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               <rdf:li>Cecilia Hann</rdf:li>
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               <rdf:li xml:lang="x-default">19.05.03: New Worlds: Storytelling, Music and Writing</rdf:li>
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               <rdf:li xml:lang="x-default">Music&#xD;&#xA;</rdf:li>
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               <rdf:li>storytelling</rdf:li>
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<Document>
<P>Curriculum Unit                  </P>

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<P>New Worlds: Storytelling, Music and Writing Ethnomusicology: The Study of Culture and Music   </P>

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<P>Cecilia Hann </P>
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<P>Title                              Author </P>

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<P>KEY LEARNING, ENDURING UNDERSTANDING, ETC. </P>

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<P>In my unit, Integrating Music and Writing, my goal is to show how music lends itself be cross-curricular with reading and writing.  Students will create music to stories that they wrote.  They can use a variety of music and write what they hear. Then my fifth graders can create a fiction or non-fiction story and compose music. They will then share with peers to receive positive feedback. </P>
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<P>ESSENTIAL QUESTION(S) for the UNIT </P>

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<L>
<LI>
<LBody> How do performers interpret musical works? </LBody>
</LI>

<LI>
<LBody> How do individuals choose music to experience? </LBody>
</LI>

<LI>
<LBody> How do we discern the musical creators and performers expressive intent? </LBody>
</LI>

<LI>
<LBody> How do musicians make meaningful connections to creating, performing and responding? </LBody>
</LI>

<LI>
<LBody> How do the other arts, disciplines, contexts and daily life inform creating, performing and responding to music? </LBody>
</LI>
</L>

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<P>  </P>

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<P>              CONCEPT A         CONCEPT B                     CONCEPT C </P>

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<P>Improvisation </P>
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<P> </P>

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<P>Active Listening </P>
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<P>Dramatic structure </P>
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<P>      </P>

<P>    ESSENTIAL QUESTIONS A               ESSENTIAL QUESTIONS B    ESSENTIAL QUESTIONS C </P>

<P> </P>

<Textbox>
<P>How do performers write a story about a musical compostion? </P>

<P>  </P>

<P> </P>
</Textbox>

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<P>How do individuals create music using storytelling? </P>

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<P>  </P>
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<P>How can other artistic expressions be used to create, perform and respond to music? </P>
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<P> </P>

<P>           </P>

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<P> </P>

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<P>            VOCABULARY A                 VOCABULARY B                        VOCABULARY C  </P>

<Textbox>
<P>Creativity </P>

<P>Improvisation </P>

<P>Creativity </P>

<P>Collaboration </P>

<P> </P>

<P> </P>

<P> </P>

<P> </P>

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</Textbox>

<Textbox>
<P>Call and Response </P>

<P>Tempo </P>

<P>Form </P>

<P>Timbre </P>
</Textbox>

<Textbox>
<P>Culture </P>

<P>Storytelling </P>

<P>Fiction </P>

<P>Non-fiction </P>
</Textbox>

<P> </P>

<P> </P>

<P> </P>

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<P>ADDITIONAL INFORMATION/MATERIAL/TEXT/FILM/RESOURCES </P>

<P> </P>

<Textbox>
<P>Dramatic Structure: Seeger, Pete, and Paul Du Bois. Jacobs. Pete Seegers Storytelling Book. San Diego: Harcourt, 2001. </P>

<P> Abiyoyo. Bt Bound, 2005. </P>

<P> Improvisation:  “What Is Storytelling?” National Storytelling Network, 
<Link>https://storynet.org/what-is-storytelling</Link>
. </P>

<P> Yagoda, Ben. The Sound on the Page: Great Writers Talk about Style and Voice in Writing. HarperCollins Publishers, 2005. </P>

<P>Listening: Persons, Marjorie Kiel. Antonin Dvořák: From the New World: with Lyrics. Classical Magic, 2004. </P>

<P>Prokofiev, Sergey, Melanie Williams, and Sergei Prokofiev. Peter and the Wolf. Harlow: Pearson Education, 2018. </P>

<P> </P>
</Textbox>

<P> </P>

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<P> </P>
</Document>
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