Devin Law

Unit Plan Statement of Research and Professional Practice

The purpose of this unit plan is to provide students with foundational knowledge in vocal
production and aid them in constructing an image of themselves as a performer, analyst, and
producer of music. This unit accomplishes this through activities centred around the preparation
of ensemble parts for the Broadway musical Anastasia. These activities include group rehearsals
(instructor and student lead), small warm up groups (student lead), two listening assignments
with reflection components, and a performers log. As a music instructor, I believe that a key
element of why music is studied and practiced is its capacity to be shared. In Bringing
Curriculum to Life, James Humberstone argues that “… one key to engaging our students is
helping them identify as producers… But to do this, we teachers have to begin by legitimizing
those creative practices,” (A Pluralist Approach to Music Education, James Humberstone). This
unit helps to ‘legitimize’ the creative practices of students by centring them on an end goal (the
performance) and encouraging them to deepen their creative contributions to the production
through ongoing analysis, development, and application of choral skills. Students will then take
what they learn in the music classroom and apply their creative ideas in a cross-curricular
manner as they engage in characterization and movement under the direction of the drama
department.
To further annunciate the importance of analysis and self reflection in this unit, I would
echo the words of Evan Tobias, et al. when they said “Think about how you want your students
to use their minds. Consider how you would create learning problems that tap into students’
abilities to think critically—to be analytical, explanatory, and interpretive,” (“Bringing
Curriculum to Life”, Evan S. Tobias, Mark Robin Campbell, and Phillip Greco). One of the key
elements of this unit is a personal log that the students will keep throughout their learning
experience. This log will provide them with long range evidence of their learning, which will
serve as evidence of improvement (formative and summative), and data for informed personal
goal setting. The log revolves around questions directly linked to the curricular outcomes from
the Alberta Program of Studies, which include, but are not limited to: Develop positive, realistic
self-images through an understanding and acceptance of themselves with their strengths and
their limitations, Understand the use and care of the vocal instrument, and Develop the ability to
make aesthetic judgments based on critical listening and analysis of music (Alberta Program of
Studies, Choral music, 10-12). The goal of this unit is to give the students a reason to improve,
and then to show them as clearly as possible where they are at the beginning of the unit, what
they have done to improve over the course of the term, and how to continue to improve after the
unit culminates in performance. This aims to engage students in deeper thinking about the ‘why’
behind the tasks and processes of the vocal journey, and hopefully will serve to inspire them to
continue their musical journeys in a healthy, purposeful, and effective manner afterwards.
Differentiation within this unit could be improved, in that a vast majority of the unit
focuses on a very specific musical style that is to be learned a very specific way: Modern western
show music, learned from notated scores along with pre recorded accompaniment tracks. This is
not to say that these pedagogical techniques are not effective, and even exciting and engaging,
however, they do marginalize students who are not familiar with them. In an attempt to be more
inclusive, the instructor is encouraged to also incorporate auditory examples of the music, so
that students who are not familiar with notated music may be supported in their learning. This is
only a first step however. Further differentiation might need to also include tools such as
modified parts.
The unit also offers a reduced amount of individual creativity on the part of the student,
as it demands a high level of ‘adherence’ to the structure, style, and set up of the chosen score.
Many students will thrive in this setting, but others may be restricted by it. As Lori Dolloff
enunciated “Giving students an opportunity to make their experience explicit allows students to
reflect on what they believe about teaching” (“Imagining Ourselves as Teachers: the
development of teacher identity in music teacher education”, Lori Anne Dolloff). This begs the
questions, what am I implicitly teaching my students about music making, and how will this
shape them in their future explicit teaching of musical knowledge?’ I believe the goal of a music
teacher is to pass on the skills required to allow the students to one day make the teacher
obsolete. In order to do this, a teacher has to foster a creativity within the students that helps
them look beyond what already is. This unit succeeds only to a degree in this goal. If there could
be a greater element of creativity in the musical elements of the work, it would better aid student
in ‘thinking outside the box’, and becoming better musicians and future music teachers.
EDUC3601 Unit Outline Template

Level Music 10, 20, 30

Subject/Topic: Musical theatre

Description/ Students will work for the semester to put on the musical theatre production
Summary/ Anastasia. They will collaborate with the drama and visual arts departments.
Overview: This outline represents course objectives and trajectories that students will
cover from the music 10, 20, 30 curriculum as they prepare the vocal parts for
the production.

Length & Total rehearsal time will be 12 weeks = 36 rehearsal periods (85 min). The
# of Lessons music portion of this will be given 12 focus periods throughout the beginning
of the semester, then revisited for 2 periods at the end. Other music coaching
will be integrated into other rehearsal times as needed in the nal 4 weeks
before performance.
LEARNING OUTCOMES

General - Develop the ability to make aesthetic judgments based on critical

Learning
listening and analysis of music.
Expectations
- Appreciate fine arts as a form of personal enrichment, self-expression
and/or entertainment.
- Develop positive, realistic self-images through an understanding and
acceptance of themselves with their strengths and their limitations
Specific - Develop proper breath control
Learner
Expectations
- Demonstrate properly formed vowels and consonants

- Produce a good vocal tone

- Successfully perform his or her part in a three- or four-part selection

- Match pitches

- Understand the use and care of the vocal instrument

- Demonstrate proper attacks and releases

- Develop an awareness of balance, blend and texture within the

ensemble
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 Implicit/ Non- - Demonstrate the ability to work collaboratively across artistic
Curricular disciplines.
Outcomes
- Vocal stabilization with body movement
SEQUENCE OF LESSONS (3-4 lines per)
LESSON 1: Lesson Focus: This lesson will serve as an introduction to the unit, and
Week 1 Anastasia. It will include an overview of the unit, assessments, and
rehearsal expectations.
Tuesday
It will also include a brief (15 min) discussion on the time period, music
style, and overview of the show. Many students may be familiar with the
storyline, and so as a class were will construct a summary of the story
for those who may be unfamiliar with it.

The lesson will also include some ice breaker group activities to help the
group get to know each other, as they will be doing lots of work together
over the following weeks. (Dance and draw)

The teacher will also lead the group in a breathing activity, to introduce
the class to proper breathing techniques. For the last 30 min of the class
we will begin with looking at ‘Rumours in St. Petersburg’ measures
41-81.

End with exit slip.

LESSON 2: Lesson Focus: The focus of this lessons will be Rumours in St.
Week 1 Petersburg (178-end), Once upon a December (45-68), and The
Rumours never end/press Conference (All ensemble parts).
Thursday
The lesson will begin with a warm up lead by the instructor on a review
of breathing techniques. The instructor will also review the ‘Performer
reflection log’ assignment, and discuss some ideas that could be
included in their reflection for the end of this week.

The instructor will then take the students through the selected songs,
with a 10 min break about half way through the class, and a 5 min wrap
up and clean up activity at the end.

The class schedule will be as follows:

Warm up- 10 min
Rumours in St. Petersburg- 20 min
Break- 10 min
Once upon a December- 20 min
Rumours never end/Press Conference- 15 min
Clean up/wrap up, exit slip- 10 min
LESSON 3: Lesson Focus: The focus of this lessons will be Once upon a
Week 2 December (45-68), The Rumours never end/press Conference (all
ensemble measures), and The last dance of the Romanov’s (39-66).
Tuesday
The lesson will begin with a warm up lead by the instructor introducing
vocalizing techniques (vowel placements). The instructor will also
discuss some ideas that could be included in their reflection for the end
of the week.

The instructor will then take the students through the selected songs,
with a 10 min break about half way through the class, and a 5 min wrap
up and clean up activity at the end.
LESSON 4: Lesson Focus: The focus of this lessons will be Rumours in St.
Week 2 Petersburg (all ensemble parts), The last dance of the Romanov’s
(88-127), and The Land of Yesterday (All ensemble parts).
Thursday
The lesson will begin with a warm up lead by the Instructor reviewing
vocalizing techniques.

The instructor will then take the students through the selected songs,
with a 10 min break about half way through the class, and a 10 min
wrap up and clean up activity at the end with an exit slip.
LESSON 5: Lesson Focus: The focus of this lessons will be Once upon a
Week 3 December (83-end), The last dance of the Romanov’s (176-215), and
Stay I Pray You (all ensemble parts).
Tuesday
The lesson will begin with a warm up lead by a Student group
reviewing breathing techniques.

The instructor will then take the students through the selected songs,
with a 10 min break about half way through the class, and a 5 min wrap
up and clean up activity at the end.
LESSON 6: Lesson Focus: The instructor will introduce the first listening
Week 3 assignment, and spend the first 30 min of class listening to the chosen
excerpt, and making a mind map with the students on key
Thursday characteristics as they relate to the guiding questions of the unit.
Student will then be required to create a summary of their observations
and include it as the first listening assignment in their log books.

The rest of the lesson will focus on Paris Holds the Key, and The
Rumour Never End/Press Conference.

The instructor will then take the students through the selected songs,
with a 10 min break about half way through the class, and a 5 min wrap
up and clean up activity at the end.
LESSON 7: Lesson Focus: The focus of this lessons will be Rumour in St.
Week 4 Petersburg, Paris Hold the Key, and Stay I Pray You.

Tuesday The lesson will begin with a warm up lead by a Student group
reviewing vocalizing techniques.

The instructor will then take the students through the selected songs,
with a 10 min break about half way through the class, and a 5 min wrap
up and clean up activity at the end.
LESSON 8: Lesson Focus: The focus of this lessons will be Once Upon a
Week 4 December, The Last Dance of the Romanov’s, and Neva Flows-
reprise.
Thursday
The lesson will begin with a warm up lead by a Student group
reviewing vocalizing techniques.

The instructor will then take the students through the selected songs,
with a 10 min break about half way through the class, and a 10 min
wrap up and clean up activity at the end with an exit slip.
LESSON 9: Lesson Focus: The focus of this lessons will be Paris Holds the Key,
Week 5 The Last Dance of the Romanov’s, and The Land of Yesterday.

Tuesday The lesson will begin with a warm up lead by a Student group
reviewing Breathing techniques.

The instructor will then take the students through the selected songs,
with a 10 min break about half way through the class, and a 10 min
wrap up and clean up activity at the end.
LESSON 10: Lesson Focus: The instructor will introduce the second listening
Week 5 assignment, and spend the first 30 min of class listening to the chosen
excerpt, and making a mind map with the students on key
Thursday characteristics as they relate to the guiding questions of the unit.
Student will then be required to create a summary of their observations
and include it as the first listening assignment in their log books.

The rest of the lesson will focus on Paris Holds the Key, and The Land
of Yesterday.

The instructor will then take the students through the selected songs,
with a 10 min break about half way through the class, and a 5 min wrap
up and clean up activity at the end.
LESSON 11: Lesson Focus: The focus of this lessons will be Stay I Pray You, The
Week 6 Land of Yesterday, and The Neva Flows- reprise.

Tuesday The lesson will begin with a warm up lead by a Student group
reviewing Breathing techniques.

The instructor will then take the students through the selected songs,
with a 10 min break about half way through the class, and a 10 min
wrap up and clean up activity at the end.
LESSON 12: Lesson Focus: Full run of all Chorus Songs.
Week 6
The lesson will begin with a warm up lead by a Student group
Thursday reviewing Breathing techniques.

The instructor will then take the students through all chorus rep in the
score, with a 10 min break about half way through the class, and a 5
min wrap up and clean up activity at the end.
REQUIRED RESOURCES

Rehearsal space. Rehearsal pianist or practice tracks (computer and speaker). Rehearsal
scores.
 FORMS OF ASSESSMENT

LESSON 1: Observation- introduction

LESSON 2: Exit slip- Question: What are 3 things you hope to learn in this class?
LESSON 3: Observation
LESSON 4: Exit slip- Question: How does correct breathing affect your vocal
production?
LESSON 5: Observation- group warm ups and full chorus performance
LESSON 6: Listening assignment 1
LESSON 7: Observation- group warm ups and full chorus performance

LESSON 8: Exit slip- Question: How does correct vowel formation influence your
vocal sound?
LESSON 9: Observation- group warm ups and full chorus performance

LESSON 10: Listening assignment 2

LESSON 11: Observation- group warm ups and full chorus performance

LESSON 12: Observation- group warm ups and full chorus performance

CULMINATING ASSESSMENT TOOL

 1) Performance:
The nal performance(s) of the musical materials studied (musical theatre production) will
serve as a summative assessment piece for the students. The students will be graded not on
a single performance, but on a combined observation of their performances in the dress
rehearsals, and all other performances combined. They will be graded on the application of
vocal, breathing, blending, and interpretation skills. This represents an assessment of
learning, as it showcases the skills the students can apply to a live context. This will be
worth 20% of the students grade

2) Performer re ection log:

Throughout the unit performers will keep a weekly log book with notes about their
observations of their performance journey. This log is the most essential artifact for
summative assessment because it represents the students re ection and application of the
concepts of the unit. They will consider 3 questions based on the guiding questions of the
unit:
1) Does my vocal sound represent a good vocal sound for our musical style? Consider
vocal an breathing techniques in your answer.
2) What elements in the music, or another performance of the music in uence my
interpretation?
3) What do I feel are my current strengths and limitations? Have these changed since my
last entry?
The purpose of this activity is to help students maintain a brief log of their improvement
over the course of the semester. At the end of the semester They will present their log book
notes, along with a short re ection (approx. 250 words) on how they improved as
musicians over the course of the semester, basing their responses off the data they compiled
in their log books.
This will serve as summative evidence based off continual formative assessment. It will be
weighted at 30%, so if students do not complete it, but demonstrate commitment and
improvement in the performance aspect of the class, they could still gain an 70% in the
course. It serves as assessment of learning by creating an quanti able artifact, and also
assessment for learning as it helps students constantly re ect on their growth.
CONSIDERATIONS FOR DIFFERENTIATION

Pre-requisite knowledge for students would include a familiarity with western diatonic
scale structures to aid in their learning of the music. The music being studied in this unit is
modern American musical theatre, and relies heavily on a western musical structure.
Some students may not have the ability to confidently read sheet music. This skill
should be taught as part of the process of learning the score, but the teacher should also
use may auditory aids when teaching the materials.
The musical parts in this production include both ensemble, and solo parts. The
teacher should take into consideration the students vocal skills, as well as their comfort
levels when assigning parts.
The subject matter of the show deals with revolution, and displacement of persons.
The teacher should be mindful about how this is presented to the students participating, as
these topics can be triggering.
The teacher should not discount a vocalist for solo roles based solely on their ability
to read sheet music, and script parts. The instructor should find other avenues to help
student have the opportunity to succeed in these roles instead of simply choosing someone
else to fill them.
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 CONTEXT

Grade(s): 10-12 Length: Subject & Lesson Topic: Choral music (Musical Theatre)
85 min
Context of Lesson This lesson is part of a larger unit focusing on the preparation of chorus parts for the
within Big Picture: staged production of Anastasia.

GOALS

Micro Curricular - Develop proper breath control

Expectations: - Develop an awareness of balance, blend and texture within the ensemble
- Produce a good vocal tone
- Successfully perform his or her part in a three- or four-part selection
Macro Curricular - Develop positive, realistic self-images through an understanding and acceptance of
Expectations:
themselves with their strengths and their limitations
- Appreciate fine arts as a form of personal enrichment, self-expression and/or
entertainment.
Implicit Learning: Context of songs within a storyline influences expressive techniques.
Working as a group.
Supporting a leading role.
LESSON SUMMARY & OUTLINE

This lesson will serve as an introduction to the unit, and Anastasia. It will include an overview of the unit,
assessments, and rehearsal expectations.

It will also include a brief (15 min) discussion on the time period, music style, and overview of the show. Many
students may be familiar with the storyline, and so as a class were will construct a summary of the story for
those who may be unfamiliar with it.

The lesson will also include some ice breaker group activities to help the group get to know each other, as they
will be doing lots of work together over the following weeks. (Dance and draw)

The teacher will also lead the group in a breathing activity, to introduce the class to proper breathing
techniques. For the last 30 min of the class we will begin with looking at ‘Rumours in St. Petersburg’ measures
41-81.

End with exit slip.

MATERIALS & RESOURCES

- Scores for Anastasia

- Piano
- Rehearsal Space
- Blank coloured paper
- Markers
TIMING & SEQUENCING NOTES ON
DIFFERENTIATION,
INCLUSION, MODS
FUNCTION TIME DESCRIPTION

Introduction / Hook 5 min Show Pictures from the animated film of Anastasia. NA
Have students who know the story line share it with
the rest of the class. Fill in little details that they
miss, or that differ in the broadway version of the
work.
 Breathing Warm up 20 min Lead the students through a comprehensive This activity involves
breathing overview. Begin with a relaxation exercise. making students step out
If there is time, have them relax and disengage their of their comfort zone in
bodies while sitting gin a chair to prep the breathing regards to body image,
system. If there is less time, have them do box because the stomach
breaths (in 4, hold 4, out 4, hold 4, repeat). Then go must be released
over the function of the belly, and rib cage in breath engage the breathing
control, and practice expanding both areas with an system correctly. DO
inhalation. NOT call any students
out for not doing it
correctly at first, they
may be struggling with
body image worries.
Dance and draw 15 min To help students get to know each other, partner If any students cannot
them up, and do a ‘dance and draw’ activity: one move well enough to
partner dances to music that the instructor plays, stand up and dance,
and then freezes when the music stops. The second encourage them to still
partner then draws a quick silhouette outline of the participate in the activity
frozen dancer, and then they switch. Do this activity in what ways they are
twice, so students get a chance to work with multiple comfortable.
partners.
Break 10 min Break NA

Rumours in St. 30 min Work measures 41-81 Some students will not
Petersberg - Talk about setting and attitude. Ask how we be able to read notated
could re ect the attitude of the people in our sheet music, or may also
vocal sound and articulation (particularly our cut have difficulty reading
o s- this will also keep it tight) the lyrics. Play
recordings of each
- Talk about the need to spit consonants out really section of the song
crisp + accent the pulse as a group to drive the before singing through it.
song forward Work slowly,
purposefully stopping to
- Watch the rhythm in 51, make it really tight. fill in contextual details to
help students remember
- The harmonies in 62 could cause some panic. what the song is about.
Walk the group through them slowly. There This will also help with
should not be any range issues in this song, but if characterization, so win
there are, you might have to adjust some parts. win!

- Harmonies in 69 may be a bit tricky, especially

the dim 5 leap in the tenor line up to the Gb
Wrap-up / Exit Slip 5 min Exit slip question- What past experience have you NA
had with ensemble singing? Or is this your first
time?
MEANS & SOURCES OF ASSESSMENT FUNCTION

Exit slip question- What past experience have you had with ensemble singing? Or Formative
is this your first time?
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 CONTEXT

Grade(s): 10-12 Length: Subject & Lesson Topic: Choral music (Musical Theatre)
85 min
Context of Lesson This lesson is part of a larger unit focusing on the preparation of chorus parts for the
within Big Picture: staged production of Anastasia.

GOALS

Micro Curricular - Develop proper breath control

Expectations: - Develop an awareness of balance, blend and texture within the ensemble
- Produce a good vocal tone
- Successfully perform his or her part in a three- or four-part selection
Macro Curricular - Develop positive, realistic self-images through an understanding and acceptance of
Expectations:
themselves with their strengths and their limitations
- Appreciate fine arts as a form of personal enrichment, self-expression and/or
entertainment.
Implicit Learning: Context of songs within a storyline influences expressive techniques.
Working as a group.
Supporting a leading role.
LESSON SUMMARY & OUTLINE

Lesson Focus: The focus of this lessons will be Rumours in St. Petersburg (178-end), Once upon a
December (45-68), and The Rumours never end/press Conference (All ensemble parts).

The lesson will begin with a warm up lead by the instructor on a review of breathing techniques. The
instructor will also review the ‘Performer reflection log’ assignment, and discuss some ideas that could be
included in their reflection for the end of this week.

The instructor will then take the students through the selected songs, with a 10 min break about half way
through the class, and a 5 min wrap up and clean up activity at the end.

The class schedule will be as follows:

Rumours in St. Petersburg- 20 min
Break- 10 min
Once upon a December- 20 min
Rumours never end/Press Conference- 15 min
Clean up/wrap up, exit slip- 10 min
MATERIALS & RESOURCES

- Scores for Anastasia

- Piano
- Rehearsal Space
TIMING & SEQUENCING NOTES ON
DIFFERENTIATION,
INCLUSION, MODS
FUNCTION TIME DESCRIPTION

Introduction / Hook 5 min Show a clip from the broadway performance of NA

‘Rumours in St. Petersburg’ that shows the dancing
that they do while singing.
Breathing Warm up 10 min Review the function of the belly, and rib cage in This activity involves
breath control, and practice expanding both areas making students step out
with an inhalation. Afterwards, do a breath release of their comfort zone in
activity where students try to hold a consistent ‘ssss’ regards to body image,
sound for 20 seconds. Talk about how the weight of because the stomach
the body controls exhalation, rather that intensive must be released
muscle contractions. engage the breathing
system correctly. DO
NOT call any students
out for not doing it
correctly at first, they
may be struggling with
body image worries.
Rumours in St. 20 min 178-end Some students will not
Petersburg - 178-181- Focus on the accented beets scribed be able to read notated
into the music to help the two groups coordinate sheet music, or may also
and mesh properly. Make sure to divide the have difficulty reading
groups evenly so both have as large an array of the lyrics. Play
vocal parts as possible. recordings of each
section of the song
- Emphasize the contrast in dynamics between before singing through it.
182-185, and the last time they sung this part in Work slowly,
bars 62-65. Make these notes very short. purposefully stopping to
fill in contextual details to
- 197-200- Bring out the legato in this phrase as help students remember
much as possible to create contrast. what the song is about.
This will also help with
- Watch the tenor note in bars 198-199 as it di ers characterization, so win
from a similar passage in 69 by only a semi tone. win!

- 203- High soprano note. Only put a couple (3

max) 1st sopranos up on the nal G, and have
the others sit on the C. Put all altos on the low G.
Break 10 min Break NA

Once Upon a 20 min 44-69 Same as above

December - Talk about rhythm and pulse before attempting
pitches. Have the whole group sing the soprano
(melody) line together before breaking into parts.

- Speak the words with the proper vowels before

attempting to sing them, so that vowels will line
up.

- After running pitches, take whatever time is left to

work on blend by singing the chords note by note
and balancing them before moving on.

- Introduce the idea of staggered breathing.

- If none of the sopranos can tackle the descant,
you could consider cutting it. Also consider
auditioning some of your stronger singers to nd
the best t. Be careful who you choose, and talk
with the drama department, because the singer
on the descant will not be able to do much
dancing or movement in the scene if they are to
stay in tune.
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 The Rumour Never 15 min Rumours/press: All Same as above
End / Press - Notes are easy for this piece, but keeping it
conference sharp, and enunciating so the audience can
understand can be tricky due to how fast the
song is. Talk about the importance of
emphasizing pulse, and spitting out consonants.

- Make sure the ends of phrases are all articulated

the same by all the singers.

- Talk about sound placement in the mouth, and

compare it to ‘December’. These songs require
very di erent vocal production techniques to be
e ective.
Wrap-up / Exit Slip 5 min Exit slip question- What are 2 parts of my breathing NA
mechanism that collect tension? How can I relax
these?
MEANS & SOURCES OF ASSESSMENT FUNCTION

Exit slip question- What are 2 parts of my breathing mechanism that collect Formative
tension? How can I relax these?
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 CONTEXT

Grade(s): 10-12 Length: Subject & Lesson Topic: Choral music (Musical Theatre)
85 min
Context of Lesson This lesson is part of a larger unit focusing on the preparation of chorus parts for the
within Big Picture: staged production of Anastasia.

GOALS

Micro Curricular - Understand the use and care of the vocal instrument
Expectations: - Demonstrate proper attacks and releases
- Develop an awareness of balance, blend and texture within the ensemble
- Produce a good vocal tone
- Successfully perform his or her part in a three- or four-part selection
Macro Curricular - Develop positive, realistic self-images through an understanding and acceptance of
Expectations:
themselves with their strengths and their limitations
- Appreciate fine arts as a form of personal enrichment, self-expression and/or
entertainment.
Implicit Learning: Context of songs within a storyline influences expressive techniques.
Working as a group.
Supporting a leading role.
LESSON SUMMARY & OUTLINE

Lesson Focus: The focus of this lessons will be Once upon a December (45-68), The Rumours never end/
press Conference (all ensemble measures), and The last dance of the Romanov’s (39-66).

The lesson will begin with a warm up lead by the instructor introducing vocalizing techniques (vowel
placements). The instructor will also discuss some ideas that could be included in their reflection for the end of
the week.

The instructor will then take the students through the selected songs, with a 10 min break about half way
through the class, and a 5 min wrap up and clean up activity at the end.
MATERIALS & RESOURCES

- Scores for Anastasia

- Piano
- Rehearsal Space
TIMING & SEQUENCING NOTES ON
DIFFERENTIATION,
INCLUSION, MODS
FUNCTION TIME DESCRIPTION

Introduction / Hook 5 min Show a clip from the broadway performance of NA

‘Once Upon a December’ that shows the dancing
that they do while singing.
Vocalizing Warm 10 min Discuss how the speaking voice and the singing
up voice are similar and how they are different. Talk
about how a males voice has a lower, Passagio,
calling range, and falsetto. Talk about how a females
voice has a chest and head range.

Have the group speak the text from measures 41-61

of ‘Rumours in St. Petersburg’. Then have the group
90% speak, and 10% sing it. This will probably place
the sound in the right vocalizing space for this piece,
and go a long ways for balancing and unifying cut
offs.
Once Upon a 20 min Measures 44-69 + 85-100 Some students will not
December be able to read notated
- See notes from previous rehearsal for 44-69 sheet music, or may also
have difficulty reading
- Review pitches for 85-100 the lyrics. Play
recordings of each
- Re visit your conversation about vowel formation, section of the song
and balance the chords note by note. before singing through it.
Work slowly,
- Discuss ‘stagnant’ notes, and talk about how to purposefully stopping to
shape long held notes so they have energy and fill in contextual details to
forward motion. help students remember
what the song is about.
This will also help with
characterization, so win
win!
Break 10 min Break NA

The Rumours 20 min All Chorus Parts Same as above

Never End / The
Press Conference - See notes from previous rehearsal: ie. entrances
are hard for the students to catch because of the
pace of the song. Notes are ne, but review all
the entrances and have the students count out
loud before they come in to reinforce the timing
in their minds.
The Last Dance of 15 min Measures 39-66 + 88-127 (same, just up a whole Same as above
the Romanov’s tone)

- Rhythm is the hardest element in this piece. Sing

the melody to teach the rhythm, because its all
unison, and you can hit two birds with one stone.

- Emphasize the di erence between the rhythms in

48-49, and 54-56. If they can nail down these
two rhythms, and be able to recognize them
visually in their music, the rest of the song will go
much smoother.

- Talk about the importance of a split second of

silence in between notes to make syncopation
and articulation sharper. Talk about how this can
be accomplished by using consonants in singing
cleverly. The ‘D’ consonant in the lyrics provides
a very easy means of accomplishing this.
Wrap-up / Exit Slip 5 min Clean up. No exit slip. NA

MEANS & SOURCES OF ASSESSMENT FUNCTION

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Group Observation. Formative
 CONTEXT

Grade(s): 10-12 Length: Subject & Lesson Topic: Choral music (Musical Theatre)
85 min
Context of Lesson This lesson is part of a larger unit focusing on the preparation of chorus parts for the
within Big Picture: staged production of Anastasia.

GOALS

Micro Curricular - Understand the use and care of the vocal instrument
Expectations: - Demonstrate proper attacks and releases
- Develop an awareness of balance, blend and texture within the ensemble
- Produce a good vocal tone
- Successfully perform his or her part in a three- or four-part selection
Macro Curricular - Develop positive, realistic self-images through an understanding and acceptance of
Expectations:
themselves with their strengths and their limitations
- Appreciate fine arts as a form of personal enrichment, self-expression and/or
entertainment.
Implicit Learning: Context of songs within a storyline influences expressive techniques.
Working as a group.
Supporting a leading role.
LESSON SUMMARY & OUTLINE

Lesson Focus: The focus of this lessons will be Rumours in St. Petersburg (all ensemble parts), The last
dance of the Romanov’s (88-127), and The Land of Yesterday (All vocal parts)

The lesson will begin with a warm up lead by the Instructor reviewing vocalizing techniques.

The instructor will then take the students through the selected songs, with a 10 min break about half way
through the class, and a 10 min wrap up and clean up activity at the end with an exit slip.
MATERIALS & RESOURCES

- Scores for Anastasia

- Piano
- Rehearsal Space
TIMING & SEQUENCING NOTES ON
DIFFERENTIATION,
INCLUSION, MODS
FUNCTION TIME DESCRIPTION

Introduction / Hook 5 min Show a clip from the broadway performance of ‘The NA
Last Dance of the Romanov’s’ that shows the
dancing that they do while singing.
Vocalizing Warm 10 min Review how the speaking voice and the singing
up voice are similar and how they are different. Talk
about how a males voice has a lower, Passagio,
calling range, and falsetto. Talk about how a females
voice has a chest and head range.

Have the group speak the text from ‘The press

Conference’. Then have the group 90% speak, and
10% sing it. Ask students to describe what it feel like
for them to sing in this vocal space.
Rumour in St. 20 min - See notes from previous rehearsal (ie. review the Some students will not
Petersburg group split at 178, because some students are be able to read notated
still struggling to feel the pulse of their parts, or sheet music, or may also
get distracted by the notes the other group is have difficulty reading
singing). the lyrics. Play
recordings of each
- Do a full run through of all chorus sections of this section of the song
piece. before singing through it.
Work slowly,
- If there is time, learn measures 3-6. This will be purposefully stopping to
pre-recorded for the show - > When this is fill in contextual details to
recorded, get a student to record it, and show help students remember
them how to use the tech required. what the song is about.
This will also help with
characterization, so win
win!
Break 10 min Break NA

The Last Dance of 20 min Measures 176 - 215 Same as above

the Romanov’s - See notes from last rehearsal on things that need
to be reinforced again.

- Reinforce the concept of shaping long held notes

to create movement.

- Run notes for the rst half of this section.

- The rhythm at 202 will throw some students o .
Take this section by itself slowly (202- 209), then
take a run at it from 194. Reinforce this transition
for as long as you need to.
Land of Yesterday 15 min All Vocal Parts: Same as above
Measures 35-102:
- Focus on energizing the st and last consonants
of the lines to add ‘sass’ to he sound, and make
everything sound more together and crisp’.

- Make sure the TB’s are all singing up the octave

(unless they are completely uncomfortable with it)
to create the sound asked for by the composer.

Measures: 161-191
- Review the idea of long held notes having motion
to them, instead of remaining stagnant.

- Talk about vowel modi cation for the nal notes in

the tenor and high soprano lines in measures
184-191.

- Review the concept of staggered breathing so

that the chorus can Martina a full sound through
the long held notes at the end of the piece. If
needs be, make a staggered breathing plan to
assist the students.
Wrap-up / Exit Slip 5 min Question: What are 3 words I could use to describe NA
a ‘good’ vocal sound for Anastasia?
MEANS & SOURCES OF ASSESSMENT FUNCTION
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Exit Slip: What are 3 words I could use to describe a ‘good’ vocal sound for Formative
Anastasia?

I’m looking for words such as: Bright, Focused, ‘Speaky’, Sharp, Crisp, Clean, etc.
Lesson overviews (Lessons 5-12)
Grade 10, 11, 12 Choral music: Musical Theatre, Anastasia

Lesson 5
Anastasia Chorus rehearsal
Length: 75 min + 10 min Break = 85 min
Resources: Sheet music, rehearsal space, Piano / Speaker system for ‘Showtracks’

GLO:
- Develop positive, realistic self-images through an understanding and acceptance of themselves
with their strengths and their limitations

SLO:
- Develop an awareness of balance, blend and texture within the ensemble
- Produce a good vocal tone

Lesson Focus: The focus of this lessons will be Once upon a December (83-end), The last
dance of the Romanov’s (176-215), and Stay I Pray You (all ensemble parts).

The lesson will begin with a warm up lead by a Student group reviewing breathing techniques.

The instructor will then take the students through the selected songs, with a 10 min break about
half way through the class, and a 5 min wrap up and clean up activity at the end.

Lesson 6
Anastasia Chorus rehearsal
Length: 75 min + 10 min Break = 85 min
Resources: Sheet music, rehearsal space, Piano / Speaker system for ‘Showtracks’

GLO:
- Develop the ability to make aesthetic judgments based on critical listening and analysis of
music.

SLO:
- Develop proper breath control
- Successfully perform his or her part in a three- or four-part selection

Lesson Focus: The instructor will introduce the first listening assignment, and spend the first
30 min of class listening to the chosen excerpt, and making a mind map with the students on
key characteristics as they relate to the guiding questions of the unit. Student will then be
required to create a summary of their observations and include it as the first listening
assignment in their log books.

The rest of the lesson will focus on Paris Holds the Key, and The Rumour Never End/Press
Conference.

The instructor will then take the students through the selected songs, with a 10 min break about
half way through the class, and a 5 min wrap up and clean up activity at the end.

Lesson 7
Anastasia Chorus rehearsal
Length: 75 min + 10 min Break = 85 min
Resources: Sheet music, rehearsal space, Piano / Speaker system for ‘Showtracks’

GLO:
- Appreciate fine arts as a form of personal enrichment, self-expression and/or entertainment.

SLO:
- Understand the use and care of the vocal instrument
- Demonstrate proper attacks and releases

Lesson Focus: The focus of this lessons will be Rumour in St. Petersburg, Paris Hold the
Key, and Stay I Pray You.

The lesson will begin with a warm up lead by a Student group reviewing vocalizing techniques.

The instructor will then take the students through the selected songs, with a 10 min break about
half way through the class, and a 5 min wrap up and clean up activity at the end.

Lesson 8
Anastasia Chorus rehearsal
Length: 75 min + 10 min Break = 85 min
Resources: Sheet music, rehearsal space, Piano / Speaker system for ‘Showtracks’

GLO:
- Develop positive, realistic self-images through an understanding and acceptance of themselves
with their strengths and their limitations

SLO:
- Develop an awareness of balance, blend and texture within the ensemble
- Produce a good vocal tone

Lesson Focus: The focus of this lessons will be Once Upon a December, The Last Dance of
the Romanov’s, and Neva Flows- reprise.

The lesson will begin with a warm up lead by a Student group reviewing vocalizing techniques.

The instructor will then take the students through the selected songs, with a 10 min break about
half way through the class, and a 10 min wrap up and clean up activity at the end with an exit
slip.
Lesson 9
Anastasia Chorus rehearsal
Length: 75 min + 10 min Break = 85 min
Resources: Sheet music, rehearsal space, Piano / Speaker system for ‘Showtracks’

GLO:
- Develop the ability to make aesthetic judgments based on critical listening and analysis of
music.

SLO:
- Develop proper breath control
- Successfully perform his or her part in a three- or four-part selection

Lesson Focus: The focus of this lessons will be Paris Holds the Key, The Last Dance of the
Romanov’s, and The Land of Yesterday.

The lesson will begin with a warm up lead by a Student group reviewing Breathing techniques.

The instructor will then take the students through the selected songs, with a 10 min break about
half way through the class, and a 10 min wrap up and clean up activity at the end.

Lesson 10
Anastasia Chorus rehearsal
Length: 75 min + 10 min Break = 85 min
Resources: Sheet music, rehearsal space, Piano / Speaker system for ‘Showtracks’

GLO:
- Develop the ability to make aesthetic judgments based on critical listening and analysis of
music.

SLO:
- Develop proper breath control
- Successfully perform his or her part in a three- or four-part selection

Lesson Focus: The instructor will introduce the second listening assignment, and spend the
first 30 min of class listening to the chosen excerpt, and making a mind map with the students
on key characteristics as they relate to the guiding questions of the unit. Student will then be
required to create a summary of their observations and include it as the first listening
assignment in their log books.

The rest of the lesson will focus on Paris Holds the Key, and The Land of Yesterday.

The instructor will then take the students through the selected songs, with a 10 min break about
half way through the class, and a 5 min wrap up and clean up activity at the end.
Lesson 11
Anastasia Chorus rehearsal
Length: 75 min + 10 min Break = 85 min
Resources: Sheet music, rehearsal space, Piano / Speaker system for ‘Showtracks’

GLO:
- Appreciate fine arts as a form of personal enrichment, self-expression and/or entertainment.

SLO:
- Understand the use and care of the vocal instrument
- Demonstrate proper attacks and releases

Lesson Focus: The focus of this lessons will be Stay I Pray You, The Land of Yesterday, and
The Neva Flows- reprise.

The lesson will begin with a warm up lead by a Student group reviewing Breathing techniques.

The instructor will then take the students through the selected songs, with a 10 min break about
half way through the class, and a 10 min wrap up and clean up activity at the end.

Lesson 12
Anastasia Chorus rehearsal
Length: 75 min + 10 min Break = 85 min
Resources: Sheet music, rehearsal space, Piano / Speaker system for ‘Showtracks’

GLO:
- Develop positive, realistic self-images through an understanding and acceptance of themselves
with their strengths and their limitations

SLO:
- Develop an awareness of balance, blend and texture within the ensemble
- Produce a good vocal tone

Lesson Focus: Full run of all Chorus Songs.

The lesson will begin with a warm up lead by a Student group reviewing Breathing techniques.

The instructor will then take the students through all chorus rep in the score, with a 10 min break
about half way through the class, and a 5 min wrap up and clean up activity at the end.
 Performer Log Overview

Course: Music 10, 20, 30

Instructor: Devin Law, devin.law@email.com
Topic: Musical Theatre, Anastasia
Due date: March 30th
Weight: 30% of nal course grade

Creative progress can be observed, measured, and improved through long term tracking
of skill development. The purpose of this assignment is to help you as a student see your areas of
strength, as well as the things you can focus on to improve.

Part 1: Personal log

Due: Ongoing through semester.

At the end of each week you will write a brief re ection (250 words or less) on your
performance and goals as they relate to what we are working on in class. Use the following
schedule to guide your responses:

Lesson Weekly Topic Listening Question

1 - What are 2 parts of my breathing

What is breath control? - mechanism that collect tension? How can
- I relax these?

2 What is a ‘good’ vocal - What are 3 words I could use to describe a

tone? - ‘good’ vocal sound for Anastasia?
-

3 How does vowel - In what ways do I pronounce vowels

formation a ect my vocal - di erently when I speak than when I sing?
tone? -

4 - How have I begun to incorporate proper

- breathing into my singing? What is one
What is breath control? - area of proper breathing I still forget to do,
- or need to work on more?

5 What did the singer do vocally to convey

What makes a musical Newsies: Santa Fe, the emotional message of the piece? What
performance successful? Reprise is one technique I want to ‘steal’ from
them?

6 - What elements of my vocal tone re ect a

What is a ‘good’ vocal - ‘good’ vocal tone for Anastasia? Where
tone? - can I continue to improve?

7 How does vowel - Are there songs in Anastasia that require

formation a ect my vocal - di erent vowel formation techniques?
tone? - What might be an example?
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 Lesson Weekly Topic Listening Question

8 - Have I seen my breathing improve over the

What is breath control? - last 4 weeks? What do I still need to work
- on?

9 - Which song from Anastasia do I feel I

What is a ‘good’ vocal - produce my best vocal sound in? Why do I
tone? - think this song ‘ ts’ my voice so well?
-

10 What did the singer do vocally to convey

What makes a musical Les Mis: 10th the emotional message of the piece? What
performance successful? anniversary concert: is one technique I want to ‘steal’ from
On my Own them?

11 How does vowel - What vowel is the most comfortable for

formation a ect my vocal - me to sing? Why do I think this vowel wrks
tone? - so well for me? (Think about what you are
- doing to produce the sound)

12 - If I could only remember 2 things about

My big 2! - vocal control while on stage, what would
- they be?

Part 2: Final re ection: Due March 30th

In approximately 250 words, summarize 2 ways you vocally improved this unit, and 1
goal you will continue to work on. Reference your log book notes as evidence of your
improvement and support to your discussion.

Project Scoring Rubric (Parts 1 and 2)

Areas that need work Criteria: Standards for this task Evidence of Exceeding
(B+ - A-) Standards (A - A+)

The student developed

thoughtful responses to log
questions for every week

The student accurately uses

vocabulary taught in class in
their re ections regarding
Breath Control, Vowel
Formation, and/or Vocal Tone

The student accurately

identi es areas in which they
can improve and provides
accurate techniques to achieve
better Breath Control, Vowel
Formation, and/or Vocal Tone
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 Stage 2: Assessments
Warm up Rehearsal
Listening Listening Performer Show
Title Exit slips participation/
groups assignment 1
preparation
assignment 2 reflection log Performance
Learning
Outcomes Type Formative/ Formative/ Formative/
(Formative/ Formative Summative
Formative Summative Summative
Summative Summative
Summative)

Weighting 5% 40% 5% 30% 20%

- Vocal: develop proper breath

X X X X X X
control, 1.0

- Vocal: demonstrate properly

formed vowels and X X X X X X
consonants, 1.1

- Vocal: produce a good vocal

X X X X X X
tone, 1.2

- Vocal: successfully perform

his or her part in a three- or X X X
four-part selection, 1.3

- Vocal: Match pitches, 1.4 X X X X

- Vocal: Understand the use and

X X X X X X
care of the vocal instrument, 1.5
- Vocal: Demonstrate proper
X X X X
attacks and releases, 1.6
- Vocal: Develop an awareness
of balance, blend and texture X X X X X
within the ensemble 1.7
Aural- Develop the ability to
make aesthetic judgments based
X X X X X
on critical listening and analysis
of music, 2.0
Attitudes- Appreciate fine arts
as a form of personal
enrichment, self-expression and/ X X X X
or entertainment, 3.0

Attitudes- Develop positive,

realistic self-images through an
understanding and acceptance of X X X X
themselves with their strengths
and their limitations, 3.1
 Assessment FOR Assessment OF
Assessment Tool Brief Description Learning Learning

Throughout the unit performers will keep a weekly log book

with notes about their observations of their performance
journey. This log is the most essential artifact for summative
assessment because it represents the students reflection and
application of the concepts of the unit. They will consider 4
questions based on the guiding questions of the unit:
1) Does my vocal sound represent a good vocal sound for
our musical style? Consider vocal an breathing
techniques in your answer.
2) What elements in the music, or another performance of
the music influenced my interpretation this week?
3) How do I feel my performance is an expression of parts
of my own experiences?
4) What do I feel are my current strengths and limitations?
Have these changed since my last entry?
- Performer The purpose of this activity is to help students maintain a
X X
re ection log brief log of their improvement over the course of the
semester. At the end of the semester They will present their
log book notes, along with a short reflection (approx. 250
words) on how they improved as musicians over the course
of the semester, basing their responses off the data they
compiled in their log books.
This will serve as summative evidence based off continual
formative assessment. It will be weighted at 30%, so if
students do not complete it, but demonstrate commitment
and improvement in the performance aspect of the class,
they could still gain an 70% in the course. It serves as
assessment of learning by creating an quantifiable artifact,
and also assessment for learning as it helps students
constantly reflect on their growth. This activity covers
assessment outcomes 2.0, 3.0, 3.1, and aids in the
development of all other performance based outcomes.
The final performance(s) of the musical materials studied
(musical theatre production) will serve as a summative
assessment piece for the students. The students will be
graded not on a single performance, but on a combined
- Show observation of their performances in the dress rehearsals,
X
Performance and all other performances combined. They will be graded
on the application of vocal, breathing, blending, and
interpretation skills. This represents am assessment of
learning, as it showcases the skills the students can apply to
a live context. This covers outcomes 1.0, .1., 1.2, 1.3.
After the first 2 weeks of classes when proper vocal and
breathing techniques have been taught by the instructor,
students will be placed in small groups and tasked with
learning the group in warm up at the beginning of each
Warm up groups class. They will focus on reinforcing proper vocal technique X
as a reflection of their own understanding of the concepts
behind this. This will serve as a formative assessment piece
for learning. This activity strengthens outcomes 1.0, 1.1,
1.2, 1.3.
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 Throughout the semester the group will be observed in
rehearsal on their attitudes and technical skills according to
the specific learner outcomes. Their grades will not be a
reflection of an average of performance in these areas, but as
an improvement of all skills in these areas based on where
Rehearsal they end vs. where they begun. Due to this, the teacher will
have a running record (checklist) for ongoing formative
participation/ assessment each rehearsal. X
preparation This piece is important for differentiation, because students
will have the chance to demonstrate their abilities to put unit
outcomes into practice, rather than putting their
understanding of unit outcomes into words. All unit
outcomes are reflected in performance and attitudes in
rehearsals across the unit.
At the end of each rehearsal week, student will be given a
question to answer related to specific concepts covered in
class. These will help them know what to think about in
preparation for their warm up groups, and performers logs,
Exit slips and provide the teacher with a record of improvement in X
student understanding. These questions will then be
discussed and reviewed in subsequent classes as assessment
for learning. These cover outcomes 1.0, 1.1, 1.2, 3.0.
Students will be given musical excerpts to listen to based on
their specific parts, which they will be required to listen to
Listening and answer a number of questions. The questions will be
tailored to the unit skills they are currently working to
assignment 1 and develop. They will use these listenings to aid them in their X X
2 reflections in their performers logs. This will serve as both
assessment for and of learning. These serve as assessment
pieces for outcomes 1.0, 1.1, 1.2, 2.0, 3.0, 3.1.