. and objectives of the Arts and
Humanities Domain of The Curricular Guidelines/or a Nine-Year Joint Curricular Plan
for Elementary and Junior High Schools in Taiwan (2000) follow.

Principles

Study of the arts should promote arts learning and cultivate humanity.

24

The Arts & Humanities Domain involves the learning of visual art. music, and
theater. Its purpose is to develop students’ knowledge and abilities in arts, encourage
them to be eager to participate in arts activities, improve their artistic appreciation,
cultivate their interest in the arts. develop their potential in arts. and build a sound
personal character.

Arts. the processes and products of human culture. are important to life and the
foundation ofa complete education. Through artistic vocabularies, the arts convey
information beyond words, serve as a kind of non-verbal communication, and promote
intuition, inference. and imagination, as well as creative thinking. Through arts. people
share their thoughts and emotions. acquire knowledge, and build their values. All persons
need opportunities for arts learning to experience and understand the world.

When engaged in extensive and holistic arts education, children participate in
literature. music, dance. theater, and visual art. They learn to create. express their
viewpoints and emotions, understand the history and the culture of artistic pieces, and
analyze, criticize, induce, and examine their feelings and experiences. Therefore, arts
education can help improve, connect with. and integrate with other domains of learning.
Modern arts education has departed from skill-based learning in fine arts. It will develop
a liberal, open, flexible arts learning style and cultivate humanity thoroughly.

Arts originate in life and blend together in life. Life itself is the source ofculture. As
a result, arts education should offer students opportunities to explore the living
environment, to observe and discuss various artistic works and the relationship of the arts
to the natural scenery in the environment, to distinguish the characteristics of works of art

and construct the meanings with their senses. consciousness. and feelings. to meet artists.

25

and to understand the relationship of time. culture. society. life. and arts. In addition. arts
education Should give students opportunities to explore the skills needed for
performances in different arts and encourage them to develop creative inspiration based
on their personal experience and imagination. Through appropriate arts education.
students should engage in creative performances that enrich their lives and spirits.
Educational reform places an emphasis on human life and builds on the natural
relationship between human beings and the environment as the center of life; this
includes the balance of technology and the arts and humanities. Arts education provides a
vehicle for developing basic cultivation in the arts and humanities for students, transmits
our cultural heritage. creates arts, and helps to develop citizens who are civilized and
cultivated.
Curricular Goals

Learning arts from life and culture to cultivate humanity is the emphasis of Arts &
Humanities Domain. Through life experience and integrated learning. students learn to
explore and create artistic works, appreciate the arts from an aesthetic viewpoint. and
comprehend the relationships between the arts and self-development, arts and society and
culture, and arts and natural environments. As a result. the curricular goals of the Arts &
Humanities Domain are as follows:

(1) Exploration and Creativity: The student can explore by him/herself, perceive the
relationship between the environment and him/herself. and create art that
enriches the life and mind.

(2) Aesthetics and Understanding: The student can understand the value of arts and

cherish works of art through an aesthetic viewpoint. which promotes cultivation.

26

(3) Cultures and Comprehension
The student can understand the culture and the style of the arts. desire to
participate in the arts. and take a broad view of arts. which promotes respect for
and understanding of each other.

Objectives

The specific objectives based on the curricular goals of the Arts & Humanities

Domain are as follows:

(1) Exploration and Creativity

Music:

a. First Period (first and second grades in elementary schools)
1.1 To experience a variety of timbres through vocal. body percussion, instrumental,
and environmental sounds.
1.2 To create with voices. body movement, and simple instruments in the context of
music activities.
1.3 To express one’s feelings about music through language. body movement, and
music imitation.
b. Second Period (third and fourth grades in elementary schools)
1.1 To experience the elements of music. such as pitch, duration, and dynamics. by
moving. singing. and playing instruments.
1.2 To improvise simple melodies and rhythms with voices. body movement. and
instruments.
1.3 To create music by exploring different tempi. timbres. dynamics, and phrase

SU’UCIUI’CS.

c. Third Period (fifth and sixth grades in elementary schools)
1.1 To explore different kinds of instrumental sounds. including electronic
instruments, which stimulate creativity and imagination.
1.2 To improvise accompaniments and participate in ensemble.
1.3 To improvise different styles ofmusic using different timbres. tempi. dynamics
and phrase structures.
d. Fourth Period (first through third grades in junior high schools)
1.1 To create music with traditional instruments and/or non-traditional instruments,
including electronic instruments.
1.2 To participate in music performances and develop one’s music achievement by
singing or playing instruments
1.3 To experience the beauty of music forms through simple improvisation.
Visual Art:
a. First Period (first and second grades in elementary schools)
1.1 To express one’s feeling and thoughts as they relate to life experience by using
creative forms in visual art.
1.2 To develop a rich imagination and experience the joy of creativity by using
different materials to engage in basic activities of visual art.
b. Second Period (third and fourth grades in elementary schools)
1.1 To express rich imagination and creativity by creating artistic works.
1.2 To create artistic works with a variety of materials and forms. and to understand
the differences between them.

1.3 To record and express what one sees and feels.

28

c. Third Period (fifth and sixth grades in elementary schools)
1.1 To explore different styles of artistic creativity. understand others’ works. and
develop one’s ability in thinking and expressing.
1.2 To image the topic and content of a work and choose appropriate materials and
skills to accomplish that work.
1.3 To express and evaluate oneself through different artistic forms.
d. Fourth Period (first through third grades in junior high schools)
1.1 To understand the relationship between the artistic creativity and social cultures.
and to create multiple artistic works independently.
1.2 To conceptualize a work with appropriate materials and skills. and to develop
one’s unique expressive style.
1.3 To integrate art and technology and explore different styles of works.
Theater:
a. First Period (first and second grades in elementary schools)
1.1 To observe. cooperate in. and imitate theatrical performances using language and
body movement.
1.2 To draw, sing. and act with artistic creativity in a cooperative environment.
b. Second Period (third and fourth grades in elementary schools)
1.1 To participate and have confidence in playing a theatrical role.
1.2 To cooperate with classmates in designing a theatrical performance.
0. Third Period (fifth and sixth grades in elementary schools)
1.1 To cooperate with others actively and express oneself in a theatrical

performance.

29

1.2 To express one’s concerns for communities and the natural environment through
artistic creativity in groups.

C1. Fourth Period (first through third grades in junior high schools)

1.1 To create a plot of a play and express different feelings. thoughts. and creativity
through that plot.

1.2 To observe different expressions of feelings and choose topics to express
personal perspective through arts.

1.3 To choose a specific topic around which to design a play with classmates. and to
Show respect and care for society. the environment. and minorities through the
theatrical work.

(2) Aesthetics and Understanding
Music:
a. First Period (first and second grades in elementary schools)

2.1 To experience the sounds of nature and the environment and describe one’s
feelings.

2.2 To cultivate appreciation for music by singing and listening.

b. Second Period (third and fourth grades in elementary schools)

2.1 To identify voices. instruments. and the elements of music and describe their
characteristics.

2.2 To express oneself and understand music by appreciating peers" musical
performances.

2.3 To cultivate interest in listening to music and choosing to include music in daily

life.

c. Third Period (fifth and sixth grades in elementary schools)
2.1 To describe the texture and characteristics of music using appropriate musical
terminology.
2.2 To express one’s aesthetic experience and understanding through. for example.
discussion, analysis, and criticism.
2.3 To participate in the musical activities. develop concentration when listening.
and show one's expression.
(1. Fourth Period (first through third grades in junior high schools)
2.1 To understand forms, orchestration. and styles of music and to cultivate
aesthetics.
2.2 To appreciate works of music from different periods of music history and
describe the emotions in that music.
Visual Art:
a. First Period (first and second grades in elementary schools)
2.1 To have initial aesthetic experiences with different kinds of natural, artificial.
and artistic works.
2.2 To experience the beauty of different colors. pictures. sounds. postures.
expression. and movement, and express one’s feeling.
b. Second Period (third and fourth grades in elementary schools)
2.1 To appreciate the beauty of different kinds of natural. artificial. and artistic
works.
2.2 To appreciate peers’ works and describe the beauty of its characteristics.

2.3 To visit and appreciate cultural antiquities.

c. Third Period (fifth and sixth grades in elementary schools)
2.1 To identify the beauty and visual elements ofdifferent kinds of natural. artificial,
and artistic works by describing. analyzing. and discussing.
2.2 To understand the relationship between the environment and those that live in it.
and to identify the effect of environmental art.
2.3 To use appropriate visual art terminology to analyze the characteristics and value
of personal and others’ works.
(I. Fourth Period (first through third grades in junior high schools)
2.1 To appreciate and analyze different kinds of natural. artificial. and artistic works.
2.2 To appreciate the different kinds of beauty inherent to materials. forms. and
contents in visual art.
2.3 To compare and analyze the materials of and symbols within different creative
works.
2.4 To articulate the relationship between art and technology, understand the
importance of environment and resources. and present constructive opinions.
Theater:
a. First Period (first and second grades in elementary schools)
2.1 To develop interest in children’s theatrical works and opinions of those works.
2.2 To be polite when attending artistic performances.
b. Second Period (third and fourth grades in elementary schools)
2.1 To appreciate and identify different styles of children’s theatrical works and
learn to express opinions regarding those works.

2.2 To be polite when attending artistic performances and to understand other

9)
IO

people’s accomplishments.
c. Third Period (fifth and sixth grades in elementary schools)
2.1 To describe one’s viewpoints using appropriate theatrical terminology.
2.2 To appreciate different kinds of artistic performances with appropriate attitudes.
d. Fourth Period (first through third grades in junior high schools)
2.1 To state one’s aesthetic experience. values. and viewpoints in relationship to
theatrical performances.
2.2 To respect and applaud others’ opinions and cooperate with others.
(3) Cultures and Comprehension
Music:
a. First Period (first and second grades in elementary schools)
3.1 To observe the environment. participate in artistic activities. and understand that
music is a part of life.
3.2 To appreciate folk songs of different peoples and experience multicultural music.
b. Second Period (third and fourth grades in elementary schools)
3.1 To know vernacular music and express one’s value of the vemacular by playing
instruments. singing, or listening.
3.2 To appreciate multicultural music and understand different cultures.
c. Third Period (fifth and sixth grades in elementary schools)
3.1 To use different information related to music to enhance music learning and
creativity, and to develop interest in participating in music activities.
3.2 To compare musical characteristics ofdifferent cultures.

3.3 To know the works and characteristics of music in different periods of music

(a)
b)

history.
d. Fourth Period (first through third grades injunior high schools)
3.1 To have interest in and habits of participating in music activities.
3.2 To analyze and compare works from different periods of music history. and be
familiar with the styles and connotations of those works.
3.3 To understand the relationship among areas. cultures. and music. and understand
the effects ofculture and history on music.
Visual Art:
a. First Period (first and second grades in elementary schools)
3.1 To know the characteristics of Taiwanese culture as reflected in artistic activities.
3.2 To beautify one’s environment by collecting pictures and decorations.
b. Second Period (third and fourth grades in elementary schools)
3.1 To collect and describe the characteristics of vernacular antiquities in the living
environment.
3.2 To know the cultural characteristics of temples and different architectural works
in the community.
c. Third Period (fifth and sixth grades in elementary schools)
3.1 To compare the differences between local and non-local antiquities.
3.2 To understand Taiwanese culture as it relates to artistic activities.
3.3 To learn to collect information related to visual art from different sources.
(I. Fourth Period (first through third grades in junior high schools)
3.1 To understand the artistic characteristics of different peoples and cherish and

respect the resources of other cultures.

3.2 To compare the religious architectural styles. antiquities. and cultural
backgrounds in Taiwan.

3.3 To synthesize. compare, and explore the characters and backgrounds of artistic
works from different periods in different countries, and Show respect for diverse
cultures.

Theater:
a. First Period (first and second grades in elementary schools)

3.1 To understand the relationship among oneself. society. and the environment
through performance.

3.2 To act with appropriate and safe stage properties.

b. Second Period (third and fourth grades in elementary schools)

3.1 To understand diverse cultures and the roles in those cultures of acting and
communicating with others.

3.2 To participate in local artistic activities and understand one’s own vernacular
culture.

c. Third Period (fifth and sixth grades in elementary schools)

3.1 To perform by imitating characteristics from different cultures and Show respect
for peers.

3.2 To participate in and attend diverse artistic activities consistently, and Show
one’s own opinions through written narratives concerning performances.

3.3 To choose topics in teams and explore and discuss those topics as they relate to
arts and culture.

(I. Fourth Period (first through third grades in junior high schools)

35

3.1 To integrate performing arts of different cultures. and perform a play with peers.

3.2 To integrate technology and arts to enhance learning and creating in the arts
domain.

3.3 To perform a play, know and respect the different kinds of artistic occupations.
and understand the relationship between artistic works and the topics of
environmental protection. gender, politics. and society.

Maintaining Integrity of Subject Matter

Music is unique to human beings and, like the other arts. is as basic as language to
the development of a complete individual. When integrating music into arts curricula, it
is important to preserve the integrity of music (MENC. 1994; Wiggins & Wiggins. 1997).
In the music teaching strategies for this unit, I will use Gordon’s Music Learning Theory
as fundamental and combine it with the techniques of Orff. Dalcroze. and Kodaly. This
will help students learn music more effectively so that it can be integrated more
meaningfully with the rest of the curriculum.
Methodology-Gordon 's Music Learning Theory

Dr. Edwin E. Gordon (1927» ) is one of the great pioneers in music education. His
devotion to research in music education has led to an extensive investigation of music
aptitude, music learning theory. an analysis of rhythm, and fundamental work in early
childhood music. He is placed alongside Orff. Kodaly. Dalcroze, and Suzuki for his
contributions to music education (Shehan, 1986; Pinzino. 1997). Gordon’s Music
Learning Theory explains how children learn music. Audiation, the prominent idea of
music Ieaming theory, is the foundation of music learning. “Audiation takes place when

we assimilate and comprehend in our minds music that we have just heard performed or

have heard performed sometimes in the past. We also audiate when we assimilate and
comprehend in our minds music that we may or may not have heard but are reading
notation or are composing or improvising” (Gordon. 1997a, p. 4). The types and
processes of building vocabularies in music are much like those in language. When one
audiates music. he or she “thinks” music. Before children can audiate music, they are
either in music babble or imitation. As children emerge from music babble, including
both tonal and rhythm babble. they learn to audiate syntax in music in terms of objective
tonality and meter. At this point. children are ready for formal music instruction.

Gordon defines three music learning sequences to incorporate into formal music
instruction; those are skill learning sequence, tonal content learning sequence, and
rhythm content Ieaming sequence. The content Ieaming sequences comprise the musical
materials being learning. such as tonal patterns and rhythm patterns and the tonalities and
meters. Skills are the actions that students apply to the content being learned (Walters,
1989a). An example of a skill is music reading or creating music. A skill cannot be
learned unless it is taught with tonal content or rhythm content. and skill learning
sequence cannot function unless it is used in conjunction with tonal content Ieaming
sequence or rhythm content learning sequence (Gordon. 1997a). Gordon’s music learning
sequences are as follows.

1. Skill Learning Sequence

There are two parts of skill learning sequence: discrimination learning and inference
learning. Discrimination learning. which is rote learning. is basic to Ieaming music.
Inference Ieaming. which involves making judgments and generalizations, is a higher

level of learning music. Students recognize what is familiar in discrimination learning.

whereas they identify what is unfamiliar on the basis of what they already know to be
familiar in inference learning. In sum. discrimination learning and inference learning
complete each other: the levels of both are accumulative rather than merely progressive
(Walters, 1989a).

A. Discrimination Learning:

There are five stages of learning within discrimination Ieaming as follows.

(I) Aural/Oral: At the aural/oral level oflearning. students hear music (aural).
audiate music, and perform music (oral) by singing or chanting with neutral
syllables in response to what they hear. For example, the teacher uses “bum”
to sing tonal patterns without rhythm or uses “bah” to chant rhythm patterns
without melody. and the students sing or chant in echo. In addition to
performing as a group. each student performs in solo. Students are developing
a sense of meter, 3 sense of tonality. a vocabulary of tonal patterns, and a
vocabulary of rhythm patterns in formal music instruction at the aural/oral
level (Gordon. 1997a; Walters. 1989a).

(2) Verbal Association: At the verbal association level of Ieaming, students
associate vocabulary names and proper names with the patterns that they
learned at the aural/oral level. Vocabulary names are tonal syllables and
rhythm syllables. The tonal syllable system used in Gordon’s methodology is
movable “do” with a “la” based minor. The rhythm syllables of Gordon’s own
system are based on beat functions with “du” for example. always on a

macrobeat and “de” always on a microbeat in usual duple meter. and “du”

38

always on a macrobeat and “da di” always on microbeats in triple meter.l The
proper names consist of labels for tonality. such as major and minor; for the
tonal function of patterns, such as tonic and dominant; for meter, such as
duple and triple; and for the rhythm function of patterns, such as macrobeats
and microbeats (Shuler. 1991, p.41 ). In addition, the teacher uses tonal
syllables to Sing tonal patterns without rhythm or uses rhythm syllables to
chant rhythm patterns without melody, and the students sing or chant in echo
together or individually. Verbal association helps students associate syllables
to what they can already perform and learn the proper names of meters and
tonalities as well as the functions within those meters and tonalities, which are
used in higher levels of discrimination learning and inference learning.
Students are taught the names of musical contents rather than the theory
behind them (Gordon, 1997a; Walters, l989a; Shuler, 1991).

(3) Partial Synthesis: At the partial synthesis level of learning, students recognize
and name the tonality or meter of series of familiar tonal patterns or rhythm
patterns. and employ tonal syllables and rhythm syllables as they hear,
perform, and audiate series of patterns. Partial synthesis focuses on
comprehension of tonal syntax and rhythm syntax in music; therefore students
are ready to learn to read and write music after the partial synthesis level
(Gordon, 1997a; Walters, 1989a).

(4) Symbolic Association: In symbolic association. students learn to read and

 

' Please read J.M. Jordan’s “Rhythm Learning Sequence" and RF. Grunow’s “Tonal Learning Sequence”
in Readings In Music Learning Theory for more information. Walters. D.L. & Taggart. C.C. (Ed). (1989).
Chicago: GIA Publications. Inc.

39

write music notation by associating the sound and solfege syllables of the
patterns they learned at the aural/oral and verbal association levels with the
notation for those patterns. When reading notation, a student sees music
notation, associates that notation with a system of syllables and then
associates the syllables with sound and audiates the sound. When writing
notation, a student audiates sound that he wants to notate. associates the sound
with a system of syllables. and then associates the syllables with symbols and
writes the symbols to create music notation (Gordon, 1997a; Walters, 198%).

(5) Composite Synthesis: At the composite synthesis level of learning, all levels
ofdiscrimination Ieaming are synthesized into a whole. This enables students
to notationally audiate (hear what is seen and write what is heard) series of
familiar patterns in familiar or unfamiliar orders. and to recognize the meter
and the tonality of series of familiar patterns or familiar songs and the
functions of tonal patterns and rhythm patterns within those series and those
songs (Gordon, 1997a; Walters. 1989a).

B. Inference Learning

Inference Ieaming includes three stages. Those are as follows.

(I) Generalization-aural/oral, verbal. and symbolic (reading & writing): There are
three sublevels of generalization, including aural/oral, verbal, and symbolic
(reading & writing). When students generalize. they engage in the same
activities as those in discrimination learning. except that they compare and
identify unfamiliar patterns and familiar patterns in unfamiliar order that are

in familiar or unfamiliar tonalities and meters. In other words, they use the

40

same skills that they developed in discrimination learning with familiar
musical content on unfamiliar musical content (Gordon. 1997a; Gordon.
l997b).

(2) Creativity/Improvisation-aural/oral and symbolic: At the creativity/
improvisation-aural/oral level, the student audiates and creates or improvises
music in response to different patterns that the teacher performs. At the
creativity/improvisation-symbolic level. the student creates or improvises, and
then notates tonal/rhythm patterns (Gordon. l997a; Gordon. l997b).

(3) Theoretical Understanding-aural/oral, verbal. and symbolic: In theoretical
understanding, students discover why traditional names and definitions
associated with music theory are used, and how to audiate, perform, read, and
write the specific functions typically associated with music theory (Gordon.
1997a; Gordon, l997b).

2. Tonal Content Learning Sequence

A sense of tonality is the most fundamental basis for giving meaning to the tonal
elements of music. Children develop a sense of tonality through the audiation of the
resting tone or tonic, and eventually its corresponding solfege syllables. For example.
when one has a sense of major tonality, he audiates the resting tone “ do”; when one has a
sense of minor tonality, he audiates the resting tone “la.” In tonal content learning
sequence, tonal patterns are taught and eventually labeled by the function that they serve
(Gordon, 1997a; Grunow, 1989).

There are at least eight tonalities: Major. Harmonic Minor. Dorian, Phrygian, Lydian,

Mixolydian, Aeolian. and Locrian. Major tonalities and relative harmonic minor

41

tonalities are taught first. Pentatonic should be introduced in tonal sequence learning only
after exposure to objective tonalities, such as major and minor (Gordon. 1997a: Grunow.
1989). A typical pentatonic scale. including “ do. re. mi. so. la.” without a leading tone.
possesses at most only a keyality (key center) and a pitch center. and therefore an
objective tonality cannot be audiated without "fa” and “ ti.” For example, a pentatonic
melody as Dorian ends on “re.” which might be notated as ending on “re.” However. any
of the five pitches could equally imply the resting tone in audiation, and one tonality
cannot be distinguished from another (Gordon. l997a). After students have developed a
sense of syntax in more than one tonality. teachers may introduce multitonal and
multikeyal content. then polytonal and polykeyal content. and finally harmonic tonal
content (Gordon. 1997a; Mark. 1986).2
3. Rhythm Content Learning Sequence

The essence of rhythm according to Music Learning Theory is movement. Teaching
the body to respond naturally to rhythm is a necessary prerequisite for the learning of
rhythm and for the establishment of consistent tempo (Gordon. 1997a; Jordan. 1989).

There are three elements of rhythm in audiation: the macro beat. the micro beat. and
the melodic rhythm. The macro beat is the largest unit of pulse to which the body moves
comfortably. The micro beats are the principle subdivisions of the macro beat. which
establish consistent tempo in rhythm audiation. Melodic rhythm is superimposed over the
micro beat layer. which has in turn been superimposed over the macro beat layer. Melodic

rhythm is also categorized based on one or a combination of two or more of the following

 

2 Please read E. Gordon’s Learning Sequences In Music on pp. 137-160 for more information. (1997).
Chicago: GIA Publications.

descriptive terms: divisions. elongations. rests. ties. and upbeats. Gordon’s meter
classification is based on the relative length of macro beats and the division of macro
beats into micro beats. If the meter is characterized by macro beats of equal length. it is
usual meter, such as duple. triple. or combined meter. If the meter is characterized by
macro beats of unequal length. it is unusual meter. After students can perform and audiate
rhythm patterns in usual and unusual meters. teachers may introduce multimetric and
multitemporal content. then monometric and monotemporal content. and finally
polymetric and polytemporal content (Gordon. I997a; Mark. 1986).3

Children learn rhythm through movement and audiation. With a body free to
experience movement. the child organizes the rhythm experience into a meter and
audiates the rhythm patterns in relation to that meter. In short. the combination of rhythm
content sequence and Skill learning sequence provides efficient instruction in
understanding rhythm understanding in music (.Iordan. 1989).
Learning Sequence Activities

Gordon’s methodology includes two primary components within every music class
period: Ieaming sequence activities and classroom activities. Learning sequence activities
comprise the first five to ten minutes of each music class. and the remainder of the class
is classroom activities. In learning sequence activities. skills are introduced and students
are taught to perform tonal patterns and rhythm patterns based on music learning theory
sequentially. In classroom activities. new content is introduced and students are taught to

perform. listen to. and audiate music repertoire. When coordinating learning sequence

 

3 Please read E. Gordon’s Learning Sequences In Music on pp. 161 -202 for more information. (1997). Chicago:
GIA Publications, Inc.

4:.
La)

and classroom activities. teachers use general types ofcontent. rather than the specific
patterns (Gordon, 1997a). Gordon states. students’ mastery of skill in learning sequence
activities is a never a goal, but is instead a fundamental part ofa process that provides
them with the necessary Skills they need to learn to audiate and to perform conventional
literature in classroom activities with comprehension and artistry” (Gordon, 1997. p.
250).

When children in kindergarten or first grade have experienced unstructured and
structured informal guidance in music and have developed a sense of tonal and rhythm
syntax, music teachers can begin formal instruction using learning sequence activities
(Gordon, 1997b). In tonal sequence activities. students begin by hearing tonal patterns
sung by the teacher and respond by singing those patterns. In rhythm sequence activities.
students begin by hearing rhythm patterns chanted by the teacher, and respond by
chanting those patterns. Tonal sequence activities and rhythm sequence activities should
be taught in different class periods so that students do not confuse them (Walters, 1989 b).
In addition, an appropriate test of music aptitude should be given to all students before
teaching learning sequence activities. Thus. the teacher can adapt instruction to the
individual needs of students based on their music aptitude. In learning sequence activities.
all students learn the same skill; however. those students with high aptitude sing, chant,
read, and write additional patterns that are more difficult than the patterns that are read by
other students. This prevents students with lower aptitudes from getting frustrated and
students with higher aptitudes from getting bored (Walters. 1989 b; Taggart, Bolton.
Reynolds. Valerio. & Gordon. 2000).

In sum. learning sequence activities help students acquire knowledge and skills of

44

music in a systematic way. What students audiate and learn in learning sequence
activities will serve as a musical vocabulary in their music performance (Taggart, Bolton.
Reynolds, Valerio, & Gordon, 2000).

Classroom Activities

Classroom activities are typical activities that music teachers everywhere employ in
music teaching. For a general music teacher. typical classroom activities include
movement, singing songs. playing instruments, listening. and so on (Walters, 198%).

In classroom activities. teachers may use a variety of Laban-based movement
activities that help students learn to control their movement in terms of flow. weight,
space, and time (Taggart. 2001). In classroom activities based on Orff-Schulwerk, music
teachers may use speech patterns and rhythms. melodic and rhythmic ostinati, body
percussion, performance on tone bars and unpitched percussion instruments. and melodic
and rhythmic improvisation (Cernohorsky. 1989). In Kodaly- based classroom activities.
music teachers may use the relative solfege with movable “do” system and “la” based
minor and their accompanying hand Si gns, teach singing before playing instruments, and
teach folk songs or folk music (Feierabend. 1989). In a Dalcroze approach. music
teachers may use eurhythmics to teach students physical responses to music by walking,
running, and skipping. and children may create spontaneous movements to piano
accompaniments (Mark. 1986): Dalcroze teachers try to develop students’ creative
thinking through improvisation, such as musical dialogue. changing patterns. conductor’s
choice, storytelling through music. and so on (C ampbell. 1990).

If classroom activities were used alone. music teachers might neglect a systematic

acquisition of skill on the part of individual. If learning sequence activities were used

45

alone, music teaching would be mechanical and deprive students of holistic musical
experiences (Walters. 1989b. p. 143). Therefore. both learning sequence activities and
classroom activities should be taught during every music class period and should be
coordinated with one another to provide a complete music education for children (Taggart,
Bolton, Reynolds. Valerie, & Gordon. 2000).

Tonalities and Meters

Most Taiwanese music is in pentatonic or major tonality and in duple meter.
However, Ieaming music only in pentatonic or major tonality in duple meter will limit a
student’s music achievement. There is a multitude of music in the world in tonalities
other than major or pentatonic and in meters other than duple that teachers can draw from
for use in music classes. Those various pieces of music will help students develop their
understanding of objective tonalities and meters (Gordon, 1997b), as learning and
performing music in a variety of tonalities and meters will help them understand major,
pentatonic. and duple to a greater extent. Therefore music in the lesson plans for this
project will include a variety of tonalities and meters.

Although students cannot audiate an objective tonality in pentatonic music.
Taiwanese students should learn pentatonic songs. because the pentatonic tonal system is
common to much of Chinese music. In addition. Major. Harmonic Minor, Aeolian,
Dorian, Mixolydian, Phrygian, Lydian. or Locrian in tonalities, and Usual Duple, Usual
Triple, Unusual Paired, Unusual Unpaired. or Multimetric in meters. should be
incorporated into music classes. By learning music in different tonalities and meters,
students will learn to compare those tonalities and meters and consequently improve their

understanding of music in all tonalities and meters (Taggart. Bolton. Reynolds. Valerio. &

46

Gordon, 2000). It is the music teacher’s responsibility to balance different kinds of music
and involve students in music in a variety of tonalities and meters.
Integration of Subject Matter within the Arts

In 2001. Taiwan started to implement curricular integration. Music. visual art, and
theater are integrated in the Arts & Humanities Domain. In chapter 4, I have designed
sample music lesson plans for use within the “ Arts & Humanities Domain.” These are
designed to be taught to fifth graders in the elementary schools in Taiwan.

Bennett Reimer suggests that arts specialists work cooperatively to teach the general

alts class. He offers the following statements (1989. p. 238):

Ideally, each school system, grades 1-8 would employ specialists in music, visual
arts, dance, theater. poetry and literature (not just English or language teachers).
films, and media. Each of theses teachers would hold certification as a specialist in
his or her field, but each of these teachers would have had a few additional courses
to those presently offered in typical certification program: a course on how to do
interdisciplinary lessons and how to use them as curriculum unifiers. and a course
in aesthetic education explaining the premises of the arts as a family of distinctive
individuals. Those two courses would probably be sufficient to enable all the
specialists to work cooperatively and sympathetically with each other so they could
plan the interdisciplinary overlaps that would give the entire curriculum its

coherence.

Sue Snyder also suggests employing shared concepts and common language within
arts, and applying pattern. line, color. Space. texture. shape. dynamics. movement.
repetition, balance. contrast and expression to unify the arts (1996. p.89).

In Taiwan, there is a multitude ofcultural sources related to music. visual art. and
theater, such as the folk songs, folk dances. Taiwanese opera. Taiwanese puppet play,
Taiwanese Shadow play. and Taiwanese aboriginal culture. Most of them are integrated in

the fine arts family. Integrated curriculum provides a good opportunity for arts teachers to

47

collaborate in teaching Taiwanese arts. The Taiwanese shadow play can serve as an
example. A music teacher could teach traditional music by singing, playing instruments
or introducing the traditional accompaniments to the play. A visual art teacher could
teach students how to make a shadow puppet by drawing. paper-engraving, designing the
stage and so on. A theater teacher could teach students how to manipulate the puppet and
prepare a performance on the stage. Although Taiwanese schools do not have a theater
teacher, the music and visual art teacher might cooperate with the classroom teacher in
teaching the shadow play.

The arts are at the center of teaching and learning and provide a rich context for
development of knowledge and Skills. Arts integration needs the cooperation of arts
teachers. and through such integration. students can make links across arts and learn the
arts in a holistic way.

The approach to curricular integration employed in these plans is based on the third
level of Snyder’s Model. Integration. The integration of subject matter with other arts is
as follows.

In “Integration,” the highest level in Snyder’s model, a broad theme or concept is
chosen that cuts across disciplines. so that each content or intelligence can explore the
central idea in a meaningful way. However. the integrity of each intelligence or discipline
is maintained. Snyder also encourages the application and synthesis of ideas from one
discipline to another, because this leads students to develop deeper understanding and
encourages critical thinking through comparing and contrasting of ideas (Snyder, 1996, p.
32).

The crucial ingredient in successful integration is the exploration of a central idea

48

through more than one intelligence or discipline. including sound (music), image (visual

art), gesture (movement or dance), words (language arts). symbols and logic (math), and

so on. As a result. teachers of different disciplines have to cooperate with each other in
planning and discussion. Snyder suggests four decisions for planning an integrated unit
sequentially, which I followed in making the decisions for my unit.

(1) Choosing a Theme: In choosing a theme. the main questions to keep asking are “Is it
important for students? Why?” Snyder suggests that teachers cooperate to choose a
broad theme or concept to provide meaningful exploration through each discipline, and
even invite students, parents, community members. and administers to participate in
the initial brainstorming and decision making. Themes in the lower elementary grades
are usually topical. such as farm animals or rain forest. When students get older,
themes can become more conceptual. such as structures. imagination, or problem
solving. In high school, the themes might be thinking processes, such as research,
inquiry. or critical thinking (Snyder. 1996, p. 84). Two sequences for determining a
theme that suggested by Snyder ( I 996. pp.86 & 87):

a. Determine what you would like to teach in your own content area.
b. Determine. if possible, what the students’ interests are.
c. Meet with other teachers. form a team. and discuss your goals. then brainstorm
common threads.
d. Refine the theme, discuss it with other colleagues. administers. students and
parents, as necessary.
Or

a. Together, have the team brainstorm possible themes and decide upon one.

49

b. Find concepts and materials within your curriculum that address this theme.
c. Discuss your plans with other involved teachers. staff, etc. for input and
refinement.

According to the Arts & Humanities Domain in The Curricular Guidelines/or a
Nine- Year Joint Curricular Plan/or Elementary and .lunior High Schools in Taiwan,
cultural knowledge is important for students. Learning arts transmits cultural heritage and
enriches a student’s life. Understanding vernacular culture and the arts in life serves as
the foundation for this unit often plans. As a result. I have chosen Exploring Taiwan” to
be the theme in the Arts and Humanities Domain for the unit with the fifth grade students.
Music teachers. visual art teachers, and theater teachers would cooperate in teaching the
integrated unit. Through introducing the arts around Taiwan. students will learn to
understand Taiwanese vernacular culture. However, I would need to revisit these plans
with other arts specialists in Taiwan before a meaningful unit of this type could be taught,
as brainstorming and developing consensus is an important part of the integration
process.

(2) Determining Big Questions: In following Snyder’s model. after a theme is chosen, all
the participants should determine the three or four big questions for the integrated unit
by asking themselves: “What is important for students to know at the end of this unit
that will inform them for the rest of their lives?” Big questions are larger concepts,
skills and global generalizations that students can engage at the end of the thematic
unit.

Following are the “Big Questions” that will be explored by the fifth grade students

in each of their arts classes in the unit Exploring Taiwan.”

50

a. What is the historical/cultural background of the area or the people?
b. What are the characteristics of their arts?
c. What is the performance practice of their arts activities?

(3) Determining Discipline-Specific Adaptations of Big Questions: After big questions
are determined, teachers of different disciplines should adapt the big questions to fit
their own discipline’s concepts and skills. Snyder suggests that music teachers ask
themselves: “What do I want my students to know about music through work with this
theme? What do I want my students to understand about this theme through their work
in music?” The first question provides a goal related to the discipline’s concepts and
skills. The second question provides a link to the theme’s big questions, through the
specific discipline’s perspective. By engaging in music activities, students will learn to
perform music and understand music in a holistic integrated way.

Several questions that are specifically related to music will be explored in the
context of this unit “Exploring Taiwan.”

a. What is the historical/cultural background of this piece of music?

b. What are the musical characteristics of this work (including tonality. meter, form,

etc.)?

c. How do you perform this piece of music? Can you audiate this music?

Students will also engage in the following activities to help them develop musical
skills:

a. Identify the tonality and meter of music.

b. Perform tonal patterns at Tonal Unit 19 and Unit 20 of Jump Right In, The Music

Curriculum: Tonal Register (Gordon. 1990) and rhythm patterns at Rhythm Unit

51

19 and Unit 20 ofJump Right In. The Music Curriculum: Rhythm Register
(Gordon. 1990). (Estimating that students already have successfully completed
Unitsl to 18 in Learning Sequence Activities. The fifth grade students might at
the levels of Symbolic Association and Composite Synthesis in Discrimination
Learning and Generalization and C reative/Improvisation in Inference Learning of
Gordon’s Music Learning Theory, assuming that they have engaged in Learning
Sequence Activities from the beginning of elementary school.)

c. Engage in body movement or dance to music.

d. Perform music. by Singing. chanting. and playing percussion or non-percussion
instruments.

e. Create/improvise tonal and rhythm patterns in the music.

f. Read and write music.

g. Listen to music.

h. Understand the cultural background of the music and appreciate performances in
the arts through critical analysis.

(4) Determining Assessments: According to Snyder, authentic assessment should be
developed that allows students to demonstrate their understanding and Skills that result
from the integrated instruction. Teachers may ask themselves: “In what ways
can/should/will the students demonstrate their answers to the big questions? What
criteria will be used to measure success?” Snyder suggests that the teacher team
determine the assessments for the big questions. and individual teachers should have
informal and formal assessments for discipline-Specific learning; for instance, informal

observation during lessons. written information. rubrics-self. peer and teacher

evaluation, and portfolio (Snyder. 2001 & Snyder, 1996).
In this unit, “Exploring Taiwan.” the assessments for the big questions and
discipline-Specific are as follows.

a. Assessments for Big Questions (Arts):
Students choose one of the areas of Taiwan that they are interested in and answer
the big questions in a written paper. In addition, they write a journal reflecting on
a Taiwanese integrated arts activity that they attend or participate in outside of
school. Teachers design continuous rating scales or rubrics for evaluating
students’ work.

b. Assessments for Discipline-Specific Learning (Music):
There are two kinds of measurement tools that music teachers will use to measure
music achievement in this unit. The music teacher will use Tonal Unit 19 and Unit
20 of Jump Right In, The Music Curriculum: Tonal Register (Gordon, 1990) and
Rhythm Unit 19 and Unit 20 of Jump Right In, The Music Curriculum: Rhythm
Register (Gordon, 1990). which include record-keeping systems, to evaluate
students’ tonal and rhythm achievements in Learning Sequence Activities as well
as teacher-designed continuous rating scales to rate music performance skills in
classroom activities, including singing songs, playing soprano recorders, and
playing ostinati on tonebar instruments or recorders. In addition, each student will
develop a portfolio including a recording of his or her own instrumental or vocal
performance of a piece of Taiwanese music and a written paper introducing the
cultural background of the piece of music. Performances will be rated using rating

scales. and the written work will be examined using a scoring rubric.

53

Summary

This design for integrating the music and the arts for the fifth grade in Taiwan is
based on Gordon’s Music Learning Theory. the Arts & Humanities Domain of The
Curricular Guidelines for a Nine- Year Joint Curricular Plan/or Elementary and Junior
High Schools in Taiwan. and Snyder’s Integration Model. Gordon’s music learning
theory helps students to learn music from audiation and develops their knowledge and
skills in music in a systematic way. “Exploring Taiwan” is chosen as a theme for arts
integration, because cultural knowledge is important for Students to learn in the Arts &
Humanities Domain. Snyder’s integration model uses a thematic approach that helps
students learn about Taiwan from the different perspectives of Taiwanese vernacular
music, visual art, theater, and culture. In conclusion. it helps students not only to learn
music skills but also to understand Taiwanese vernacular arts through a holistic learning

environment.

54

CHAPTER 4
MUSIC LESSON PLANS IN "ARTS & HUMANITIES DOMAIN" IN THE
ELEMENTARY SCHOOLS IN TAIWAN
This design of the following ten music lessons is based on Gordon’s Music Learning

Theory, the Arts & Humanities Domain of The Curricular Guidelinesfor a Nine- Year
Joint Curricular Planfor Elementary and Junior High Schools in Taiwan, and Snyder’s
Integration Model. The chosen central theme, “Exploring Taiwan,” is woven through
music, visual art. and theater in the Arts & Humanities Domain, and the integrity of
music, in this case. is maintained. In addition, a set of assessments to evaluate students’
music achievement and integrated arts learning are designed to accompany the lesson

plans.

55

Lesson Plan 1

Objectives:

Students will:

1. Identify the tonality (Major) and the meter (Usual Triple) of the familiar song “ Q,
How Lovely IS The Evening.” and identify the new tonality of the song when it is
performed in minor tonality.

2. Identify the tonality (Zhi Pentatonic) and the meter (Usual Duple) of the Taiwanese
folk song “Due Due Don,” understand the cultural background of the song, learn about
the pentatonic scale. sing the song. and chant macro/microbeats in a group while
performing locomotor movement to macrobeats.

3. Learn about the background of Taiwanese opera and the use of Chinese instruments as
accompaniments, identify the tonality (Yu Pentatonic) and the meter (Usual Duple) of
one of the melodies of the Taiwanese opera “Walking Melody,” as well as perform
movement with weight to the song.

Materials:

Piano, a map of Taiwan. a video player and a videotape.

Procedures:

1. Learning Sequence Activities (Tonal Unit 19, Section A, Criterion 1, Major)

Students are shown a series of tonal patterns in Eb major and are asked to read them in
solo using tonal syllables.

2. “0, How Lovely Is The Evening” (Major, Usual Triple, Jump Right In: The Music
Curriculum. Teacher's Edition: Book 2. p. 268)

a. Sing the familiar song “0, How Lovely Is The Evening.” Ask the students if they

56

audiate “DO-MI-SO” or “LA-DO-MI” as tonic function, and then identify the
tonality of the song (Major). Ask them if they audiate “DU-DE, DU-DE” or “DU-
DA-DI, DU-DA-DI” as macrobeats and microbeats. and then identify the meter of
the song (Usual Triple).

b. Sing the song again, changing the tonality to minor. Then ask the students to identify
the new tonality of the song and explain their answer using tonal syllables.

3. “Due Due Don” (Zhi Pentatonic, Usual Duple, I-Lan Folk Song, Appendix B)

a. Sing the song. Ask students the following questions. “What is the meter?” (Usual,
Duple). “What is the tonality and what is the resting tone?” (Help the students to
discover that the song only includes “DO, RE, MI. SO, LA.” They are “Gong, Shang,
Jue, Zhi, Yu” in the Chinese pentatonic scale. The subjective resting tone is “ So.” so
it is also called the Zhi Pentatonic). “What is the text about?” (The train goes
through the tunnel. The drops of water from the tunnel are falling down. It sounds
like “Due Due Don” in the tunnel). “Does ‘Due Due Don’ have a meaning?” (It is
like the sound of droplets in the tunnel).

b. Introduce the history of the song for the students and Show the location of I-Lan on
the map of Taiwan (See Appendix A). The song is from I-Lan, located in
northeastern Taiwan. with mountains on three sides and the Pacific Ocean on the
east. People created a variety of texts of “Due Due Don” to the same original I-Lan
Melody. For example. one story of “Due Due Don” is about the sounds of the coins
when people cast them on the ground. The other story of “Due Due Don” is about
the echo of water drops and the first train through a tunnel in I-Lan in 1924.

c. Have the students look at the notation of the song and audiate it. Invite the students

57

to sing the song with the tonal syllables and chant the rhythm of the song using
rhythm syllables. Then have the students Sing the entire song with text.

d. Divide the class into three groups of the students and perform the song with a
microbeat/macrobeat chanted accompaniment. The first group should sing the song,
the second group should chant “DU” to macrobeats. and the third group chants “DU-
DE” to microbeats. Invite the students to form a train and move around the room as
they Sing the song and chant the ostinati.

e. Ask the students to discuss their study of I-Lan in other arts classes.

4. “Walking Melody” (Yu Pentatonic, Usual Duple, Taiwanese Aria from Taiwanese

Opera. Appendix B)

a. Watch the video of the Taiwanese opera for a few minutes. Ask the students several
questions. “Have you ever watched Taiwanese opera on TV or in the theater?”
“What have you learned about Taiwanese opera from other arts classes?” “How did
they sing the song?” (They sang the song and acted in a strophic form). “Describe
the music.” (The actor sings the song in a strophic form from the melodies of
Taiwanese Opera. There are many kinds of Chinese instruments that accompany the
singing or chanting.) “What kind of instruments do they use for accompanying?”
(There are many kinds of Chinese instruments that accompany the singing or
chanting, such as dizi-Chinese flute. yuegin- Chinese guitar. hugin-Chinese fiddle.
and Chinese percussion).

b. Introduce the background of Taiwanese opera. Taiwanese opera originated in I-Lan,
when Taiwanese ancestors integrated folk songs and the local theater from their

hometown, Fu-Jian, in Mainland China.

58

c. Sing one ofthe melodies of the Taiwanese opera “Walking Melody.” Invite the
students to perform movement with weight by walking heavily and then lightly to
macrobeats of the song.

Possible Integration Activities:

The other arts teachers could introduce the cultural background and the arts of I-Lan,
such as the architecture, the museums, the Taiwanese opera. the traditional dance, the
Annual Festival of the Traditional Toy. the Dragon-Boat Race Festival and so on. The
visual art teacher could teach students to draw facial masks. The theater teacher could

teach students to walk as different characters in the Taiwanese opera.

59

Lesson Plan 2

Objectives:

Students will:

1. Identify the tonality (Dorian) and the meter (Usual Triple) of the song “Mathy Groves”
and experience continuous fluid movement with a partner in the song.

2. Identify the tonality (Zhi Pentatonic) and the meter (Usual Duple) of the I-Lan folk
song “A Crying Bird,” and compare it with another I-Lan folk song “Due Due Don.”

3. Sing the song “ Walking Melody” from the Taiwanese opera and play pentatonic
ostinati using tonebar instruments to accompany the song.

Materials:

Piano, mallets and tonebar instruments. including metallophones. xylophones, and

glockenspiels.

Procedures:

1. Learning Sequence Activities (Rhythm Unit 19. Section A, Criterion 1, Usual Duple)
Students are shown a series of rhythm patterns in usual duple meter and are asked to
read them in solo using rhythm syllables.

2. “Mathy Groves” (Dorian, Usual Triple. Jump Right In: The Music Curriculum.
Teacher's Edition: Book I, p. 146)

a. Sing the familiar song “Mathy Groves.” Ask students to identify the meter and the
tonality (Usual Triple, Dorian).

b. Pair the students. One student should mirror the continuous fluid movement of the
other while you sing the song “Mathy Groves.” Then have the students reverse roles.

Ask them to move with flow in the style of the song.

60

3. “Due Due Don” & “A Crying Bird” (Both are Zhi Pentatonic. Usual Duple. l-Lan Folk

Songs, Appendix B)

a. Sing the song “A Crying Bird.” Ask the students several questions. “What is the
meter?” (Usual Duple). “What is the tonality and what is the resting tone?” (Zhi
Pentatonic and So).

b. Introduce the history of the song to the students. The song also is from I-Lan and
was popular when the Japanese occupied Taiwan during the early twentieth century.
It describes the people of Taiwan. who tried to defend their land; however, the
government of the Ching Dynasty ceded Taiwan to Japan, and then Japan conquered
Taiwan. (Translation: A bird was crying in the early morning. It stood on the trench
and couldn’t find its nest).

c. Sing the song “A Crying Bird” again. Have students Sing the familiar song “Due
Due Don.” Ask the students to audiate these two songs and find their Similarities.
such as the same resting tone. the same meter. the same phrase in the first measures.

4. “Walking Melody” (Yu Pentatonic. Usual Duple. Taiwanese Aria from the Taiwanese

Opera, Appendix B)

a. Sing the familiar song “Walking Melody.” Invite the students to sing the song with
tonal syllables, chant the rhythm of the entire song using rhythm syllables, and
identify the tonality and the meter. Then have the students sing the song with text.
(Translation: Hurry up! Let’s walk as soon as possible. Do not delay on our way).

b. Ask each student to audiate and create a tonic four-pitch tonal pattern using the
pentatonic scale, and then notate it in the practice book. Have one group of students

choose one of their tonal patterns and perform it using tonebar instruments as a

61

macrobeat ostinato while others sing the whole song. Repeat using other tonal
patterns as instrumental ostinati. Ask the students to critically evaluate the different
ostinati patterns and how well they worked with the song.
Possible Integration Activities:
1. Each student could wear his/ her mask and walk as a character of the play while
singing “Walking Melody.”

2. Students could go on a field trip to the Taiwanese Opera Museum in I-Lan.

62

Lesson Plan 3

Objectives:

Students will:

1. Identify the tonality (Dorian) and the meter (Usual Combined) of the song “Chimney
Sweeper” and create a four-beat rhythm pattern in usual combined meter using rhythm
syllables in a rhythm conversation.

2. Learn about the A-Mis people, identify the tonality (Yu Pentatonic) and the meter
(Usual Duple) of the A-Mis folk song “Dance with the Moon” and sing it in canon
with the teacher.

3. Identify the tonality (Yu Pentatonic) and the meter (Usual Duple) of the A-Mis folk
song “Song of the Ocean” and move with body awareness and perform locomotor
movement to the song.

Materials:

Piano and a map of Taiwan.

Procedures:

1. Learning Sequence Activities (Tonal Unit 19. Section A. Criterion 2, Major)

Students are Shown a series of tonal patterns in Eb major and are asked to read them in
solo using tonal syllables.

2. “Chimney Sweeper” (Dorian. Usual C ombined. Jump Right In: The Music Curriculum.
Teacher 's Edition: Book I. p. 72)

a. Sing the familiar song “Chimney Sweeper.” Ask the students to identify the meter
and tonality of the song (Usual Combined, Dorian).

b. Chant a four-beat rhythm pattern using syllables in usual combined meter between

63

each repetition of the song, and invite individual students to chant a four-beat
rhythm pattern of usual combined meter in response to your pattern that is different
from your pattern.

3. “Dance with the Moon” (Yu Pentatonic, Usual Duple, A-Mis Folk Song. Appendix B)

a. Sing the song, ”Dance with the Moon.” Ask the students to identify the meter and
the tonality (Usual Duple. Yu Pentatonic).

b. Show the map of Taiwan and Show where Hualien is in eastern Taiwan. Introduce
the background of the aboriginal. A-Mis people. A-Mis people make up the largest
population of aboriginal people in 'I’aiwan and incorporate singing and dancing
extensively in their culture. Their traditional instruments include the dizi, the bow
string, the wooden drum, the copper cymbal, and ringing bells. They always
celebrate their Mid-Autumn Harvest Festival with singing and dancing.

c. Tell them that “Dance with the Moon” is a song that A-Mis people use to celebrate
their harvest festival. Help the students to figure out the tonal syllables that
correspond to the tonal patterns in the song. and then sing the song using tonal
syllables. Chant the rhythm syllables for the rhythm of the entire song. Then sing the
entire song with the students with text. (Translation: Friends! Come join us! The
beautiful moon rises in the east. Let’s dance and Sing at this moment. Na Lu Wan Do
I Na Na Ya Hey 1 Ya Hey. Na Lu Wan Do 1 Na Na Yan Hoy Hay Yan. Hoy I La Lu
Wan Do I Na Na Ya Hey).

(1. Next, if the students are ready. they can learn to sing the song in two-part canon with
you. Ask the students to sing the song. The first time. sing after the students at a

one-measure interval. Ask them to sing the song again. The second time. sing after

64

the students at a two-measure interval. Ask the students if there were any differences
between the first time that they performed in a round and the second.
4. “Song of the Ocean” (Yu Pentatonic. Usual Duple. A-Mis Folk Song. Appendix B)
a. Sing the A-Mis folk song ” Song of the Ocean.” and ask the students to identify the
meter and the tonality (Usual Duple. Yu Pentatonic).
b. Tell them that it is a folk song that A-Mis people use to praise the beauty of the
Pacific Ocean, which is located on the eastern coast of Taiwan.
0. Ask the students to pretend to be a merman or a mermaid swimming in the ocean.
They should freeze in a pose or shape when you stop singing the song and move
while you sing. Sing the song. stopping occasionally so that the students pose.
Possible Integration Activities:

The other arts teachers could introduce the culture of A-Mis people. such as their
carving, pottery. clothing. totem poles. architecture. dance. and festivals. The visual art
teacher may teach the students to make ring bells for use in dances. The theater teacher

may teach the students to perform the traditional A-Mis dance.

Lesson Plan 4

Objectives:

Students will:

1. Identify the tonality (Aeolian) and the meter (Usual Triple) of the song “Five Cents
Have I” and sing the chord roots in groups.

2. Identify the tonality (Yu Pentatonic) and the meter (Usual Duple), notate rhythm
patterns from audiation, chant the rhythm using rhythm syllables, perform movement
to the song, and understand the form of “The Song of A-Mei.”

3. Perform a circle dance with others to the song “Dance with the Moon.”

Materials:

Piano, a CD player & recording (The Song of A-Mei, Piano Quintet “The Highlander’s

Suite” by Tyzen Hsiao)

Procedures:

1. Learning Sequence Activities (Rhythm Unit 19, Section A, Criterion 2, Usual Duple)
Students are shown a series of rhythm patterns in usual duple meter and are asked to
read them in solo using rhythm syllables.

2. “Five Cents Have I” (Aeolian. Usual Triple. Jump Right In: The Music Curriculum.
Teacher "s Edition: Book I . p. 158)

a. Sing the familiar song “Five Cents Have 1.” Identify the meter and the tonality of the
song (Usual Triple. Aeolian).

b. Divide the class into three groups of the students. Ask each group to sing a pitch
from the tonic triad and also from the dominant triad in Aeolian. Hold up one finger

to signal for the groups to sing “LA,” “DO.” and “MI”(tonic chord), and hold up

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five fingers to signal for the groups to Sing “SI.” “RE,” and “Ml”(dominant chord).
Hold up the appropriate number of fingers as you sing the song and invite the
children to sing the harmonic underpinnings of the song. Invite individual children
to hold up the appropriate number of fingers to conduct the class to sing the
harmonic underpinnings as you and the rest of the class Sing the song.
3. “The Song of A-Mei,” Piano Quintet “The Highlander’s Suite” (Yu Pentatonic, Usual
Duple, arranged by Tyzen Hsiao from A-Mis folk song: Song of the Ocean)

a. Sing the familiar song “ Song of the Ocean.” Tell the students that the music was
arranged by Mr. Tyzen Hsiao and is a version of“Song of the Ocean.”

b. Pat your legs to the rhythm patterns found in the listening activity in Appendix B.
Invite the children to imitate you. Ask them to audiate the rhythm pattern that they
patted, identify the meter of the pattern, chant the rhythm pattern with syllables, and
notate the pattern in their practice book. Give them the measure signature and
identify the durations of the macrobeats before they begin to notate.

c. Play a recording of the music and ask the students to move as above when they hear
the rhythm patterns in the music. Ask them what kind of instrument plays that
pattern (strings). Give the call chart to them and listen to the music once more. See if
they could follow the call chart and identify the form (ABA).

4. “Dance with the Moon” (Yu Pentatonic. Usual Duple. A-Mis Folk Song. Appendix B)

a. Have students sing the familiar song “Dance with the Moon.”

b. Invite a group of boys to form an outside circle and a group of girls to form an inside
circle. Lead the students in the circles by walking to macrobeats to the right during

the first verse. to the left during the second the verse. and toward the center and then

67

back out during the third verse. Pat your legs and walk to microbeats to the right
during the fourth verse and to the left during the fifth verse. During the last verse,
each boy should find a girl to the right from the inner circle. join hands. and walk in
a circle together. Invite everyone to sing and dance to the song.
Possible Integration Activities:
1. Have the students wear ringing bells on their feet and wrists and perform the traditional
dance of A-Mei in the recorded music “The Song of A-Mei.”

2. Students could go on a field trip to the museum of Taiwanese aboriginal people.

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Lesson Plan 5

Objectives:

Students will:

1. Identify the tonality (Major) and the meter (Unusual Paired) of the familiar song
“Clapping and Tapping” and create a four-macrobeat rhythm pattern in unusual paired
meter using body percussion.

2. Learn about the background of and sing the folk song “Memory” from Heng-Chhun
and identify its tonality (Zhi Pentatonic) and the meter (Usual Duple).

3. Learn the background of the Taiwanese shadow play and the use of Chinese
instruments as accompaniments. Identify the tonality (Yu Pentatonic) and the meter
(Usual Duple) of the song “Nuo-Za” from the Taiwanese shadow play as well as
experience body awareness through moving to the song.

Materials:

Piano, recordings. a map of T aiwan, a video player and a videotape.

Procedures:

1. Learning Sequence Activities (Tonal Unit 19. Section B, Criterion 1. Minor)
Students are Shown a series of tonal patterns in B minor and are asked to read them in
solo using tonal syllables.

2. “Clapping and Tapping” (Major, Unusual Paired. Jump Right In: The Music
Curriculum. Teacher '5 Edition: Book 1. p. 44)

a. Sing the familiar song and ask the students to identify its meter and tonality
(Unusual Paired, Major).

b. Clap a four-beat rhythm pattern between each repetition of the song. and invite

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individual students to create a four-macrobeat rhythm pattern to clap in response
to your pattern that is different from your pattern.
3. “Memory” (Zhi Pentatonic. Usual Duple. Heng-Chhun Folk Song. Appendix B)

a. Show the map of Taiwan and identify that Heng-Chhun is located in south Taiwan.
Play the recorded music of“Memory” sung by Da Chen. who was born in Heng-
Chhun and was famous for singing this song. “Memory” is a Heng-Chhun melody,
and people usually improvise texts to the melody. Ask the students what other
song had multiple texts to the same melody (“Due Due Don” for example). In the
song “Memory.” the composer described many pioneers who settled down in
Heng-Chhun and recalled their hometown in Mainland China.

b. Show students the notation of the song and ask them to audiate it. Guide the
students to sing the song using tonal syllables. chant the rhythm of the entire song
using rhythm syllables. and identify the tonality and its meter (Zhi Pentatonic,
Usual Duple). Have the students sing the song with text and find the strophic form.
(Translation: I remember the happy time in my hometown. But now I left my
hometown and begin a whole new world. I remember the river with a little bridge
in my hometown. When will I return to my home in glory? )

4. “Nuo-Za” (Yu Pentatonic. Usual Duple. C hincse Theater Song. Appendix B)

a. Watch a video of the Taiwanese shadow play for a few minutes. Ask the students
several questions. “Have you ever watched a shadow play on TV or in the
theater?” “What have you learned about shadow play from other arts classes?”
“What iS the song?” (There are many kinds of melodies in Taiwanese Shadow play.

They are Tsau-Zhou melodies based in Chinese pentatonic scales and in usual

70

duple meter with a strophic form). “What kind of instruments do they use for
accompanying the song?” (The main accompaniment instruments are Chinese
lougu percussion and the erhu).

b. Introduce the background of the Taiwanese shadow play. It originated in Fu-Jen.
Mainland China, and was very popular in the agricultural society in south Taiwan,
especially in Kaoshuang.

c. Sing the song “Nuo-Za” from the play. Ask the students to identify the tonality
and the meter of the song (Yu Pentatonic, Usual Duple). Then invite the students
to pretend that they are carrying a paper puppet on their palms and perform
locomotor movement with their little puppet while you sing the song. Ask them to
imagine putting the little puppet on different parts of their body while you sing the
song again.

Possible Integration Activities:

The visual art teacher could teach students to make different puppets featured in the

shadow play “Nuo-Za” by drawing, paper-engraving. and designing the stage: the theater

teacher could teach students to manipulate the puppet on the stage.

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Lesson Plan 6

Objectives:

Students will:

1. Identify the tonality (Harmonic Minor) and the meter (Usual Triple) of the song
“Stirring Our Brew” and sing the song in harmonic minor and major tonalities.

2. Identify the meters of the song “Memory” (usual duple and usual triple meters)
through body movement.

3. Sing the song “Nuo-Za” from the Taiwanese shadow play and create rhythm patterns to
serve as ostinati on the Chinese non-pitched percussion.

Materials:

Piano and Chinese non-pitched percussion instruments. including woodblocks. a gong. a

cymbal, and a drum.

Procedures:

1. Learning Sequence Activities (Rhythm Unit 19. Section B, Criterion 1. Usual Triple)
Students are shown a series of rhythm patterns in usual triple meter and are asked to
read them in solo using rhythm syllables.

2. “Stirring Our Brew” (Harmonic Minor. Usual Triple. Jump Right In: The Music
Curriculum. Teacher '5 Edition: Book I p. 60)

a. Sing the familiar song “Stirring Our Brew.” Ask the students whether they audiate
“LA-DO-MI” or “DO-MI-SO” as tonic function. and then identify the tonality of the
song (Harmonic Minor). Ask them ifthey audiate "DU-DE. DU-DE” or “DU-DA-
DI, DU-DA-DI” as macrobeats and microbeats. and then identify the meter of the

song (Usual Triple).

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b. Invite the students to audiate the song in major tonality and suggest that they change
“LA-DO-MI” into “DO-MI-SO” to serve as a tonic function. Sing the song in major
tonality and then invite the students to sing the song in major tonality.

3. “Memory” (Zhi Pentatonic. Usual Duple. Heng-Chhun Folk Song, Appendix B)

a. Sing the familiar song “Memory” and ask students to identify its meter and tonality
(Usual Duple. Zhi Pentatonic). Ask the students to tell you as much as they
remember about the origins and background of the song.

b. Sing the song again but this time change the meter to triple. Ask the students to
identify the new meter of the song and support their answers through the use of
movement and the rhythm syllables.

0. Ask the students to stand in a circle. When you sing the song in usual duple meter,
the students should walk to the right to microbeats. When you Sing the song in usual
triple meter, the students should walk to the left to microbeats.

4. “Nuo-Za” (Yu Pentatonic. Usual Duple, Chinese Theater Song, Appendix B)

a. Sing the familiar song “Nuo-Za.” Tell students that “Nuo-Za” was a famous magical
child in Chinese legend who helped King Chou-Wun to build the Chou dynasty. The
song describes a situation in which Nuo-Za goes out in a hurry. Invite the students to
sing the song with tonal syllables. chant the rhythm of the entire song using rhythm
syllables, and identify the tonality and the meter (Yu Pentatonic, Usual Duple). Then
have the students sing the song with text. (Translation: Hurry up! Hurry up! I will go
for an outing.)

b. Ask students to audiate and create a four-macrobeat rhythm pattern and then notate

it in their practice books. Play selected rhythm patterns as ostinati on the Chinese

73

non-pitched percussion. such as woodblocks. a gong. a cymbal, and a drum in
groups. Have each group take turns playing the percussion while others sing the
song.
Possible Integration Activities:
1. All arts teachers may cooperate to teach the students to perform a Taiwanese shadow
play. Students could perform using their puppets and perform the music of the Shadow
play “Nuo-Za.”

2. Students could go on a field trip to the museum of Taiwanese shadow play.

74

Lesson Plan 7

Objectives:

Students will:

1.

Identify the tonality (Mixolydian) and the meter (Triple) of the song “I Want To Be A

Circus Clown” and move with weight to the song.

. Learn about the background of “Song of the Farm Village” and identify its tonality

(Gong Pentatonic) and the meter (Usual Duple). They will also play the song using

soprano recorders.

. Learn about the Taiwanese puppet play, identify the meter (Usual Duple) of “The

Luogu Chant.” and perform it by chanting the Chinese chant syllables and playing

Chinese luogu percussion.

Materials:

Piano, soprano recorders. Chinese non-pitched percussion instruments. including

woodblocks. a small gong. a large gong. a small cymbal. and a drum. a map of Taiwan. a

video player and a videotape.

Procedures:

1.

Learning Sequence Activities (Tonal Unit 19. Section B. Criterion 2. Minor)
Students are shown a series of tonal patterns in B moinor and are asked to read them in

solo using tonal syllables.

. “I Want To Be A Circus Clown” (Mixolydian. Usual Triple. Jump Right In: The Music

Curriculum. Teacher '5 Edition: Book I. p. 66)
a. Have the students stand in a circle. Sing the familiar song “I Want To Be A Circus

Clown” and identify its meter and tonality (Usual Triple. Mixolydian).

75

b. Pretend to pass something light or heavy around the circle as you and the students
Sing the song. When the song is over, the last person who was passed the imaginary
object should tell the class whether the object he/she receives from the person next
to them in the circle was heavy or light.

3. “Song of the Farm Village” (Gong Pentatonic, Usual Duple. Taiwanese Folk Song,

Appendix B)

a. Show the map of Taiwan and where the Chia-Nan Plain is on the map. Introduce the
background of “Song of the Farm Village.” Most people earned their living by
farming in the early twentieth century in the central-western Taiwan. In “Song of the
Farm Village,” the composer described how the peasants worked hard on the farms.
(Translations: I left home in the early morning. The day is just dawning. Nobody
asks me if I suffer from hard working. I walk to the farm and work hard to earn a
living. To earn a living. I am not afraid of the cold water while farming.)

b. Play “Song of the Farm Village” using a soprano recorder. Teach the students to play
it by rote using recorders.

4. “The Lougu Chant” (Usual Duple. Chinese Luogu Chant, Appendix B)

a. Watch the video of a Taiwanese puppet play for a few minutes. Ask the students
several questions. “Have you ever watched a shadow play on TV or in the theater?”
“What is the music?” (There are many kinds of melodies in the Taiwanese puppet
play. They are based on Chinese pentatonic scales and are in usual duple meter with
strophic form. Chinese instruments accompany the singing or chanting). “What kind
of instruments do they use for accompanying?” (The main accompaniments are

Chinese luogu percussion. erhu- Chinese fiddle. dizi- Chinese flute, yuegin- Chinese

76

guitar).

b. Introduce the background ofthe Taiwanese puppet play. It originated in south
Mainland China and became popular in Taiwan in the early 19005.

c. Perform one of the Luogu chants from the play. Invite the students to identify the
meter (Usual Duple) and chant it using rhythm syllables. Then have the students
chant with Chinese chant syllables: “Da Da. I Da I I, Kuang Duo Chi Duo, Kuang.”

d. Tell them that each Chinese traditional chant syllable represents the sound of a kind
of percussion instruments. “Da” represents the small drum. “I” represents the
woodblocks. “Kuang” represents the large gong. “Duo” represents the tan-gu drum,
and “Chi” represents the small cymbal. Have five students in a group and give each
one of them one of the Chinese Luogu percussion instruments listed above. First. all
students should perform chant using the Chinese syllables and clap the rhythm as
they perform. Second. have a group perform it on the Chinese Luogu percussion
instruments while the remainder of the class chants the Chinese syllables.

Possible Integration Activities:

1. The other arts teachers could introduce the culture and arts of the agricultural society in
central-western Taiwan, especially the Taiwanese puppet play.

2. The visual art teacher could instruct the students to make simple puppets using
handkerchiefs and the theater teacher could teach the students to manipulate the puppet.
All of the arts teachers could cooperate to teach the students to perform a Taiwanese
puppet play.

3. Students could go on a field trip to the museum of Taiwanese puppet play.

77

Lesson Plan 8

Objectives:

Students will:

1. Identify the tonality (Phrygian) and the meter (Unusual Unpaired) of “Song without
Words” and move in canon to the song.

2. Perform “Song of Farm Village” and pentatonic ostinati using soprano recorders.

3. Create an eight-beat Chinese Luogu chant in duple meter and perform it by chanting
and playing Chinese Luogu percussion.

Materials:

Piano and soprano recorders.

Procedures:

1. Learning Sequence Activities (Rhythm Unit 19. Section B. Criterion 2. Usual Triple)
Students are Shown a series of rhythm patterns in usual triple meter and are asked to
read them in solo using rhythm syllables.

2. “Song without Words” (Phrygian, Unusual Unpaired. Appendix B)

a. Sing the familiar song. Ask the students to identify the tonality and the meter
(Phrygian, Unusual Unpaired).

b. Perform body percussion to the macrobeats of the song and ask the students to move
in canon by imitating your movement three macrobeats later in the song. You begin
and cue the students to begin after three macrobeats.

c. Ask a pair of students to create macrobeat movements using body percussion to the
macrobeats in canon when you sing the song.

3. “Song of the Farm Village” (Gong Pentatonic. Usual Duple. Taiwanese Folk Song,

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Appendix B)

a. Invite the students to play the entire song using soprano recorders.

b. Ask each student to audiate and create a tonic. four-pitch tonal pattern and then
notate it in the practice book. Have one group of students choose one of their tonal
patterns and perform it using soprano recorders as a macrobeat ostinato while others
play the whole song. Repeat using other tonal patterns as instrumental ostinati.

4. “The Luogu Chant” (Usual Duple, Chinese Luogu Chant. Appendix B)
a. Place five students in a group and ask each one to represent one of the Chinese
Luogu percussion instruments. Everyone should perform the familiar “The Luogu
Chant” by chanting and clapping at the appropriate time for the instrument that they
represent.
b. Each group should create an eight beat Chinese Luogu chant in duple meter and
notate it in their practice books. Then they Should perform it by chanting and
playing the Chinese Luogu percussion instruments.
Possible Integration Activities:

The visual art teacher could help the students to make hats and hoes for farming.
The theater teacher could teach the students to perform a traditional farming dance. After
the hoes and hats have been made and the students have learned the dance. the class
could divide into three groups of students; one group plays the music “Song of the Farm
Village,” one group sings the song. and the final group wears the hats and holds the hoes

to perform the farming dance.

79

Lesson Plan 9

Objectives:

Students will:

1. Identify the tonality (Locrian) and the meter (Usual Duple) of “North and South” and

perform slow movement to the song.

2. Identify the meter (Multimetric). tonality (Multitonal). and form (ABA) of“Song of A-

Li Mountains.”

3. Learn about the Tzo people, identify the tonality (Yu Pentatonic) and the meter (Usual

Duple) of the song “Catch the Crabs.” and play the song using soprano recorders.

Materials:

Piano, soprano recorders. a map of Taiwan. a CD player and recording

Procedures:

1.

Learning Sequence Activities (Tonal Unit 20. Section A. Criterion l. Dorian and
Mixolydian)
Sing the first series of individual patterns with “bum” in D Dorian and the second

series in G Mixolydian and invite the student to name the tonality of each series.

. “North and South” (Locrian. Usual Duple. IIIIISIC Play. p. 11 l)

a. Sing the familiar song “North and South” and ask the students to identify the meter
and the tonality (Usual Duple. Locrian).
b. Ask the students to pretend to be actors in a movie. Ask them to move in slow

motion when you sing the song and freeze when you finish the song.

. “Song of A-Li Mountains” (Multitonal and Multimetric. arranged by Yo-Li Huang

from the Taiwanese Folk Song “Kao Sen Chi.” The Green High Mountain)

80

a. Play a recording of“Song of A—l.i Mountains." Ask the students ifthe meter or the
tonality changes in the song (Yes).

b. Tell them that Mr. Yo-Li Huang arranged this piece using the Taiwanese Folk Song
“Kao Sen Chi.” People praise the beauty of the A-Li Mountains. which are located
in the middle of Taiwan. Show the students where the mountains are on the map of
'Tahvan.

c. Give the students three pieces of the call chart (See Appendix B) and ask them to put
them in the right order as they listen to the music once more. See if they could
follow the call chart and identify the changes in meter. from usual duple, usual triple
to usual duple, and the changes in tonality. from minor to major tonality, and the
form (ABA).

4. “Catch the Crabs” (Yu Pentatonic. Usual Duple. Tzo Folk Song, Appendix B)

a. Sing the song “Catch the Crabs.” Ask the students to identify the meter and the
tonality (Usual Duple. Yu Pentatonic).

b. The song is from the T20 people. They live in the A-Li Mountains and are very good
at hunting. The song describes a child who is bitten by a crab when he catches it in
the river. (Translation: Hay Yo! Hay Yo! Let’s go to catch the crabs. I don’t know
there is a large crab crawling from the cave. The crab hit my finger. It hurts! Ai Ai
Ykfl)

c. Show the students the notation of the song and ask them to audiate it. Guide the
students to sing the song using tonal syllables and then chant the rhythm of the
entire song using rhythm syllables. Then play the entire song using soprano

recorders.

81

Possible Integration Activities:

1. The other arts teachers could introduce the culture of the T20 people, such as their
weaving. clothing, hunting tools. traditional dance. and festivals. The visual art teacher
could teach the students to make traditional hunting tools. such as fishing tackle. The
theater teacher could teach the traditional dance of Tzo people. Then small groups of
students could create their own dance for hunting. The teacher could invite one group
to wear the hunting tools and demonstrate their created dance while another group
plays the song “Catch the Crabs” using the recorders.

2. Students could go on a field trip to one of the museums of Taiwanese aboriginal

people.

82

Lesson Plan 10
Objectives:
Students will:
1. Identify the tonality (Lydian) and the meter (Usual Triple) of the song “The Wind” and
explore direct and indirect space to the song.
2. Play the song “Catch the Crabs” using soprano recorders in two-part canon.
3. Learn about the Ha-Ga people, and sing and identify the tonality (Gong Pentatonic)
and the meter (Usual Duple) ofthe song “To-Fa Koi.”
Materials:
Piano. soprano recorders. and a map of Taiwan.
Procedures:
1. Learning Sequence Activities (Rhythm Unit 20. Section A, Criterion 1, Unusual
Paired).
Chant patterns in unusual paired meter using “bah” and invite the student to chant it
using “bah.”
2. “The Wind” (Lydian, Usual Triple. Music Play. p. 109)
a. Sing the familiar song. Ask the students to identify the meter (Usual Triple) and
tonality (Lydian).
b. Ask the children to walk in a straight line while you sing the song and walk in a
curvy line while you stop singing the song.
3. “Catch the Crabs” (Yu Pentatonic. Usual Duple. Tzo Folk Song. Appendix B)
a. Invite the students to play the familiar song “Catch the Crabs” using soprano

recorders.

83

b. Have two groups of students play the song in a two-part canon. The second group
plays the song after the first group at a one-measure interval. Let each of the groups
begin the canon.

4. “To-Fa Koi” (The Peach Blossoms) (Gong Pentatonic. Usual Duple. Ha-Ga Folk Song.

Appendix B)

a. Sing the Ga-Ka folk song “To-Fa Koi.” Ask the students to identify the tonality and
the meter (Gong Pentatonic. Usual Duple).

b. Show the map of Taiwan and locate where the Ha-Ga people live. Many Ha-Ga
people live in the hills of the western Taiwan and earn their living by planting tea
trees and selling tea. There are many Ha-Ga folk songs and chants that describe their
work in the hills and their living style. Most Ha-Ga folk songs are pentatonic and are
in the Chinese poetic form with four lines and seven characters in each line.

c. Show the students the notation of the song and ask them to audiate it. Guide the
students to sing the song using the tonal syllables, chant the rhythm of the entire
song using rhythm syllables. and read the text in the language of Ha-Ga. Sing the
entire song without text and then sing the song with text. (Translation: The peach
blossoms bloom and the Chrysanthemums turn yellow. Father gives me three orders.
The ”first is to study hard. The second is to have good health. The third is to love our
country).

Possible Integration Activities:
1. All arts teachers could cooperate to teach the students to perform the traditional theater
of Ha—Ga people, “Picking Tea.” The theater teacher could teach the students to play

the roles in “Picking Tea.” The visual art teacher could teach the students to make

84

baskets. hats. and other stage properties. The music teacher could teach the students to
play the music for the play.

2. Students could go on a field trip to the museum of Ha-Ga people.

85

Projects and Assessments

. Assessments for Big Questions (Arts):

Each student will answer the big questions in a written paper that is completed outside
of class. Each arts teacher. including the music. visual art. and theater teacher. will
evaluate each student response. The final grade will be reported using a 100-point scale,
which is typical to the Taiwanese grading system.

(1) Questions for Students

 

 

Student Name:

Choose one of the areas of Taiwan that you are interested in. and answer the
following questions.

Focus of Area or People:

(A) What is the historical/cultural background of the area or the people?

(B) What are the characteristics oftheir arts?

(C) What is the performance practice of their arts activities?

(D) Write a brief journal entry (log) about an arts activity that you attended or

participated in that is representative ofthe area discussed above. Describe

your emotional experience response to the activity.

 

 

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(2) Sample List for Assessment:

 

 

Student Name:
Focus of Area or People:
Grade: 1: poor; 2: in need of reflection; 3: average: 4= good; 5: excellent.

I. Content: (Appropriate sources. thorough presentation. and accurate
information.)

1. The student’s answer to question A l 2 3 4 5
(the historical/cultural background of the area or people)
Comments:

2. The student’s answer to question B I 2 3 4 5
(the characteristics of their arts)

Comments:

3. The student’s answer to question C 1 2 3 4 5
(the performance practice of their arts activities)
Comments:

4. The student’s answer to question D I 2 3 4 5
(the journal entry)

Comments:

II. Presentation: (Appropriate words. well-written sentences, and logical flow of
ideas.)
The student’s presentation of the answers 1 2 3 4 5
Comments:
Composite:

Composite Rating x 4 =

Final Grade (Numerical scales of 100):

 

87

 

2. Assessments for Discipline-Specific Adaptations of Big Questions:
(1) Rating Scales for Music Performance
The music performance of this unit contains the tonal achievements and rhythm
achievements in both Gordon’s Learning Sequence Activities and Classroom Activities.
The music teacher will use Tonal Unit 19 and Unit 20 ofJump Right In, The Music
Curriculum: Tonal Register (Gordon. 1990) and Rhythm Unit 19 and Unit 20 of Jump
Right In. The Music Curriculum: Rhythm Register (Gordon, 1990). which include
record-keeping systems, to evaluate students’ tonal and rhythm achievements in
Learning Sequence Activities as well as the following sample assessments to evaluate
the students’ tonal and rhythm achievements in Classroom Activities, including
singing a song. playing a song using a soprano recorder, and playing ostinati using a

tonebar instrument or a soprano recorder.

88

Sample 1. Singing
Ask a student to choose a Taiwanese folk song that he/she has learned in class and Sing
it without accompaniment in class. Use the rating scales to rate the performance on the
tonal and rhythm dimensions and convert the ratings to a lOO-point scale.

(a) Assessment for Singing

 

Student Name:
Song:
Tonality:
Meter:

Music Performance:(Use rating scales on the following pages.)

(a) Rhythm 1 2 3 4 5
(b) Tonal l 2 3 4 5
Composite:

Composite Rating of Performance x 10 =

Final Grade (Numerical Scale of 100):

 

 

 

89

(b) A Dimension of Tonal

 

 

Student Name:
Song:
Tonality:
Meter:

5. The student sings the song with accurate pitches and intonation.

4. The student Sings the song with 1 mistake in pitch or intonation.

3. The student Sings the song with 2-3 mistakes in pitches and intonation.
2. The student sings the song with 4-5 mistakes in pitches and intonation.
1. The student plays the song with more than 5 mistakes in pitches and

intonation.

Comments:

 

90

 

(c) A Dimension of Rhythm

 

 

Student Name:
Song:
Tonality:

Meter:

5. The student sings the song in a consistent tempo with correct rhythms.

4. The student sings the song in a consistent tempo with 1 rhythmic mistake.

3. The student sings the song in a consistent tempo with 2-4 rhythmic mistakes.

2. The student sings the song in a consistent tempo with more than 5 rhythmic
mistakes.

I. The student sings the song with no sense of consistent tempo.

Comments:

 

91

 

Sample 2. Playing the Soprano Recorder
Ask a student to choose either “Song of Farm Village” or “Catch the Crabs” and
perform it using a soprano recorder. Use the rating scales to rate the performance on
the tonal and rhythm dimensions and convert the ratings to a IOO—point scale.

(a) Assessment for Playing the Soprano Recorder

 

Student Name:
Song:
Tonality:
Meter:

Music Performance:(Use rating scales on the following pages.)

(3thth 1 2 3 4 5
(b) Tonal I 2 3 4 5
Composite:

Composite Rating of Performance x 10 =

Final Grade Wumerical Scale of 100):

 

 

 

(b) A Dimension of Tonal

 

 

Student Name:
Song:
Tonality:
Meter:

5. The student plays the music with accurate pitches and intonation.

4. The student plays the music with 1 mistake in pitch or intonation.

3. The Student plays the music with 2-3 mistakes in pitches and intonation.
2. The student plays the music with 4-5 mistakes in pitches and intonation.
1. The student plays the music with more than 5 mistakes in pitches and

intonation.

Comments:

 

93

 

(c) A Dimension of Rhythm

 

 

Student Name:
Song:
Tonality:
Meter:

5. The student plays the song in a consistent tempo with correct rhythms.

4. The student plays the song in a consistent tempo with 1 rhythmic mistake.

3. The student plays the song in a consistent tempo with 2-4 rhythmic
mistakes.

2. The student plays the song in a consistent tempo with more than 5 rhythmic
mistakes.

1. The student plays the song with no sense of consistent tempo.

Comments:

 

94

 

 

Sample 3. Playing Ostinati Using a Tonebar Instrument or a Soprano Recorder
Ask a student to choose either Walking Memory” or “ Song of Farm Village” and
play the specific pentatonic ostinati using a tonebar instrument or a soprano recorder
while you play a recording of the song. Use the rating scales to rate the performance

on the rhythm dimension and convert the rating to a IOO-point scale.

 

Student Name:
Song:
Tonality:
Meter:

5. The student plays in a consistent tempo with correct pitches.

4. The student plays in a consistent tempo with l pitch mistake.

3. The student plays in a consistent tempo with 2-4 pitch mistakes.

2. The student plays in a consistent tempo with more than 5 pitch mistakes.

1. The student plays ostinati with no sense of consistent tempo.

Comments:

Rating of Performance x 20 =

Final Grade (Numerical Scale of 100):

 

 

95

 

(2) Portfolios:
Each student will develop a portfolio including a recording of his or her own
instrumental or vocal performance of a piece of Taiwanese music and answer the
questions about the piece of music in a written paper.

A. Questions for students

 

Student Name:

The Title ofthe Music:

Choose a piece of Taiwanese music that you are interested in. and answer

the following.

(A) Describe the historical/Cultural background ofthis piece of music.

(B) What are the musical characteristics of this work (including tonality. meter

, form, etc.)?

(C) Record your instrumental or vocal performance of this piece of music

using a cassette tape recorder.

 

 

96

B. Sample List for Assessment

 

 

Student Name:
Focus of Area or People:

I. Written Work:
Grade: 1= poor; 2= in need of reflection; 3: average; 4: good; 5= excellent.
(a) Content: (Appropriate sources. thorough presentation, and accurate
information.)

I. The student’s answer to question A 1 2 3 4 5
(the historical/cultural background of the music)
Comments:

2. The student’s answer to question B l 2 3 4 5
(the musical characteristics of this work)
Comments:

(b) Presentation: (Appropriate words, well-written sentences, and logical flow
of ideas.)
The student’s presentation to the answers I 2 3 4 5
Comments:

Composite:

11. Music Performance:( Use rating scales on the following pages.)

(a) Rhythm 1 2 3 4 5
(b) Tonal 1 2 3 4 5
(c) Expression and Style I 2 3 4 5
Composite:

Composite Rating of Written x 2.5:
Composite Rating of Performance x 3.34 =

Final Grade (Numerical Scale of 100): Written + Performance:

 

97

 

Three dimensions of rating scales for the music performance are as follows:

(a) A Dimension of Tonal

 

Student Name:
Song:
Tonality:
Meter:

5. The student performs the song with accurate pitches and intonation.

4. The student performs the song with I mistake in pitch or intonation.

3. The student performs the song with 2—3 mistakes in pitches and intonation.
2. The student performs the song with 4-5 mistakes in pitches and intonation.
l. The student performs the song with more than 5 mistakes in pitches and

intonation.

Comments:

 

 

 

98

(b) A Dimension of Rhythm

 

 

Student Name:
Song:
Tonality:
Meter:

5. The student performs the song in a consistent tempo with correct rhythms.
4. The student performs the song in a consistent tempo with 1 rhythmic
mistake.

. The student performs the song in a consistent tempo with 2-4 rhythmic

DJ

mistakes.

Ix)

. The student performs the song in a consistent tempo with more than 5
rhythmic mistakes.

I. The student performs the song with no sense ofconsistent tempo.

Comments:

 

99

 

(c) A Dimension of Expression and Style
Circle any of the criteria below that are satisfied by the student.

Grade: l=one circle: 2=two circles: 3=three circles: 4=four circles; 5=five circles.

 

Student Name:
Song:
Tonality:
Meter:

a. The student breathes at appropriate points in the song.

b. The student performs with a feeling of continuity and direction within
each phrase.

c. The student performs in an appropriate tempo.

d. The student performs with good tone quality.

e. The student performs in an appropriate style.

Comments:

 

 

 

100

CHAPTER 5
CONCLUSIONS

This final chapter contains a summary of the study, conclusions drawn from the

study. and recommendations for implementation and future research.
Summary

The purpose of this research is to explore the integration of music into curricula. The
specific problem of the study is to develop a set of music lesson plans and accompanying
assessments for use in the “Arts and Humanities Domain” with the fifth grade students in
Taiwan. These ten music lesson plans are based on Gordon’s Music Learning Theory. the
Arts & Humanities Domain of The Curricular Guidelinesfor a 9- Year Joint Curricular
Planfor Elementary and Junior High Schools in Taiwan. and Snyder’s Integration Model.
Not only would students learn music content and skills sequentially but they would also
engage in arts integration activities. The holistic learning in this integrated arts unit would
help students learn about Taiwan from different perspectives of Taiwanese vernacular
music, visual art, theater and culture. In addition. a set of assessments to evaluate
students’ music achievement and integrated arts learning are designed to accompany the
plans.

Conclusions

Charles Fowler (1994, p. 4) says. “The arts humanize the curriculum while affirming
the interconnectedness of all forms of knowing. They are a powerful means to improve
general education.” Educators acknowledge the importance of arts education, not because
they increase test scores. but because they are valuable and essential to human life and

the development of a sound person. Although the arts do not share a point-by-point

101

correspondence, art forms may serve as metaphors for one another. For example, music is
often described through mood, texture, contour. color. accents, balance, dynamics, and
form; each descriptor is related to properties in another arts metaphorically (Veblen &
Elliott, 2000). Arts often share the same cultural background. In addition. people
experience arts integration in their lives on a daily basis through the media.

Heidi Hayes Jacobs (1989. p. 2) states. “Effective interdisciplinary programs must
meet two criteria. They must have carefully conceived design features: a scope and
sequence, a cognitive taxonomy to encourage thinking skills, behavioral indicators of
attitudinal change, and a solid evaluation scheme. They must use both discipline-field-
based and interdisciplinary experiences for students in the curriculum.” Each art, like
other disciplines. needs to be taught with its integrity and sequential learning processes in
tact. When curricular integration occurs within the school curricula, music teachers could
cooperate with teachers in other discipline areas to choose a theme and adopt appropriate
integrated approaches that are helpful for students’ holistic learning and are meaningful
and respectful to music. Moreover. teachers must design authentic assessments to
evaluate students’ achievements.

Recommendations for Implementation

Interdisciplinary curriculum experiences provide an opportunity for students to learn
in a more relevant. less fragmented. and stimulating environment. Students learn to break
with the traditional view of knowledge and start to actively foster a range of perspectives
that will serve them in the larger world (Jacobs. 1989). Curricular integration helps
students to learn in a holistic way; however, music sometimes becomes the servant of

other content areas or is devalued in a superficial attempt at curricular integration. In

102

order to prevent music from being marginalized. several recommendations for integrating
music within curricula follow:
(1) Music should maintain its integrity and be taught for its own sake in an integrated
curriculum.
(2) Teachers ofmusic. visual art. and theater should find time to cooperate in designing
an integrated arts curriculum. using their own or other educators’ integration models.
(3) There should be a sequential process of learning and authentic assessments of that
learning in curricular integration.
(4) Students. teachers. administrators. parents. and communities must support curricular
integration when integration meets students’ needs.
Recommendations for Future Research
Following are several recommendations for future research: (1) design an integration
model and develop an integrated curriculum with it; (2) compare educational outcomes or
music achievements of integrated arts curricula with those of non-integrated arts curricula;
(3) investigate the implementation of integrated arts curricula at different levels of

schools; (4) document how schools convey or implement integrated curricula.

APPENDIX A

MAP OF TAIWAN

104

Taichung &
‘ Pacific Ocean
” Hualien
Chra- I. w
Tainan .'
Kaoshuang ‘
I Hang-Chhun TON“

105

APPENDIX B

MUSIC SCORES OF TAIWANESE SONGS AND LISTENING ACTIVITIES

106

Due-Due Don

I-Lan Folk Song

 

HuaCha GiaGaI Do A Mal DoDue,A 0 Bon Ka- Lai,

 

Bon Kan Di Zwi I Do Due Due.Don I Do.AMa I Do Due A I Do Di Lo Lai.

Walking Melody

Taiwanese Aria

 

Gin Lai ZauAh.I - - - -

 

1' . I- - - - - Dua Hia Gin-Lai- Ki-I -

9

 

Me Tung Lo-Djung, Me Tung Lo- Djung Lo- Djung, I-liung- Ien- - - Di.

A Crying Bird

I-Lan Folk Song

 

TaoZa KiLailDo Ge Zi Go Ge Ge, Zi ChaChaoIDo Hao Gju- Gju,

 

DaDiZwiGaolDoShoZiGo ShoSho, DucDueDon IDo ch Mo- Shu.

107

Dance with the Moon

A-Mis Folk Song

 

Pen Yo Ya! Kuai Lai Kuai Lai Yo - ! Mei Li De Yuc Lyangl

 

V

\_
Pa Za Dung Bendi Shung Sang. Wo Men- Zn Zi Lian Shau Tiau Wu Zan-

 

Ge! NaLu WanDoINa NaYaHey I Ya Hey! NaLuWan - Do I. Na

 

V

V
Na Ya Hoy Hay Yan. Hoyl La Lu Wan- - De I Na Na- Ya Hey !

Song of the Ocean

A-Mis Folk Song

 

Wei Da Di Hai - Yang - , Hung Zaozai Women Song- Pan,

 

Ta Yo Gung Kuo Shung Tan. Wo Mndo Kao Ta Zi Yang

    

\

1 Ya no H83 Y8 Hai Yang Ni Chi To Wu Chung Shin Si Wang.

108

Listening Activity

Recording: The Song of A-Mei, from the first piece of “ The Highlander’s Suite” by
Tyzen Hsiao.

Time: 3”05

Pat

 

 

Piano and Strings are making conversation.

Pail:

 

 

109

Memory

Heng—Chhun Folk Song

 

hiang Chi -, Guo Chu Shiang Tu an Chin
1113118 Cl“ -, Gu Li Shiao Chao Lio Swe

 

Tian - Zu - Mi Zu Chi Li Shiang Be Chin
Zu - Mon- Ll, Ho Zi Ah I Chin Zung Gwe

 

Kai Zuang Shin- - - Tiang - Di.
Tzung To Ni - - - Hwai — Li.
Nuo-Za

Taiwanese Theater Song

 

508 63- I 508 ' Ga ‘ - - ! Gian Siong Be Mog Ga

 

Ga--- En Na - - Di--- -.

 

Cud Goa Be Lai Ya Iu - - Uan- Ne - -1

110

Song of Farm Village

Taiwanese Folk Song

 

Tau - Za Dio Cut Meng, Tin Sik ' ‘ Ziam Ziam Geng,

 

. v
Siu Ko - Bo— Lang Meng, Gm“ 039 " C3“ Dong ' '

 

Ng, Gian Gao Can Diong Ng, Ui Dio Go San

         

Deng. Go Sang Deng, M Giang - Can Zui -

 

Ling Seng - - - Seng.

The L0 Agra Chant-

Dd : Smorll Drum

1 . wood block
K“°"‘3= Large Gong

Duo = Tam - gut D rum

Cl'vi : Small Cymbal
lll

Song Without Words

Yu-Ting Chen

 

Song OI A‘Li Mountains

CQI l CIWW‘L

 

 

in n + Resting Tone "ICE

9.929092
Ugual Duple 'I' Minor- Tonalitj

 

 

 

g m ITI + Rem-g Tone ”1.0." E

Du DID! DADA Di
Usual Triplt ‘l' Minor Tonallty

 

 

 

7:» n + Bertha Tone “Do" E

mama
Usual DUFIB'I’ Major Tonflliy

 

112

 

 

 

Catch the Crabs

Tzo Folk Song

 

E A Yo Ngo Euya-hoto Feo Go,Omeo I No Yo Ngo Difld Zazo Lulu Ku

 

Na No- 20 - Go. Na No - Zo - - Go

To-F a Koi

Ila-Ga Folk Song

 

To Fa Koi Loi King - Fa - Vong. A Ba -

 

Den Nen Ngai - Sam - - Hang, Id Loi -

 

Oi Ngai Gung - Ko - I-Io, Ngi LOI -

 

Oi Ngai Shin-Ti-- Kiong, Oi GiDe

 

SamLioOiNgai Oi - Ga - Hiong,A De To!

113

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