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Lesson Plan Objective: Students will analyze and understand Bob Marley’s 1979 song “Could You Be Loved?” in the context of its distinctive rhythm. Standards used: Content Standard 1.1.5.B.1

Reading basic music notation, temporal spatial reasoning ability is connecting to listening skill

Content Standard 1.1.5.B.2

Elements of music are building blocks denoting meter, rhythmic concepts

Content Standard 1.1.8.B.1

Analyze application of elements of music in diverse Western musical works

Content Standard 1.1.8.B.2

Compare manipulation of music elements in diverse styles and genres of composition.

Aim: What rhythmic elements make “Could You Be Loved?” of the Reggae genre? Do now: Set context in listening of songs within the preceding genres of Reggae in order to understand its rhythmic foundations 1. Students will listen to one example of Traditional African Music performed by the African Students Association of Kansas State University 2. Students will listen to one example of Calypso via Harry Belafonte’s “Banana Boat Song.” (1956) 3. Students will listen to one example of Ska via No Doubt’s “Spiderwebs” (2003) or “Underneath it All” (2001). 4. Students will listen to one example of Rocksteady via Alton Ellis’s “You Make Me So Very Happy” (1965) 5. Students will listen to the primary song of focus “Could You Be Loved” (1979, Bob Marley) Procedure and After the listening activity, the instructors will break down the rhythmic elements of Motivation: reggae in the context of “Could You Be Loved” (1979) using various instruments (i.e. guitar, bass, claves, etc…) 1. The students will understand the quarter time pattern (1-2-3-4). 2. The students will learn to emphasize the back beats of 2 and 4 and understand that this element is key to the Reggae rhythm. 3. The students as a whole will repeat rhythmic patterns conducive to each instrument as per demonstration and modeling by instructors. Enlarged notation to be posted to incorporate visual and spatial abilities in reading basic rhythms. 4. The students will be split into groups assigned with a specific instrument’s rhythmic pattern and will reproduce it using items they already possess (i.e. pens, pencils, binders, etc…) Depending on time:

3. The students will perform in “ensemble” simultaneously while maintaining the rhythmic patterns assigned to their particular groups. 4. The student will perform in “ensemble” simultaneously with the recording of “Could You Be Loved” to experience in the context of the other instrumentation.

Supportive Activities

5. Each of the three instructors may model the various


and Materials:

rhythmic patterns with the groups to help guide in the context of the other rhythmic patterns.

Materials: Bass, guitar, claves, shaker, Sample sheet music denoting reggae rhythms Traditional African Music performance from Kansas State University http://www.youtube.com/watch?v=Bk3y4JHKgTM Harry Belafonte’s “Banana Boat Song.” (1956) http://www.youtube.com/watch?v=RGj3heDWKg&feature=related No Doubt’s “Spiderwebs” (2003) http://www.youtube.com/watch?v=6ZktNItwexo&feature=related or “Underneath it All” (2001). http://www.youtube.com/watch?v=RvuVFHTvdaY&feature=relmfu Alton Ellis’s “You Make Me So Very Happy” (1965) http://www.youtube.com/watch?v=keqkNTqSMGk “Could You Be Loved” (1979, Bob Marley) http://www.youtube.com/watch?v=V-_NMAllsJc Assessment: Formative assessment based on the participation of the students during class, how successful are they at implementing the rhythmic elements modeled by the instructors. Summative assessment question: What distinctive element of reggae rhythm is characteristic of that particular genre? Can other ethnic influences be inferred from the rhythm pattern and nuance? What can be inferred, or, what mental pictures can be formed about the Jamaican culture from the mood the rhythm possesses? Homework: Research other music in video or audio media within the Reggae genre and compare the elements that are similar to Bob Marley’s “Could You Be Loved?” (1979). Which elements seem to be fundamental to creating this kind of music? What other cultural influences seem to be present in this genre in the context of instrumentation or rhythm?


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