Music 6Th Grade Course Plans Unit 1: 1. Identifying Different Sound Properties

MUSIC 6TH GRADE
COURSE PLANS UNIT 1
October November
BASICS
This unit focuses on music and its importance, since classical antiquity, in
relation to other arts. Pupils will learn about the Muses, who were considered
protective and inspiring by the Greeks; and from whose name the word music is
derived. The other important topic –on which several activities are based– is the
study of sound and silence. Pupils will learn how important these aspects are to
music.
METHODOLOGY
Musical intelligence should be considered as having an important influence on

other multiple intelligences. An active methodology means that the teacher
accompanies the pupil as a guide. The objective is for the pupils to share the
positive and enjoyable experience that comes from listening and creating music
with others.
CONTENTS/EVALUATION CRITERIA/LEARNING STANDARDS
LISTENING
The ear
• Production and sound properties.
• Listening to musical pieces to perceive different types of time signatures.
• Listening: “Waltz 2,” Jazz Suite n.º 2, by Shostakovich.
Evaluation Criteria
1. Identifying different sound properties.
2. Identifying different rhythmic time signatures, paying attention to the
regularity of stress.
3. Learning about the different resources used by composers to create a
work.
Learning Standards
1.1. He/She knows and identifies different sound properties.
1.2. He/She pays careful and quiet attention to the listening examples of the
sound properties.
2.1. He/She knows what the time signature of double, triple and quadruple
metres are.
3.1. He/She identifies repetition, variation and contrast in a classical piece.
Music, culture and society
• Mythological story: The Muses.
• Music from other cultures: ¿Quién es aquel pajarillo? (popular song from
Bolivia and Argentina)
Evaluation Criteria
4. Learning about the mythological origin of the muses as the protective
goddesses of arts.
5. Learning about and appreciating the importance of the cultural legacy
contributed by musical pieces from other countries.
Learning Standards
4.1. He/She reads and understands the story in the unit.
5.1. He/She is interested in discovering musical pieces from other countries
and he/she uses them as references for his/her own creations.
MUSICAL INTERPRETATION
The voice
• Songs:
- Up and down the hills.
- ¿Quién es aquel pajarillo?
Evaluation Criteria
6. Learning about the structure of one of the oldest musical forms; the song
with chorus.
7. Identifying songs from the cultural legacy that have a two-part form.
Learning Standards
6.1. He/She identifies the chorus and the verse in a song of a two-part form.
7.1. He/She applies his/her knowledge of two-form structure to identify other
songs with similar characteristics.
Instrument
• Recorder: Wind muse.
• Small percussion instrumental accompaniment.
Evaluation Criteria
8. Doing the interpretation activities paying attention to the correction of their
expressive elements.
9. Identifying the notes of the melody of a musical piece.
Learning Standards
8.1. He/She puts basic recommendations into practice to obtain a nice sound
on the recorder.
9.1. He/She copies the melody of the recorder and identifies and writes the
notes that give the melody a form.
Musical language
• Song with chorus.
• Sound and silence.
• Types of time signature.
• Duration of the musical figures.
• Musical form:
- Repetition, variation and contrast.
• Non-conventional symbols.
Evaluation Criteria
10. Using the acquired knowledge about time signatures in different situations.
11. Experiment with the equivalence of the values of the figures to complete
the three types of time signatures in an empirical way.
Learning Standards
10.1. He/She identifies the type of time signature in a piece, paying attention to
the stress as the first beat of each time signature.
11.1. He/She completes time signatures of double metre, triple metre,
quadruple metre considering the values of the different figures and rests.
MOVEMENT AND DANCE
The body
• The mixer dance: The eight.
Evaluation Criteria
12. Reproducing by means of body movement a rhythmic and melodic scheme.
13. Having fun when interpreting a dance in group as a type of social
interaction.
Learning Standards
12.1. He/She follows the rhythm in the movements of the dance and reacts to
changes.
13.1. He/She has initiative to interact freely with other members of the class
in the development of the dance.
COMPETENCIES – Descriptions and Skills
Linguistic competency
- Understanding the meaning of written texts.
- He/She understands the instructions of the activities without help.
- Reading Plan: Enjoying reading.

- He/She understands the story in the unit.
Mathematical competency and basic competencies in Science and

Technology
- Interacting with nature in a respectful way.
- He/She listens carefully and respectfully to the sounds in his/her
surroundings.
Digital competency
- He/She understands complex messages in different codes.
- He/She interprets with correction the visual aid to do the activity.
Learning to learn
- Planning necessary resources and steps to take in the learning process.
- He/She follows the established steps when doing the activities.
- Developing strategies that help the rigorous comprehension of the contents.

- He/She uses the acquired knowledge about time signatures in different
situations.
Social and civic competency

- Understanding and showing respect for those with more difficulties and
different capabilities who advance at a different pace.
- He/She respects the different pace in the learning process of others in
teamwork.
- Showing willingness to participate actively in the established fields of

participation.
- He/She participates and behaves responsibly in group activities.
Initiative and entrepreneurship

- Being constantly engaged in work and overcoming difficulties.
- He/She identifies his/her errors in the task.
Cultural awareness
- He/She appreciates cultural diversity as a source of personal and cultural
wealth.
- He/She knows and appreciates musical pieces from different cultures.
- Expressing feelings and emotions based on artistic codes.

- He/She sings and plays on instruments in an expressive way.
COURSE PLANS UNIT 2
November December
BASICS
Now that we have presented music as one of the most special art forms, we will
look at it in connection with other art forms in the following units. In this unit, we
will see how fascinating the combination of music and theatre is and how much
it attracts all types of audiences, from the most educated theatregoer to the
average spectator. They all share the same passion for music, words and
theatre. If you add up these three, the result is spectacular.
METHODOLOGY
We will start studying the new contents in the unit based on previous ideas. The
use of drama games as a means of expression to encourage participation in
musical theatre will be employed. We will also make the most of prosody and
body percussion as a basis of the interpretation of rhythms of certain complexity
in the accompaniment of the songs and help all pupils to integrate into the
group to promote a lack of inhibition and enhance creativity.
LISTENING
The ear
• The opera: elements that comprise it and voice types.
• Listening: “Hebrew slaves choir,” Nabucco (Verdi).
• Sound properties: the timbre.
Evaluation Criteria
1. Identifying the voice types in an opera by their characteristic timbre.
Learning Standards
1.1. He/She identifies by the timbre of the voice the most common types of
voices in an opera.
1.2. He/She matches each voice timbre with a character in Three Alpine boys.

• The opera. Giuseppe Verdi.
• Music from other cultures: The water is wide (popular song from England).
Evaluation Criteria
2. Learning about the different functions of the members of the cast in the set
up and the representation of the musical part of an opera.
3. Appreciating the contribution of music, literature and theatre to the creation
of an opera.
4. Learning about and appreciating the importance of a cultural legacy that
come from the musical pieces of other countries.
Learning Standards
2.1. He/She knows the functions of each member in the artistic cast of an
opera within the musical part.
3.1. He/She appreciates the contribution of different art forms that come
together in the creation of an opera, mainly in music, literature and
theatre.
4.1. He/She is interested in discovering musical pieces from other countries
and uses them as a reference to create his/her own pieces.
The voice
• Songs:
- Three Alpine boys.
- Play and dance
- The water is wide!.
• The opera: Va pensiero, Verdi.
Evaluation Criteria
5. Active participation in the intonation activities appreciating the expressive
resources of the voice.
6. Learning and participating with prosody accompaniment and with singing in
the interpretation of a traditional Spanish carol and an English song.
Learning Standards
5.1. He/She participates singing in the representation of Three Alpine boys
and in the foreign song: The water is wide!
5.2. He/She practises the expressive resources of the voice.
6.1. He/She uses the prosody of the language correctly as an expressive
element to accompany the carol.
Instrument
• Accompaniment with percussion: Three Alpine boys.
• Barred instrument accompaniment with bourdons: Art.
• Recoder: Snow in the window (RE).
Evaluation Criteria
7. Respecting the contribution of classmates in the activities of an
instrumental ensemble.
8. Learning the position of RE´ on the recorder.
9. Learning and practising the most common bourdons.
Learning Standards
7.1. He/She respects classmates when doing instrumental ensemble
activities.
8.1. Learning and interpreting correctly RE´ on the recorder in the context of a
musical piece.
9.1. He/She confidently identifies the most common types of bourdons in the
barred instrument accompaniment
Musical language
• Intervals: definition and types.
• The bourdon. Bourdons for doric RE.
Evaluation Criteria
10. Learning how to define interval.
11. Identifying a rising or a falling interval and knowing the name of the
intervals by the distance that separates the notes.
Learning Standards
10.1. He/She correctly defines what an interval is.
11.1. He/She identifies a rising or a falling interval in theory and practice.
11.2. He/She names the intervals correctly considering the distance that
separate two notes.
MOVEMENT AND DANCE
The body
• Enactment of Three Alpine boys.
Evaluation Criteria
12. Participating in the representation of a parody of an opera: Three Alpine
boys.
Learning Standards
12.1. He/She participates in the representation of the opera parody Three
Alpine boys.
12.2. He/She participates in the activity playing the role responsibly that is
assigned to him/her in the cast.
- Understanding the meaning of the oral expressions: orders, explanations,
indications, stories.
- He/She understands the instructions of the exercises without help.
- Respecting norms of communication in any context: respecting everyone’s

turn to speak, listening carefully to the speaker.
- He/She pays attention to the explanations and respects everyone’s turn
to speak in group activities.
Technology
- He/She listens carefully and respectfully to the sounds in the
environment.
- Managing mathematical language with precision in any context.

- He/She perceives the relation of a greater or smaller number of units
when forming groups, paying attention to their size.
Digital competency
- Using different ways of audiovisual communication to show different
information.
- He/She uses the digital board and Internet to do activities and also to
look for information about the contents of the unit.
Learning to learn
- Planning necessary resources and steps to take in the learning process

- Applying strategies to improve creative, critical, emotional and interdependent
thinking.
- He/She observes carefully to acquire relevant and sufficient information
that leads him/her to make his/her own decisions.
teamwork.

participation.
- He/She participates and behaves responsibly in group activities.
Cultural awareness
Being constantly engaged in work and overcoming difficulties.
He/She shows interest, perseverance and initiative in the creation of
artistic activities.

wealth.
- He/She knows the musical expressions of different cultures.
COURSE PLANS UNIT 3
January February
BASICS
The relationship between music and painting is the main theme of this unit. Both
are influenced by the form and nuances to enrich all their expressive potential.
Contrast is an element that, in the same way as in painting, gives music an
extra dimension. The art of managing the different degrees of intensity of sound
and the adequate selection of instrumental timbres liken the musician to the
painter.
METHODOLOGY
Get pupils to listen carefully to the proposed listening activities. Pupils should
take part in the musical experience by singing. Integrate them in the activities in
an active and participative way. Start with these previous ideas to assimilate the
concepts of the unit. Put basic recommendations into practice when playing
melodies on the recorder. Use games as the basis of the musical expression.
LISTENING
The ear
• Sound properties: dynamics and degrees of intensity.
• “2nd movement,” 9th Symphony, Beethoven.
• Instrumental timbres of the symphony orchestra.
• Listening: Spanish Caprice, by Rimsky-Korsakov.
• Rhythmic dictation.
Evaluation Criteria
1. Identifying the degrees of intensity in a listening sample.
2. Identifying the instruments by their sound timbre in an orchestra and
identifying each one.
Learning Standards
1.1. He/She knows the degrees of intensity and the grading of values.
1.2. He/She has an attentive and careful attitude when listening to examples
of different degrees of intensity.
2.1. He/She distinguishes the timbres of the instruments of the orchestra
when listening to a musical piece.
• The symphony orchestra.
• Music and painting: Kandinsky.
• Music from different cultures: Tafta hindi (Lebanon).
Evaluation Criteria
3. Learning about the symphonic orchestra and the instruments that comprise
it.
4. Appreciating the interdisciplinary and intercultural richness that comes from
the combination of esthetic resources of painting and music.
Learning Standards
3.1. He/She knows the different instrument families in an orchestra and their
usual positions within it.
3.2. He/She knows the names of the instruments that comprise each family.
4.1. He/She appreciates the cultural enrichment coming from the relationship
between music and art throughout history.
The voice
• Songs:
- Theft at the museum!
- Good morning! (canon)
- Tafta hindi (Lebanon).
• Intonation with ties.
Evaluation Criteria
5. Developing the expressive quality based on the vocal technique in singing
activities.
6. Singing a melody paying attention to signs which prolong the notes.
7. Knowing the concepts of intonation and vocal tuning when interpreting a
canon.
Learning Standards
5.1. He/She sings in tune to the singing activities in the group.
6.1. He/She respects the duration of the notes joined by a prolonging tie.
7.1. He/She is able to sing in canon.
Instrument
• Interpreting and composing a non-conventional score with degrees of
intensity.
• Recorder: Night painting (FA).
• Instruments in the symphony orchestra.
Evaluation Criteria
8. Interpreting scores showing basic interpreting skills regarding the assigned
instrument.
Learning Standards
8.1. He/She learns the FA note and interprets it correctly on the recorder.
8.2. He/She participates in activities of instrumental interpretation in an active
way.
Musical language
• Sound properties: intensity and dynamics.
• Prolonging marks: ties and dots.
• Non-conventional signs: dynamic marks.
Evaluation Criteria
9. Learning about the main degrees of intensity used in a score, its graphic
representation and the grading of its values.
10. Learning about and defining tie and dot as signs of prolongation.
11. Combining the aesthetic resources of the painting with the ones of music to
represent degrees of intensity in a non-conventional score.
Learning Standards
9.1. He/She identifies the characteristics of the intensity of sound and
recognises them in the score.
10.1. He/She applies correctly the same calculating process of the value of a
figure with a dot to other everyday life situations.
10.2. He/She recognises the duration of the figures linked by a tie to the ones
that have a dot.
11.1. He/She creates a non-conventional score in an original way, with degrees
of intensity and markers.
MOVEMENT AND DANCE
The body
• Body movements related to the dynamics of intensity.
Evaluation Criteria
12. Using the expressive possibilities of body gestures to imitate the conductor
of the orchestra when correctly applying the degrees of intensity.
Learning Standards
12.1. He/She acts in an uninhibited way as the conductor of the orchestra
paying attention to the degrees of intensity.
12.2. He/She uses the relationship between the amplitude of body gestures
and the fluctuations of intensity in a musical piece correctly.
- Respecting norms of communication in any context: respecting everyone’s

turn to speak, listening carefully to the speaker.
- He/She pays attention to the explanations and respects everyone’s turn
to speak in group activities.

Technology
environment.
Digital competency
- Using different ways of audiovisual communication to convey different
information.
- He/She uses the digital board and Internet to do activities and also to
look for information about the contents of the unit.
Learning to learn
- Planning necessary resources and steps to take in the learning process.
- Developing strategies that favour rigorous comprehension of the contents.

- He/She uses the acquired knowledge about signs of prolongation in
different situations.

teamwork.
- Learning about and applying rights and obligations of citizens in the context of
the school.
- He/She respects individual contributions by other classmates.

participation.
- He/She participates and behaves responsibly when participating in
teamwork.

- He/She shows interest, perseverance and initiative in the creation of
Cultural awareness
wealth.

- He/She sings and plays on instruments in an expressive way.
COURSE PLANS UNIT 4
February March
BASICS
The main educational trends in music all emphasise the importance of living
music through physical experience. Dalcroze establishes a very deep
connection between rhythm and body movement. Musical experience, by
means of movement and dance, is normally the easiest way to awaken hidden
feelings and emotions in a person. The body is a living sculpture full of beauty
when it is moved by music.
METHODOLOGY
Encourage pupils to participate in musical experience by singing. Engage them

with activities in an active and participative way. Pay attention and keep silent to
listen carefully to the proposed listening activities. Encourage creativity in free
activities. Put the basic recommendations into practice for the interpretation of
melodies on the recorder. Use games as the basis for musical expression.
LISTENING
The ear
• Musical pieces related to dance.
• Musical pieces related to sculpture.
• Classification of percussion instruments: untuned and tuned.
Evaluation Criteria
1. Identifying the stress in different rhythms and melodies.
2. Listening carefully to different pieces in silence and matching them with
different sculptors.
3. Identifying sounds of untuned and tuned percussion instruments
Learning Standards
1.1. He/She listens to musical pieces in silence in listening activities and
identifies the stress.
2.1. He/She matches different musical pieces to different sculptors.
3.1. He/She recognises tuned and untuned percussion instruments by ear.

• Dance and its different styles.
• Music and sculpture: Michelangelo Buonarroti.
• Music from different cultures: Leave old Texas (USA).
Evaluation Criteria
4. Learning about the evolutionary character of dance throughout history and
the richness of styles offered nowadays.
5. Appreciating the expressive potential that music possesses linked to other
art forms.
Learning Standards
4.1. He/She distinguishes different dance styles.
5.1. He/She knows the story of the sculpture David by Michelangelo and is
able to sum up the anecdote.
The voice
• Songs
- The cave.
- I freeze like a statue.
- Leave old Texas (USA).
Evaluation Criteria
6. Singing the song of the unit in a coordinated manner with instrumental
accompaniment.
Learning Standards
6.1. He/She actively participates in singing with the group.
6.2. He/She integrates the rhythmic sense of singing in the context of
instrumental accompaniment.
Instrument
• Accompaniment with the xylophone for the song The Cave,
• Recorder: The thinker (DO and DO´).
• Classification of percussion instruments: untuned and tuned.
Evaluation Criteria
7. Learning and playing the note DO´ on the recorder.
8. Integrating the barred instruments accompaniment in the proposed songs.
Learning Standards
7.1. He/She follows the basic recommendations to get a nice sound on the
recorder.
7.2. He/She learns the note DO´ and plays it correctly on the recorder.
8.1. He/She keeps the rhythm of the song accompanied by barred
instruments.
Musical language
• Beat.
• Rhythm.
• Types of time signatures.
• Conventional signs: figures and rests.
Evaluation Criteria
9. Understanding and perceiving the triple metre time signature and
completing these time signatures by paying attention to the sum of the
values of the figures.
Learning Standards
9.1. He/She completes time signatures in triple metre by feeling the stress.
MOVEMENT AND DANCE
The body
• Prosodies and body percussion accompaniment.
• Music and movement: I freeze like a statue.
• Dance of the seven jumps.
Evaluation Criteria
10. Expressing with the body what different musical pieces suggest related to a
sculpture.
11. Participating and learning different movements of the proposed dance.
Learning Standards
10.1. He/She improvises body postures in a creative way.
10.2. He/She adjusts his/her body movements to the musical rhythm of the
dance.
11.1. He/She has a good attitude when preparing a dance in groups.
- Understanding the meaning of written texts.
- Reading Plan: Enjoying reading.

- He/She understands the story in the unit.

Technology
environment.
Digital competency
- Understanding messages prepared in different codes.
- He/She interprets the visual aid under correction in order to do the
proposed dance.
Learning to learn
- Developing the different multiple intelligences.
- He/She applies models that serve as a reference to do the proposed
tasks.

thinking.
- He/She pays careful attention to acquire relevant and sufficient
information that leads him/her to make his/her own decisions.

teamwork.
- Learning about and applying the rights and obligations of the citizens in the
context of the school.

participation.
- He/She participates and behaves responsibly in teamwork.

Cultural awareness
- Appreciating the beauty of artistic expressions and in everyday life.
- He/She appreciates the artistic contribution of a composer to cultural
enrichment.
COURSE PLANS UNIT 5
April May
BASICS
Music and words have a great expressive potential. When one accompanies the
other, they can turn into a source of emotions. Over the last centuries there
have been many examples of fusing of music and literature; music inspiring
words; intonation, serving the art of telling stories. Thus the figure of the singer-
songwriter has become very important. He/she is a real expert in conveying
emotions that come from the fusion of literature and music.
METHODOLOGY
Encourage pupils to participate in musical experience by singing. Get them to

pay attention to the importance of silence and to listen carefully to the proposed
listening activities. Start with prosodies to make the assimilation of musical
language easier. Put basic recommendations into practice for playing melodies
on the recorder. Use games as a basis for musical expression. Engage pupils
with the activities in an active and participative way.
LISTENING
The ear
• Listening: Identifying different rhythms.
• Listening to musical pieces to identify different time signatures.
Evaluation Criteria
1. Identifying the rhythm, the stress and the time signatures in musical pieces.
2. Identifying the accelerando at the end of a song.
Learning Standards
1.1. He/She identifies the type of time signature in a listening sample by
listening for the beat and the stress.
1.2. He/She distinguishes the stress from the words.
2.1. He/She recognises accelerando by ear and practices it in a song.

• Narrative songs: El conde Flores.
• Songwriters.
• Music from different cultures: Kalinka (Russia).
Evaluation Criteria
3. Appreciating the contribution of narrative poems to enriching our cultural
heritage.
Learning Standards
3.1. He/She knows and appreciates narrative poems as the result of a
storytelling tradition.
3.2. He/She learns a poem and discovers the type of the rhyme.
The voice
• Songs
- El fantasma Comeletras.
- Conde Flores (romance).
- Kalinka (Russia).
• Sung poems.
• Intonation as a way of expression.
• Phonic groups.
Evaluation Criteria
4. Participating actively in the vocal and body interpretation of the songs.
5. Learning about the expressive possibilities of intonation in everyday
speaking.
6. Learning how to define narrative poems, putting them in a historical context
and understanding what their most common topics are.
Learning Standards
4.1. He/She sings in tune when singing in a group.
5.1. He/She identifies the statement, the exclamation or the question because
of the melodic line in which they are expressed when speaking.
6.1. He/She defines what a narrative poem is and puts it in a historical context
as well as mentioning the most common themes involved in poems.
Instrument
• Accompaniment with small percussion.
• Recorder: Scarborough Fair (RE´).
Evaluation Criteria
7. Interpreting the proposed musical pieces with a good posture and an
appropriate technique.
8. Interpreting by clapping the rhythm of the words marking the prosodic
stress.
Learning Standards
7.1. He/She follows basic recommendations to obtain a good sound on the
recorder.
7.2. He/She interprets a piece on the recorder fluently following the melodic
phrasing.
8.1. He/She marks the beat and the stress properly in the percussion
accompaniment of a song.
Musical language
• Intonation as way of expression.
• Phonic groups.
• Time signatures and bar lines.
• Prosody, the rhythm of language.
Evaluation Criteria
9. Knowing the correct value of the proposed musical signs.
10. Discovering the relationship that the natural prosodic rhythm of the words
has with the musical rhythm.
Learning Standards
9.1. He/She distributes the musical figures until he/she completes time
signatures considering the sum of the values and places the dividing lines
correctly.
10.1. He/She joins each word with the corresponding rhythmic cell.
MOVEMENT AND DANCE
The body
• Body expression and intonation of sentences.
• Accompaniment with prosodies and body percussion.
Evaluation Criteria
11. Discovering the beat in a listening example by means of body
accompaniment.
Learning Standards
11.1. He/She is able to adjust the beat and the stress of the music by means of
using the body.
- He/She understands the instructions of the activities without help.
- Understanding the meaning of the written texts.

- He/She understands the definitions and the instructions of the unit.

Technology
- He/She listens attentively and respectfully to the surrounding sounds.
Digital competency
- Preparing their own information based on information obtained via
technological means.
- He/She searches for information about one of the artistic expressions
proposed in the unit.
Learning to learn
- Developing strategies that favour rigorous comprehension of the contents.
- He/She discovers characters that appear in the poem and in the
sequence of the events told in the same poem.

thinking.
information that lead him/her to make his/her own decisions.

teamwork.
- Knowing and applying rights and obligations of citizens in the context of the
school.

participation.

- Prioritising the achievement of group objectives and personal interests.
- He/She shows interest, perseverance and initiative while doing artistic
activities.
Cultural awareness
- Appreciating the beauty of the artistic expressions and in everyday life.
COURSE PLANS UNIT 6
May June
BASICS
The final unit shows the relationship between music and architecture. We will
start with architecture by showing the monuments in cities that are real
architectural works. Then we will continue with music. A concert is an artistic
project in which people and material elements contribute to make it enjoyable.
In both music and architecture, the design of the structure will reveal its form.
METHODOLOGY
Promote participation in active listening, highlighting the individual contribution

to the success of the instrumental performance of the whole group. Start with
the prosodies to make the assimilation of the musical language easier. Engage
the pupils with the activities in an active and participative way. Put basic
recommendations in practice for playing the accompaniments on barred
instruments and the melodies on the recorder. Use games as a basis for
musical expression.
LISTENING
The ear
• Listening to identify different musical forms: two-part, rondo, ostinato.
• Listening: Annen Polka, by Strauss.
Evaluation Criteria
1. Identifying different musical models by ear.
2. Listening attentively to different musical pieces to identify the form.
Learning Standards
1.1 He/She listens attentively to different musical pieces to identify the form.
2.1 He/She does an active listening of a piece and identifies its parts.

• Musical jobs.
• Story: Music and Walls.
• Music from different cultures: My Bonnie lies over the ocean (Scotland).
Evaluation Criteria
3. Understanding the analogue between a musical piece and an architectural
work.
4. Doing the reading comprehension of the story Music and Walls as an
approach to studying classical culture.
Learning Standards
3.1. He/She understands the analogue between a musical piece and an
architectural work.
4.1. He/She answers the questions correctly about the text, Tebas walls and
Jericho.
The voice
• Songs:
- From the ground to the roof.
- When the saints go marching in.
- My Bonnie lies over the ocean (Scotland).
Evaluation Criteria
5. Singing the songs of the unit in a coordinated way with the instrumental
accompaniment.
Learning Standards
5.1. He/She participates actively in the interpretation of the song in a group.
5.2. He/She integrates the rhythmic sense of the song into the context of the
instrumental accompaniment.
Instrument
• Recorder and small percussion accompaniment: Bang Tower.
• Orff Instruments accompaniment: Annen Polka, by Strauss.
• Accompaniment with bourdons.
Evaluation Criteria
6. Interpreting the scores showing basic skills of interpretation on the
assigned instrument.
Learning Standards
6.1. He/She accompanies with simple bourdons on barred instruments.
6.2. He/She actively participates in activities relating to the instrumental
interpretation.
Musical language
• The musical form: two-part form, rondo, ostinato.
• Rhythmic and melodic writing of a musical piece.
Evaluation Criteria
7. Identifying and describing simple musical forms and different musical styles
from the ones proposed in a listening sample.
Learning Standards
7.1. He/She carefully follows the part that corresponds to the score in the
active listening.
MOVEMENT AND DANCE
The body
• Accompaniment with prosodies and body percussion.
Evaluation Criteria
8. Accompanying the lyrics of the songs with gestures and body language.
Learning Standards
8.1 He/She is expressive and spontaneous when it comes to body
accompaniment of a song.
- He/She reads the instructions properly to answer the questions well.
- Understanding the meaning of the written texts.

- He/She understands the definitions and the instructions of the unit.

Technology
- He/She listens attentively and respectfully to the surrounding sounds.
Digital competency
- Preparing their own information based on information obtained via
technological means.
- He/She uses audio players, the digital board and the Internet to make it
easier to extend the contents in the unit.
Learning to learn
- Developing strategies that help rigorous comprehension of the contents.
- He/She develops the capability of observation and knowing when he/she
is looking for similarities between the construction of an architectural
work and a musical piece.

thinking.
information that leads him/her to make his/her own decisions.

teamwork.
- Knowing and applying rights and obligations of citizens in the context of the
school.

participation.

- Prioritising the achievement of group objectives and personal interests.
Cultural awareness
- Appreciating the beauty of artistic expressions and in everyday life.
- He/She appreciates the artistic contribution of singer-songwriters to
cultural enrichment.

- He/she sings and plays on instruments in an expressive way.

Music 6Th Grade Course Plans Unit 1: 1. Identifying Different Sound Properties

Uploaded by

Copyright:

Available Formats

Music 6Th Grade Course Plans Unit 1: 1. Identifying Different Sound Properties

Uploaded by

Document Information

Original Description:

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Music 6Th Grade Course Plans Unit 1: 1. Identifying Different Sound Properties

Uploaded by

Copyright:

Available Formats

MUSIC 6TH GRADE

COURSE PLANS UNIT 1

Musical intelligence should be considered as having an important influence on

CONTENTS/EVALUATION CRITERIA/LEARNING STANDARDS

MOVEMENT AND DANCE

COMPETENCIES – Descriptions and Skills

- Reading Plan: Enjoying reading.

Mathematical competency and basic competencies in Science and

- Developing strategies that help the rigorous comprehension of the contents.

Social and civic competency

- Showing willingness to participate actively in the established fields of

Initiative and entrepreneurship

- Expressing feelings and emotions based on artistic codes.

CONTENTS/EVALUATION CRITERIA/LEARNING STANDARDS

Music, culture and society

MOVEMENT AND DANCE

COMPETENCIES – Descriptions and Skills

- Respecting norms of communication in any context: respecting everyone’s

- Managing mathematical language with precision in any context.

Social and civic competency

Initiative and entrepreneurship

- He/She appreciates cultural diversity as a source of personal and cultural

CONTENTS/EVALUATION CRITERIA/LEARNING STANDARDS

MOVEMENT AND DANCE

COMPETENCIES – Descriptions and Skills

- Respecting norms of communication in any context: respecting everyone’s

Mathematical competency and basic competencies in Science and

- Developing strategies that favour rigorous comprehension of the contents.

Social and civic competency

- Showing willingness to participate actively in the established fields of

Initiative and entrepreneurship

- Expressing feelings and emotions based on artistic codes.

Encourage pupils to participate in musical experience by singing. Engage them

CONTENTS/EVALUATION CRITERIA/LEARNING STANDARDS

Music, culture and society

MOVEMENT AND DANCE

COMPETENCIES – Descriptions and Skills

- Reading Plan: Enjoying reading.

Mathematical competency and basic competencies in Science and

- Applying strategies to improve creative, critical, emotional and interdependent

Social and civic competency

- Showing willingness to participate actively in the established fields of

Initiative and entrepreneurship

Encourage pupils to participate in musical experience by singing. Get them to

CONTENTS/EVALUATION CRITERIA/LEARNING STANDARDS

Music, culture and society

MOVEMENT AND DANCE

COMPETENCIES – Descriptions and Skills

- Understanding the meaning of the written texts.

Mathematical competency and basic competencies in Science and

- Applying strategies to improve creative, critical, emotional and interdependent

Social and civic competency

- Showing willingness to participate actively in the established fields of

Initiative and entrepreneurship

Promote participation in active listening, highlighting the individual contribution

CONTENTS/EVALUATION CRITERIA/LEARNING STANDARDS

Music, culture and society

MOVEMENT AND DANCE