Protest in popular song: Level 6 - Strand Music: The Arts (2002) sourcebook modules

SOURCEBOOK MODULE

THE ARTS

Lower Secondary: Level 1 2 3 4 5 6

66

6

Protest in popular song

Protest in popular songProtest in popular song

Protest in popular song

Strand

Music

Possible link

Studies of Society and Environment

Purpose

PurposePurpose

Purpose

Students engage in musical activities to further develop knowledge, skills and

understanding about rhythmic and melodic patterns, harmonic progressions, form and

structure, musical timbres, and expressive elements within particular historical and

cultural contexts. They are encouraged to develop a socially critical approach to the

themes and content of music in popular culture.

Overview

Overview Overview

Overview

Activities are based on a learner-centred approach for students who have been

working with the musical concepts and elements of Level 6 for some time. The

repertoire and activities in this module also provide opportunities for students to

demonstrate Level 5 learning outcomes if required. These activities are organised into

three phases: preparing, making conscious and practising.

The development of musical knowledge and skills at higher levels is dependent on the

thorough preparation and practice that takes place from Level 1 onwards. For some

concepts, the preparation phase may need to continue for an extended period of time,

possibly months or even years, for some students. Practice needs to be ongoing and

extensive, and coexists with and complements the preparing and making conscious

phases.

Preparing

Students learn a repertoire of carefully

chosen age-appropriate music through singing, playing,

listening and moving. By gaining extensive oral and aural

experience of this repertoire, students become thoroughly

familiar with specific patterns that link concepts and

elements in a variety of musical contexts.

Making conscious

Students derive, classify, describe and

name the concepts and elements that

have been learned in the repertoire,

when and as appropriate.

Practising

Students hear, read, notate, perform,

create and improvise music that incorporates

newly learned, as well as previously known,

concepts and elements. They use known

and new repertoire and activities to

reinforce their learning.

The Arts Protest in popular song

2

Using this module

Using this moduleUsing this module

Using this module

This module provides examples of planning and suggestions for teaching and

assessing with outcomes and core content, within one musical context.

Module organisation

When planning for musical learning and for the demonstration of learning outcomes,

careful consideration should be given to the sequence in which students prepare,

make conscious and practise core content. The use of repertoire that incorporates

core content, and activities that allow students to develop their understanding of that

core content, will provide a variety of opportunities for them to demonstrate learning

outcomes. The music outcomes are interrelated, complementary and interactive, and

should be considered together when planning and assessing.

This module contains examples of planning overviews that illustrate how the core

content can be sequenced so that learning is cumulative and sequential. The time

allocations in this module reflect timetabling arrangements in many Queensland

schools.

• A sample level overview shows one way of organising the core content for Level

6 in a time frame of 90 hours over three semesters.

• A sample semester overview shows how cumulative and sequential learning may

be planned within the first semester based on that level overview.

• A sample ten-week term overview shows how cumulative and sequential learning

may be planned across ten weeks (15 hours), or one school term, based on the

outline for semester 3 given in the level overview. This overview provides a

summary for planning, showing teaching focuses and links to core content.

• Two sample lesson plans are included to demonstrate one way of implementing

the semester overview within a classroom context, using a time frame of

approximately 90 minutes per lesson. Each lesson contains a range of activities

that provide opportunities to prepare and practise musical concepts and skills.

The times indicated in the lesson plans are suggested as guides for planning

activities. They are included to enhance understanding of the purpose of the activity,

to indicate the approximate time an activity warrants in relation to the lesson time as

a whole, and to reinforce the need for inclusion of a variety of purposeful activities.

They also reflect what is considered appropriate in a well-paced lesson that will hold

student interest in the lower secondary school. When using the lesson plans, adjust

the time allocations and activities to suit the needs, interests and abilities of students.

Planning needs to provide sufficient time for students to practise known concepts and

elements in various musical contexts, to cater for individual learning styles.

Links to other key learning areas and to the cross-curricular priorities

This module identifies possible links to the ‘Culture and Identity’, ‘Place and Space’

and ‘Time, Continuity and Change’ strands of the Studies of Society and Environment

(SOSE) key learning area. Allow additional time to include activities from this key

learning area to enable students to demonstrate the outcomes that have been

identified.

Activities also contribute to learning in literacy, numeracy and lifeskills and can be

used for gathering evidence about students’ development in these cross-curricular

priorities. Literacy links include understanding and analysing written and spoken

texts, extending vocabulary, understanding the principles of syllabification and

applying them, understanding written and spoken texts, writing notes and lyrics.

Numeracy links include understanding and notating patterns of sound using sub-

divisions of musical beats and manipulating recurring metrical patterns. Lifeskills links

include developing aesthetic awareness, acknowledging the cultural practices of

peoples from a diverse range of communities, working cooperatively and self-

management skills.

Some students with physical, hearing or vision impairment may need assistance with

some activities within this module. Seek advice from their support teachers.

The Arts Protest in popular song

3

Evaluation of a unit of work

After completion of units of work developed from this module, collect information and

make judgments about:

• teaching strategies and activities used to progress student learning towards

demonstrations of core learning outcomes

• opportunities provided to gather evidence about students’ demonstrations of core

learning outcomes

• future learning opportunities for students who have not yet demonstrated the core

learning outcomes and to challenge and extend those students who have already

demonstrated the core learning outcomes

• the extent to which activities matched needs of particular groups of students and

reflected equity considerations

• the appropriateness of time allocations for particular activities

• the appropriateness of resources used.

Information from this evaluation process can be used to plan subsequent units of

work so that they build on and support student learning. The evaluated units of work

may also be adapted prior to their reuse. For further information, refer to the

‘Curriculum evaluation’ section in the sourcebook guidelines.

Core learning outcomes

Core learning outcomesCore learning outcomes

Core learning outcomes

This module focuses on the following core learning outcomes from the Music strand of

the Years 1 to 10 The Arts Syllabus.

Level statement: Level 6

Students know a repertoire of music from a range of historical and cultural contexts

that they can aurally and visually identify and analyse.

Students express themselves creatively through singing, playing instruments,

improvising and composing. They know and can use a range of diatonic tonalities,

primary and secondary chords and mixed metre.

Students can independently engage with music and listen and respond with

understanding through their accumulated knowledge of notated and performed music.

They apply knowledge and understanding to reflect on and discuss music they hear

and perform, using appropriate music vocabulary.

MU 6.1 Students aurally and visually analyse and respond to familiar and

unfamiliar music containing Level 6 core content.

MU 6.2 Students sing and play a varied repertoire individually, within a small group

(one person per part) and in ensemble, including some repertoire from

memory.

MU 6.3 Students read and write music containing Level 6 core content.

The Arts Protest in popular song

4

Other key learning areas

Studies of Society and Environment core learning outcomes

Culture and Identity

CI 6.1 Students analyse the ways in which various societies inhibit or promote

cultural diversity.

Place and Space

PS 6.5 Students make clear links between their values of peace and sustainability

and their preferred vision of a place.

Time, Continuity and Change

TCC 6.1 Students evaluate evidence from the past to demonstrate how such

accounts reflect the culture in which they were constructed.

Cross key learning area planning

Refer to elaborations of the stated outcomes in the Studies of Society and

Environment Years 1 to 10 Sourcebook Guidelines to plan learning experiences

relevant to this module.

Core content

Core contentCore content

Core content

This module provides a learning context for the following Level 6 core content in the

syllabus in addition to the core content from previous levels:

Rhythm and

metre

• augmentation and diminution

• mixed metre

Pitch and

melody

• A, B, and E major, and related natural and harmonic minor

keys and scales

• augmented and diminished intervals

Part work

• chords and progressions using I, ii, IV, V, V

7

and vi in known

major keys and chords I, iv, v, V in known minor keys

• ensembles in up to four parts, one person per part

Form and

structure

• forms and styles associated with particular historical eras

and cultural contexts

Tone colour

• instrumentation and timbres associated with particular

historical and cultural contexts

Expressive

elements

• signs and terms encountered in repertoire

The Arts Protest in popular song

5

Sample Level 6 Overview (3 semesters or 90 hours)

Practice of elements and concepts from previous levels is ongoing and should be incorporated into planning across

this level.

Semester 1 or 30 hours Semester 2 or 30 hours Semester 3 or 30 hours

Term 1

Protest in popular song

Rhythm

and metre

• common patterns in 

and



• anacrusis

• mixed metre

• various forms of syncopation

taken from target repertoire

• mixed metre

• various forms of syncopation

and anacrusis taken from

target repertoire

Pitch and

melody

• E major

• c natural minor and harmonic

minor

• intervals

• melody writing in specific

structures and longer than for

Level 5

• text setting

• A major

• F natural minor and

harmonic minor

• melodic minor as occurring in

target repertoire

• chromatic alterations as

appropriate to target

repertoire

• melody writing continued

• text setting

• melodic minor as occurring in

target repertoire

• transposition to tonic minor

• chromatic alterations in

melodies

• melody writing in popular

song styles

• text setting in popular song

styles

Part work

• chords ii, vi, V

7

and chord

progressions using these

chords as occurring in target

repertoire

• bass clef, using wider range

of notes

• chord progressions using

known chords as occurring in

target repertoire

• bass accompaniment styles

• chord progressions using I, ii,

IV, V, V

7

and vi as occurring

in target repertoire

• first inversion chords

• Beyond Level 6 extension:

chords III, VI, VII

Form and

structure

• as encountered in the

repertoire

• as encountered in the

repertoire

• asymmetrical phrasing

• verse and chorus

• da capo

Tone

colour

• instrumentation and timbres

associated with cultural and

historical contexts in target

repertoire

• instrumentation and timbres

associated with cultural and

historical contexts in target

repertoire

• instrumentation and timbres

associated with cultural and

historical contexts in target

repertoire

Expressive

elements

• as encountered in the

repertoire

• as encountered in the

repertoire

• as encountered in the

repertoire

The Arts Protest in popular song

6

Sample Semester 3 Overview — 30 hours

Term 1 or 15 hours

Protest in popular song

Term 2 or 15 hours

Rhythm

and metre

• various forms of syncopation and anacrusis

• 5/4

• mixed metre

• tied notes and dotted notes as encountered in

repertoire

• various forms of syncopation and anacrusis

• triplet using crotchets

• mixed metre

Pitch and

melody

• A, B and E major and related minor keys and

scales

• augmented and diminished intervals

• asymmetrical phrasing

• melody writing in popular music styles

• counter-melody writing

• chromatic alterations in melodies

• pentatonic, diatonic and modal tonalities

• text setting with accompaniment

• modulation to relative major/minor and to tonic

major/minor

• chromatic alterations in melodies

Part work • first inversion chord structures: I

6

• chords: I, ii, IV, V, V

7

, vi and chord

progressions using these chords, as

encountered in repertoire

• bass line accompaniments, including Alberti

bass; guitar and piano accompaniments

• first inversion chord structures I

6

, IV

6

, V

6

• chords: I, ii, IV, V, V

7

, vi and chord

progressions using these chords, as

encountered in repertoire

• Beyond Level 6 extension: aural recognition of

chords VII, VI, III in progressions encountered

in repertoire

• arranging for class groups

Form and

structure

• variants of verse and chorus form as

encountered in repertoire

• A A A B phrase structures

• commonly used forms and structures in

various styles of popular music

• as for previous term

• as encountered in repertoire

Tone

colour

• as encountered in repertoire

• instrumentation and timbres associated with

various styles of popular music

• as encountered in repertoire

Expressive

elements

• as encountered in repertoire • as encountered in repertoire

The Arts Protest in popular song

7

Assessment

AssessmentAssessment

Assessment

The following table provides examples of opportunities for gathering evidence and making judgments

about student demonstrations of The Arts core learning outcomes in this module. When making an on-

balance judgment about demonstrations of the learning outcomes, consider all the points in the ‘Making

judgments’ column. The table is neither exhaustive nor mandatory. Assessment opportunities should be

negotiated with students to maximise their demonstrations of these outcomes in a variety of ways. Reflect

with students on evidence gathered to make judgments about their demonstrations.

Outcomes Gathering evidence Making judgments

MU 5.1

Students aurally and

visually analyse and

respond to Level 5

core content in music

they hear and

perform.

Students may:

• improvise a melody, vocally or

instrumentally, over a given harmonic

progression that uses chords I, IV and V

Do students:

• use appropriate melodic and rhythmic

elements?

• improvise using notes that fit the chordal

outline?

• create melodies that have a sense of

flow and direction?

• create melodies that are cohesive?

MU 6.1

Students aurally and

visually analyse and

respond to familiar

and unfamiliar music

containing Level 6

core content.

• improvise a melody, vocally or

instrumentally, over a given harmonic

progression that uses chords I, ii, IV, V

and vi.

The teacher may use:

• observation

• focused analysis

• peer- and self-assessment

recorded in:

• peer- and self-assessment sheets

• student profiles.

• use appropriate melodic and rhythmic

elements?

• improvise using notes that fit the chordal

outline?

• create melodies that use appropriate

non-chordal (passing/auxiliary) notes?

• create melodies that have a sense of

flow and direction?

• create melodies that are cohesive?

MU 5.2

Students sing and

play a varied

repertoire, individually

and with others, in up

to four parts, including

some repertoire from

memory.

Students may:

• sing an arrangement or student-

composed work in up to four parts from

memory, within a group

• play an arrangement or student-

composed work in up to four parts from

memory, within a group

Do students:

• accurately interpret pitch and rhythm?

• maintain fluency?

• pay attention to phrasing, articulation,

dynamics, and interpret the mood and

character of the music?

• reflect on and discuss the meaning of the

lyrics?

MU 6.2

Students sing and

play a varied

repertoire individually,

within a small group

(one person per part)

and in ensemble,

including some

repertoire from

memory.

• sing an arrangement or student-

composed song in up to four parts, one

person per part

• play an arrangement or student-

composed song in up to four parts, one

person per part.

The teacher may use:

• observation

• focused analysis

recorded in:

• criteria sheets

• student profiles.

• accurately interpret pitch and rhythm?

• maintain fluency?

• pay attention to phrasing, articulation,

dynamics, and interpret the mood and

character of the music?

• reflect on and discuss the meaning of the

lyrics?

This table is continued on the next page…

The Arts Protest in popular song

8

Outcomes Gathering evidence Making judgments

MU 5.3

Students read and

write music containing

Level 5 core content.

Students may:

• compose a song for voice and piano

accompaniment in 12-bar blues style,

using chords I, IV and V

7

Do students:

• notate the music accurately and legibly?

• compose a melody that is appropriate to

the range and characteristics of the voice

and piano?

• compose a melody that reflects the natural

rhythm of the words and that captures the

meaning of the text?

• compose a melody that fits the harmonic

progression?

• compose a song that incorporates

appropriate blues style and

characteristics?

• incorporate expressive elements to

communicate the musical intent of the

composition?

MU 6.3

Students read and

write music containing

Level 6 core content.

• compose a song for two or more

voices, or voice and instruments, in a

popular song style, using chords I, ii,

IV, V and vi.

The teacher may use:

• consultation

• focused analysis

• peer- and self-assessment

recorded in:

• criteria sheets

• student profiles

• students’ composition folios.

• notate the music accurately and legibly?

• compose a melody that is appropriate to

the range and characteristics of the voices

and instruments?

• compose a melody that reflects the natural

rhythm of the words and that captures the

meaning of the text?

• compose a melody that fits the harmonic

progression?

• compose a song that incorporates

appropriate popular song style and

characteristics?

• incorporate expressive elements to

communicate the musical intent of the

composition?

The Arts Protest in popular song

9

Background information

Background informationBackground information

Background information

Focus

The repertoire in this module focuses on popular songs from the 1950s to the 1990s.

These songs frequently reflect on the nature of the human condition or are used as

vehicles for expressing concern about particular social, political and environmental

issues.

Music of the folk-revival movement of the 1950s was often aligned with left-wing

politics and issues of social protest and concern about the human condition. Using

primarily voice and guitar, singer-songwriters such as Pete Seeger, Woody Guthrie

and others raised awareness of issues such as poverty and the dispossessed,

censorship, nuclear war, racial segregation and extremist political policies, among

other topical concerns.

During the 1960s, this style developed into folk-rock, and singer-songwriters such as

Joan Baez, Bob Dylan, Paul Simon and Art Garfunkel and others continued to express

concerns about social issues and social justice. For some performers, the voice and

guitar remained the primary vehicle of expression, while others expanded into larger

instrumental and vocal ensembles, and explored different song styles.

While the desire to express socially critical comment in song has continued, the

musical style has evolved into a significant strand of mainstream popular music.

Whatever ‘sound’ is chosen as the vehicle for musical expression, the common thread

of social comment and protest remains in the lyrics.

This repertoire provides opportunities for students to adopt a socially critical approach

as they sing, play, read, write and listen to the music. When analysing the music, ask

students to consider and reflect on the following questions:

• Who has written the words? What is the background of the author(s)?

• What point of view do you think is being presented?

• Where does the text come from?

• Where have you seen this kind of text/lyric before?

• Who do you think is the intended audience? How can you tell? Why was it written?

• What is the song about? What is it that the songwriter is inviting us to understand?

What makes you think that? How is this done (words, phrases, sounds, expressive

elements)?

• What meanings and contexts for meanings are possible in this song? Which people

are in the song? Who is not mentioned/left out?

• What are the gaps and silences in the song? Who benefits from this?

• How does the song make you feel, think and act?

• Who stands to benefit from the way in which this topic is being presented? Who is

disadvantaged?

• What knowledge and experiences do you draw on to make meaning from the song?

What other ‘knowledge’ or experiences would lead to other ‘meanings’ being made?

• What social function do you think this song serves?

• What kind of listener does this text assume or appeal to? What position is afforded

to him/her?

• What images of gender, ethnicity, ability/disability, advantage/disadvantage are

presented? What assumptions or beliefs underpin these images?

Prior learning

This module is aimed at the later stages of Level 6 and presumes that students have

prior experience with melody writing and text setting. In addition, students need to be

familiar with root position harmony using primary and secondary chords (Level 6 core

content) in preparation for chordal structures in inversions. This harmonic

understanding is important for students to be able to write appropriate

accompaniments (piano, guitar, voices and other instruments).

The Arts Protest in popular song

10

Repertoire

There is a vast repertoire of music available that uses social comment and protest as

themes. While song lyrics may provide a unifying structure on which to build a unit of

work, the primary focus of learning must remain the musical content.

The songs that are cited in the term overview and sample lessons are included as

examples only. They illustrate how repertoire may be used to prepare, make

conscious and practise musical elements and concepts, while at the same time

providing opportunities for analysis and discussion of the ideas, values and feelings

that each song expresses. Substitute or supplement these songs to suit the

requirements and interests of specific classroom, school or community contexts.

‘Teacher resource 2’ provides analyses of musical elements, suggestions for teaching

focus, and learning activities for some of the repertoire. The information for each song

relates to the specific edition referred to in the table. There are several editions of

each of these songs commercially available, and some of their musical content may

vary (key, chords and so on). Adapt these analyses to suit the editions that you

choose, or use them as guides when selecting other songs.

When selecting repertoire, the needs and prior experience of the students should

determine the range of songs and the editions to be used. It is important to know the

repertoire thoroughly before using it in lessons.

Assessment

To assist you in making judgments about demonstrations of outcomes, see a sample

class music profile in ‘Teacher resource 4’. When you have gathered sufficient

evidence, make an on-balance judgment about the students’ demonstrations of each

of the core learning outcomes at the appropriate levels.

Terminology

Students have opportunities to become familiar with and use the following terminology

in this module:

acoustic asymmetrical phrasing distortion triadic inversion

Alberti bass cadences fermata word-painting

anacrusis context glissando

School authority policies

Be aware of and observe school authority policies that may be relevant to this module.

Education Queensland policies on health and safety considerations for Music may be

found at http://www.education.qld.gov.au/corporate/doem/sindex/m-ind.htm

.

For policies and guidelines for the Catholic sector, refer to the Queensland Catholic

Education Commission website at www.qcec.qld.catholic.edu.au/www/index.cfm

.

Equity considerations

This module provides opportunities for students to increase their understanding and

appreciation of equity and diversity within a supportive environment. It includes

activities that encourage students to:

• be involved within a supportive environment

• work individually and in groups

• value diversity of ability, opinion and experience

• value diversity of language and cultural beliefs

• value diversity of religious and spiritual beliefs

• support one another’s efforts

• become empowered to represent their ideas and feelings through musical and

kinaesthetic forms of expression.

It is important that these equity considerations inform decision making about teaching

strategies, classroom organisation and assessment.

The Arts Protest in popular song

11

Support materials and references

Support materials and referencesSupport materials and references

Support materials and references

The following resources may be helpful additions to your professional library. Review material

before using it with students.

Information relating to copyright issues can be found at the Australian Copyright Council’s

Online Information Centre at www.copyright.org.au/index.htm

. Please note the licence

conditions that apply to downloading and printing information sheets from this site.

Print

Brown, A., Dillon, S. & Purcell, K. 1995, Rock Music Essentials, Science Press, Sydney.

Dobszay, L. (trans. G. Viragh) 1999, The World of Sounds, Teacher and Students editions,

Capital University Conservatory of Music, Ohio.

Dorricott, I. & Allan, B. 1992, In Tune with Music, Books 2 and 3, McGraw-Hill, Sydney.

There are score reading books and compact disks to accompany these texts.

Dunbar-Hall, P. & Hodge, G. 1991, Jazz, Folk and Australian Music, Science Press, Sydney.

Dunbar-Hall, P. & Hodge, G. 1988, A Guide to Rock’n’Pop, Science Press, Sydney.

Farmer, P. 1979, Pop, Longman music topics, Longman, Harlow, Essex.

Howitt, B. 1989, Rock Through History, Longman Cheshire, Melbourne.

Locke, E. 1981, Sail Away, 155 American Folk Songs to Sing, Read and Play, Boosey &

Hawkes, New York.

Lowe, G. 1997, The Rock Book, McGraw-Hill, Sydney.

Tacka, P. & Houlahan, M. 1995, Sound Thinking, 2 vols, Boosey and Hawkes, London.

Repertoire in this module

See ‘Teacher resource 1’ for the following music:

− By the waters of Babylon

− Hassler, Chorale tune

− I like the flowers

− Mail myself to you

− Vincent (melody line only, with two-part ostinato patterns)

See ‘Teacher resource 2’ for detailed analyses of, and sources for, other songs used

in the ten-week overview.

Other repertoire that may be considered for inclusion

− Bob Dylan, Blowin’ in the wind

− Cat Stevens, Where do the children play?

− Midnight Oil, Beds are burning

− Simon and Garfunkel, Sounds of silence

− The Beatles, She’s leaving home

− The Cranberries, The icicle melts

− U2, Bloody Sunday

− Yothu Yindi, Treaty

The Arts Protest in popular song

12

Electronic

Audio recordings

Baez, J. Joan Baez Live. CD.

Bogle, E. By Request. CD.

Dylan, B. 30

th

Anniversary Concert Celebration. CD.

McLean, D. Best of Don McLean. CD.

Midnight Oil, Diesel and Dust. CD.

Peter, Paul and Mary, See what tomorrow brings (for recordings of ‘Because all men are

brothers’) and Songs of conscience and concern. CD.

Stevens, Cat. The Very Best of Cat Stevens. CD.

Simon and Garfunkel, The Definitive Simon and Garfunkel, CD.

The Beatles, Sgt Peppers Lonely Hearts Club Band. CD.

Yothu Yindi, Tribal Voice. CD.

Websites

(All websites were accessed in February 2002.)

Indiana University School of Music, William and Gayle Cook Music Library, Composers:

www.music.indiana.edu/music_resources/composer.html

Ethnomusicology, Folk Music and World Music:

www.siba.fi/Kulttuuripalvelut/folk.html

Music manuscript paper: www.musicaviva.com/manuscript/index.tpl

The Choral Public Domain Library: www.cpdl.org

The Cranberries: www.cranberries.com/

The Folk File: A Folkie's Dictionary:

www.accad.ohio-state.edu/~spencer/FF/index.html

The Folk Music Revival of the late 50s and early 60s:

www.zipcon.net/~highroad/folkscare.html

The Weavers: http://sd.znet.com/~ast/WVRZ.html

The Arts Protest in popular song

13

Sample Term Overview — Weeks 1 to 3

Term 3 Week 1 or 90 mins Week 2 or 90 mins Week 3 or 90 mins

Prepare chromatic alterations chromatic alterations

mixed metre using  and 

Make

conscious

chromatic alterations

Practise progressions using I, ii, IV, V,

vi; D major; c minor; a natural

minor; major and minor 3

rds

,

a minor; c minor

progressions using I, ii, IV, V,

vi; chord substitutions; D

major; A major; c minor;

a natural minor

G major; D major; anacrusis in

compound time

Rhythmic

development

Mail myself to you — aurally

memorise and then write the

rhythmic pattern

Because all men are brothers

— sing the melody while

listening to the teacher

clapping the rhythmic pattern

of alto part, then write the alto

rhythmic pattern

And the band played Waltzing

Matilda — rhythmic dictation of

first eight bars

Instrumental

work

Mail myself to you — play the

melody at sight

Mail myself to you — play

chord progression; substitute

V

7

for ii

And the band played Waltzing

Matilda — play the melody

Melodic

development

Chorale tune — sight-sing

By the waters of Babylon —

sing; aurally analyse; a minor

tonality

Mail myself to you — sing;

revise major and minor 3

rds

, D

major

I like the flowers — vocally

improvise over the harmonic

progression

sing A major scale, triads and

harmonic progressions

Mail myself to you — sing;

identify the chord progression

Because all men are brothers

— sight-sing the alto part, then

add the soprano line

By the waters of Babylon —

identify the chromatic

alterations

Mail myself to you — vocally

improvise over the chord

progression; write out the

improvised melody

Because all men are brothers

— sight-sing the tenor part,

then add other known parts

Part work

I like the flowers — sing in

canon; revise the harmonic

progression

By the waters of Babylon —

sing in two-part canon

I like the flowers — sing in

canon while indicating the

chord changes

By the waters of Babylon —

sing in three-part canon

I like the flowers — sing in

canon

Listening

The Weavers, Because all

men are brothers — listen;

identify the chorale tune;

aurally analyse the form;

discuss the lyrics

Simon and Garfunkel,

American Tune — listen;

aurally analyse; discuss the

chorale tune as used in

different musical genres

Games

I wonder where Maria’s gone

— folk dance

I wonder where Maria’s gone

— folk dance

Repertoire

By the waters of Babylon —

aurally analyse; c minor

tonality; prepare the chromatic

alterations

Chorale tune — sight-singing;

a natural minor

Mail myself to you — sing;

intervals; rhythmic pattern

Because all men are brothers

— listen; aurally analyse;

discuss

I like the flowers — canon;

harmonic progression

By the waters of Babylon —

canon; minor tonality

Mail myself to you — sing;

play; chord progression and

substitution

I like the flowers — canon;

harmonic progression

Because all men are brothers

— rhythmic pattern

And the band played Waltzing

Matilda — dictate rhythm;

prepare mixed metre;

syncopation; compound time

patterns; read notation

By the waters of Babylon —

sing; canon; minor tonality;

chromatic alterations

American Tune — listen;

aurally analyse; discuss

I like the flowers — canon

Because all men are brothers

— sight-sing; part work

Mail myself to you —

improvise; chord progression

The Arts Protest in popular song

14

Sample Term Overview — Weeks 4 to 7

Term 3 Week 4 or 90 mins Week 5 or 90 mins Week 6 or 90 mins Week 7 or 90 mins

Prepare 5/4

Make

conscious

mixed metre using 

and 

Practise D major; progressions

using I, IV, V, vi

progressions using I,

ii, IV, V, vi; mixed

metre using  and ;

syncopation

G major; E major;

progressions using

I, ii, IV, V, vi

G major; A major; E

major; progressions

using I, ii, IV, V, vi

Rhythmic

development

Because all men are

brothers — two-part

rhythmic dictation

using tenor and bass

lines

And the band played

Waltzing Matilda —

conduct while singing

melody; identify mixed

metre

And the band played

Waltzing Matilda —

read the rhythmic

pattern of the song

(mixed metre and

syncopation)

Vincent — sing

melody in solfa with

1

st

ostinato; change to

2

nd

ostinato

Vincent — sing

melody in solfa with

both ostinato patterns

(individually or in

groups)

Instrumental

work

Mail myself to you —

write a percussion part

for the two-part

arrangement

And the band played

Waltzing Matilda —

improvise over the

chord progression in

E major

I–V–IV–ii–I–vi–ii–V

chord progression —

improvise over the

progression in

E major

Melodic

development

Because all men are

brothers —sight-sing

bass part, then add

other known parts

Mail myself to you —

write a second vocal

line to fit the melody

Vincent — dictate the

first eight bars of

melody; sing; analyse

the phrase structure;

G major

Vincent — sight-sing

whole melody; identify

tone set

And the band played

Waltzing Matilda —

write melody and

chord progression of

the chorus in E major

Father and son —

melodic dictation of

the melody line in

A major

text-setting tasks in

preparation for

composition

Part work

And the band played

Waltzing Matilda —

identify bass line

notes; D major

And the band played

Waltzing Matilda —

identify I–IV–I–vi–I–V–

I chord progression;

sing the progression

as triads

Mail myself to you —

practise the three-part

arrangement in

groups

I–V–IV–ii–I–vi–ii–V

chord progression —

sing in triads; learn

and memorise

I–V–IV–ii–I–vi–ii–V

chord progression —

sing and play from

memory; write out

bass line notes

Mail myself to you —

practise the three-part

arrangement

Listening

Bogle, And the band

played Waltzing

Matilda — discuss the

lyrics, social and

historical context

Simon and Garfunkel,

American Tune —

listen; aurally analyse;

discuss lyrics

Don McLean, Vincent

— listen; discuss lyrics

Games

Repertoire

And the band played

Waltzing Matilda —

mixed metre; bass

line; listen; discuss

Because all men are

brothers — two-part

rhythmic dictation;

sight-sing; part work

Mail myself to you —

compose

And the band played

Waltzing Matilda —

mixed metre;

syncopation; chord

progression

Mail myself to you —

compose; part work

American Tune —

aurally analyse

Vincent — dictate

melody; analyse

Vincent — sight-sing;

sing with rhythmic

ostinatos; tone set

And the band played

Waltzing Matilda —

improvisation; E

major; mixed metre;

syncopation

Mail myself to you —

part work

Vincent — sing with

ostinatos; listen;

discuss

Father and son —

melodic dictation; A

major; prepare 5/4

Mail myself to you —

part work

The Arts Protest in popular song

15

Sample Term Overview — Weeks 8 to 10

Term 3 Week 8 or 90 mins Week 9 or 90 mins Week 10 or 90 mins

Prepare first inversion chord structures;

mixed metre using  and 5/4

first inversion chord structures

Make

conscious

mixed metre using  and 5/4

Practise progressions using I, ii, IV, V,

vi

progressions using I, ii, IV, V,

vi; mixed metre

progressions using I, ii, IV, V,

vi; mixed metre

Rhythmic

development

Vincent — sing the melody

and perform two-part ostinato

in canon

Father and son — read

rhythmic pattern of the melody,

identify mixed metre

Father and son — conduct

while singing the melody

Instrumental

work

Father and son — improvise

over chord progression

performances of

improvisations as selected by

students

Melodic

development

song writing (composition task)

Father and son — learn the

melody line

I–V–IV–ii–I–vi–ii–V chord

progression — vocally

improvise over the progression

song writing (composition task)

Father and son — sing the

melody; write the bass line

from dictation

Vincent — vocally improvise

over the progression

song writing (composition task)

Part work

Vincent — Alberti bass

accompaniment patterns

Mail myself to you — practise

the 3-part arrangement in

groups

Father and son — identify

I–V–IV–ii–I–vi–ii–V chord

progression from the bass line

Vincent — identify I–ii–IV–V

chord progression

Father and son — investigate

first inversion structures for I,

IV and V

Listening

Cat Stevens, Father and son

— listen; discuss word-

painting; discuss the lyrics

Joan Baez, Michael — listen;

aurally identify I–V–vi–ii–V

chord progression; discuss the

lyrics

Woody Guthrie, Mail myself to

you — listen; discuss

interpretations

Games

I wonder where Maria’s gone

— folk dance

Repertoire

Vincent — Alberti bass

accompaniment; sing with

ostinatos in canon

Father and son — listen;

discuss

Mail myself to you — part work

Father and son — rhythmic

pattern; mixed metre; chord

progression; improvise

Vincent — chord progression;

improvise

Michael — listen; aurally

analyse

Father and son — perform;

first inversion structures

Mail myself to you — listen;

discuss

The Arts Protest in popular song

16

Activities: Sample lesson plans

Activities: Sample lesson plansActivities: Sample lesson plans

Activities: Sample lesson plans

Week 1

Times are suggestions only.

Activity Purpose Mins Materials and procedure

Sing:

By the waters of

Babylon

(canon)

Aural

analysis

10

• Sing the whole song. Class listens and aurally analyses the song to

identify the number of phrases; time signature; last note (tonic la);

first note (upper tonic, la); tonality; range (highest note, lowest note).

• Repeat the song twice to assist students with the analysis questions.

• Class learns the song by imitation, phrase by phrase, with you.

Sight-sing:

melody line of

Because all

men are

brothers

Melodic

development

10

• Distribute melody line and words of Because all men are brothers.

With your guidance, class sings the melody line at sight (in solfa,

neutral tone, or in letter names).

• Correct mistakes and repeat activity until it is accurately sung.

Listen and

discuss:

Because all

men are

brothers

Aural

analysis

10

• Listen to a recording of Because all men are brothers. Discuss the

text, the meaning of the song, the melody line (contour, tonality,

phrase structure).

Discuss Revision 5 • Revise the characteristics of folk music:

– lyrics tend to be about ‘common’ people, their lives and issues

that are important to them

– songs tend to be rural in context rather than urban

– simple musical structure: melodies are short, singable and easily

remembered

– usually single line melodies, often unaccompanied

– melodies finish on the tonic (in major or minor)

– how is the song just heard similar to, or different from, the folk

music with which the class is familiar?

Clap: rhythmic

pattern

Rhythmic

development

10 • Say to the class: ‘I am going to start clapping a rhythmic pattern.

You are to begin clapping the rhythm after two beats and continue

through to the end. You will finish two beats after I do’. The rhythmic

pattern is that of Mail myself to you.

• Repeat the activity with the students until they have memorised the

pattern.

• Class writes the rhythmic pattern.

Play:

Mail myself to

you

Sight-reading 10

• Introduce the Woody Guthrie song Mail myself to you. Class is to

play the melody at sight on classroom instrument (or instrument of

choice that is easily accessible).

This sample lesson plan is continued on the next page…

The Arts Protest in popular song

17

Week 1 (continued)

Activity Purpose Mins Materials and procedure

Sing:

Mail myself to

you

Melodic

development:

revise

intervals and

practise

parallel 3

rds

for chords

10 • Class sings the song in words and then in solfa.

• Sing the song slowly on a neutral syllable and ask students to

aurally identify all the intervals of a 3

rd

.

• Once the class has identified all the 3

rds

, sing the song again and

ask students to identify the quality of each 3

rd

(major or minor).

• Class sings the major scale of the key of the song (D major).

• Class sings and names all 3

rds

in the scale (i.e. do–mi = major 3

rd

;

re–fa = minor 3

rd

and so on).

• Half the class begins the exercise again. The other half of the class

sings the exercise in canon at the 3

rd

.

Sing:

I like the flowers

Improvisation 15

• Class revises the song by singing it in unison.

• Class sings the song in four-part canon.

• Review the harmonic progression in D major (I–vi–ii–V).

• Class sings the harmonic progression melodically (do–mi–so–mi–do;

la–do–mi–do–la; fa–la–do–la–fa; so–ti–re–ti–so).

• Individual students sing or play the progression in D major.

• Play the chord progression on the piano and ask each student to

improvise a melody to fit the progression.

• Repeat the activity, changing the time signature to .

• Individual students perform their improvisations.

Homework

10

• Memorise Mail myself to you.

• Revise the characteristics of folk music and analyse the song with

them in mind.

• Practise By the waters of Babylon.

• Practise the harmonic progression in D major.

Teaching considerations

See ‘Teacher resource 1’ for the music for Mail myself to you, By the waters of Babylon and I like the flowers. It has

been assumed that the class has already learned the canon I like the flowers. If they do not know the song, use the

time allocated to teach it. Incorporate the improvisation activity in subsequent lessons.

See ‘Teacher resource 1’ also for the melody for sight-singing. This melody is a chorale tune (‘O Haupt voll Blut und

Wunden’) that was originally written by Hans Leo Hassler and is better known in the version harmonised by J.S. Bach

in the The Passion according to St Matthew. The melody was retained but the text was changed for Because all men

are brothers. See ‘Background information’ for suggested teaching points and discussion questions relating to

cultural and social contexts.

Opportunities for gathering evidence

• Observation of students aurally analysing By the waters of Babylon.

• Observation of students sight-singing and sight-playing.

• Observation of students singing or playing the harmonic progression.

• Focused analysis of individual students improvising over a given harmonic progression.

The Arts Protest in popular song

18

Week 2

Times are suggestions only.

Activity Purpose Mins Materials and procedure

Sing:

By the

waters of

Babylon

Part work;

melodic

development

5

• Class sings the song in unison. Check for accuracy.

• Class sings the song in unison while you sing in canon.

• When secure, class sings in two-part canon in groups.

Sing scale

and triads

Harmonic

development

10 • Sing major scale (A major) with the class.

• Sing root position triadic structures with the class.

• Students identify chord quality (major/minor/diminished).

Sing

harmonic

progression

Harmonic

development;

check

homework

15 • Class revises the harmonic progression from the previous lesson in

solfa.

• Class sings the harmonic progression melodically in A major

(do–mi–so–mi–do; la–do–mi–do–la; fa–la–do–la–fa; so–ti–re–ti–so).

• Individual students sing or play the progression in A major.

• Check the homework activity in D major with other students.

Homework

check, sing

and play:

Mail myself

to you

Aural analysis;

chord dictation

30 • Class sings the song from memory.

• Review the 3

rds

in the song.

• Class identifies possible chords for the song, based on the 3

rds

that

have been practised.

• Students sing the melody line while you play the chord progression

suggested by the class.

• Class discusses the suitability of the progression. Guide the class to

consider alternatives to a I–ii progression implied in the song

(e.g. I–V

7

).

• Class sings the song while you play an accompaniment on the piano

using the chordal structure of the song.

• Class sings the song and indicates (e.g. by using hand signs) the bass

note for each chord while teacher plays the accompaniment.

• Class practises the chord progression on an instrument

(e.g. keyboard).

• Class sings the melody and plays the chord progression as

accompaniment.

Discuss Historical and

cultural

contexts

5 • Discuss the characteristics of folk harmony:

– simple harmonic structures based on primary triads

– the ways in which songs can be used to express socially critical

comment.

Sing and

write:

Because all

men are

brothers

Rhythmic

development;

part work;

concentration

20 • Class sings the melody line of the song.

• Ask class to sing the melody again and listen to the rhythmic pattern

that is clapped while they are singing.

• Class sings while teacher claps the rhythmic pattern of the first eight

bars of the alto part from the arrangement.

• Repeat this step twice.

• Class claps the rhythmic pattern they have heard.

• Class writes out the rhythmic pattern.

• Check for accuracy.

• Class sings the melody and claps the rhythm.

• Class is given the melody line for the first eight bars of the alto part.

They are to sing it at sight after a few minutes preparation time.

• Give the class a starting pitch. Class sings the melody.

This sample lesson plan is continued on the next page…

The Arts Protest in popular song

19

Week 2 (continued)

Activity Purpose Mins Materials and procedure

Homework 5

• Memorise By the waters of Babylon.

• Practise Mail myself to you from memory.

• Review and practise (instrumentally, if available, and vocally) the

given chord progression.

Teaching considerations

See ‘Teacher resource 3’ for triadic structures. See ‘Background information’ for suggested teaching points and

discussion questions relating to cultural and social contexts.

Opportunities for gathering evidence

• Observation of students playing the chord progression in various keys.

• Observation of students writing rhythmic pattern.

• Observation of students singing at sight.

The Arts Protest in popular song

20

Repertoire Teacher resource 1

Source: Woody Guthrie, Mail myself to you Copyright Essex Music Australia Pty Limited.

The Arts Protest in popular song

21

Repertoire (continued) Teacher resource 1

The Arts Protest in popular song

22

Repertoire (continued) Teacher resource 1

Under the copyright agreement with the publisher, the music for Don McLean 1971, Vincent (Starry Starry Night)

Copyright Universal Music Publishing Inc. is not included in the version of the module available on the website. It is

included in the print copy and on the CD-ROM provided to Queensland schools.

The Arts Protest in popular song

23

Repertoire (continued) Teacher resource 1

The Arts Protest in popular song

24

Repertoire analysis Teacher resource 2

Song Musical elements Teaching focus and activities

And the band played

Waltzing Matilda

Eric Bogle

Larrikin Music, Sydney

1977.

Robert Brown

Associates.

• D major

• mixed metre: and 

• syncopation

• anacrusis

• verse and chorus form

• chords and harmonic

progressions: I, IV, V, V

7

, vi

• perfect cadence

• repeat signs

1. Chord progression — I–IV–I–vi–I–V–I: memorise

and be able to sing, play, read, improvise over

and write in all studied keys (bass line only or all

four parts as appropriate). This song provides a

good example of simple bass line writing.

2. Use harmony line to write melody. Use of

passing notes.

3. Use harmony to write counter-melody.

4. Arranging exercises.

5. Set text to simple duple rhythm, as a contrast to

compound duple.

6. Investigate the Australian folk song tradition.

7. Compare this song with the American folk songs

in this module.

8. Discuss the social and political messages in the

lyrics.

Michael

Joan Baez

(ASCAP). 1979.

Gabriel Earl Music

• C major

• common time; syncopation;

triplet using crotchets

• anacrusis

• verse and chorus form

• limited vocal range

• chords and harmonic

progressions: I, ii, V, V

7

, vi; VII

used once only

• first inversion of chord V

• plagal cadence

• Alberti bass accompaniment

• question and answer phrases

• legato, mp, fermata, a tempo,

coda, d. s. al coda

• first-, and second-time bars,

repeat signs

1. Chord progression — I–V–vi–ii–V: memorise

and be able to sing, play, read, improvise over,

and write in all studied keys (bass line only, or

all four parts, as required).

2. The verse uses the same chord progression as

the chorus: compare melody lines. Note the use

of VII (modal harmony) in chorus for dramatic

effect.

3. Investigate the use of first inversion of V in the

progression, and how it changes the bass line.

4. Analysis of form and style for composition

purposes, especially piano writing style.

5. Compare the recorded version that uses

acoustic guitar, and the written version that is

written for piano.

6. Discuss the social messages in the lyrics.

Vincent

Don McLean

Mayday Music and The

Benny Bird Company.

Festival Music Pty Ltd.

1971

.

• G major

• common time

• anacrusis

• verse and chorus form, with

added contrasting section

• chords and harmonic

progressions: I, ii, IV, V, vi

• Alberti bass accompaniment

• question and answer phrases

• mp, d.s. al coda, coda,

fermata, rall.

• first- and second-time bars,

repeat signs

• limited vocal range: pentatonic

and diatonic phrases

• asymmetrical phrasing

1. Chord progression — I–ii–IV–V: memorise and

be able to sing, play, read, improvise over, and

write in all studied keys (bass line only or all four

parts, as appropriate).

2. Some students may use phrases and chords as

basis for dictations.

3. Use vocal line as sample for text setting and

melody writing, both pentatonic and diatonic.

4. Discuss the social messages in the lyrics.

The Arts Protest in popular song

25

Repertoire analysis (continued) Teacher resource 2

Song Musical elements Teaching focus and activities

Father and son

Cat Stevens

Freshwater Music Ltd,

London 1970.

• G major

• mixed metre: ,  and 5/4

• dotted notes; tied notes;

syncopation

• anacrusis

• chords and harmonic

progression: I, V, IV, ii, I, vi,

ii, V

• first inversions of IV and V

• mf, coda

• anacrusis

1. Chord progression — I–V–IV–ii–I–vi–ii–V:

memorise and be able to sing, play, read,

improvise over and write in all studied keys

(bass line only or all four parts, as appropriate).

2. A good example of word-painting: analyse and

discuss the characterisation through use of

vocal ranges. The song is very singable, given

the range.

3. Teach chord progression in root position.

Compare root position of chords with first

inversion of V and IV and hear and discuss the

function of first inversion chords. Analyse the

bass line to discover the step-wise progression

achieved with use of first inversion. This may

allow for comparisons with other styles of music,

e.g. Bach.

4. Analyse the phrase structure: AAAB melodic

line. This could be used as a model for vocal

compositions.

5. Rhythm and melodic contour of some phrases is

fairly simple and could be used for sight-reading

and dictations. There are some dotted and tied

notes for study and inclusion in reading and

dictation exercises.

6. The song could be arranged in two or more

parts by or for students, for voice and/or

instruments.

7. Discuss the social messages in the lyrics.

Because all men are

brothers (The wide world

around), music by Hans

Leo Hassler, harmonised

by J.S. Bach, adaptation

and text by Tom Glazer,

arranged by Roger

Emerson

EMI Publishing.

• C major

• crotchet anacrusis; , mixed

metre

 and 

• four-part vocal harmony

• modulation to D major

1. Chorale style arrangement in the first section of

this song makes a good link to Baroque music

studied earlier (if applicable).

The Arts Protest in popular song

26

Triadic structures Teacher resource 3

Major Scale

so la ti do re mi fa

mi fa so la ti do re

do re mi fa so la ti do

I

major

ii

minor

iii

minor

IV

major

V

major

vi

minor

vii

diminished

Natural Minor

mi fa so la ti do re

do re mi fa so la ti

la ti do re mi fa so la

i

minor

ii

diminished

III

major

iv

minor

v

minor

VI

major

VII

major

Harmonic Minor

mi fa si la ti do re

do re mi fa si la ti

la ti do re mi fa si la

i

minor

ii

diminished

III

augmented

vi

minor

V

major

VI

major

vii

diminished

Outcome

⇒

Aurally and visually

analyse and respond

Sing and play Read and write

Task

Student name

⇒

⇓

Level

Sample music profile: Teacher resource 4

The Arts Protest in popular song

Acknowledgments

AcknowledgmentsAcknowledgments

Acknowledgments

This module was developed collaboratively with James Cuskelly, Lecturer, School of Music,

The University of Queensland.

Grateful acknowledgment is made to the following organisations and/or people for granting

permission to use copyright material:

Universal Music Publishing Company Inc. for Vincent by Don McLean.

Copyright Essex Music Australia Pty Limited for Mail myself to you by Woody Guthrie.

This sourcebook module should be read in conjunction with the following Queensland

School Curriculum Council materials:

Years 1 to 10 The Arts Syllabus

Years 1 to 10 The Arts Sourcebook Guidelines

The Arts Initial In-service Materials

ISBN 0 7345 2239 8

Queensland schools are permitted to make multiple copies of this sourcebook module without infringing

copyright provided the number of copies does not exceed the amount reasonably required for teaching

purposes in any one school. Copying for any other purposes except for purposes permitted by the

Australian Copyright Act 1968 is prohibited.

Every reasonable effort has been made to obtain permission to use copyright material in all sourcebook

modules. We would be pleased to hear from any copyright holder who has been omitted.

The State of Queensland and the Queensland School Curriculum Council make no statements,

representations, or warranties about the accuracy, quality, adequacy or completeness of, and users

should not rely on, any information contained in this module.

The State of Queensland and the Queensland School Curriculum Council disclaim all responsibility and

liability (including without limitation, liability in negligence) for all expenses, losses, damages and costs

whatsoever (including consequential loss) users might incur to person or property as a result of use of the

information or the information being inaccurate, inadequate, or incomplete.

In July 2002, the Queensland School Curriculum Council amalgamated with the Queensland Board of Senior

Secondary School Studies and the Tertiary Entrance Procedures Authority to form the Queensland Studies

Authority. All inquiries regarding this module should be directed to:

Queensland Studies Authority, PO Box 307, Spring Hill, Q 4004, Australia

Ground Floor, 295 Ann Street, Brisbane

Telephone: (07) 3864 0299

Facsimile: (07) 3221 2553

Website: http://www.qsa.qld.edu.au

Email: inquiri[email protected]