Download Go for Baroque

MUSIC
8-12
ARTS TOOLKIT
GRADES
• lesson plans
Go for Baroque
Length: 5-7-session unit composed of 3 lessons
Concept/Objectives
Students will understand the meaning of the term Baroque as it applies to the historical events of the time
period from 1600 to 1750.
Students will understand how Baroque music is reflective of Baroque history and culture.
Students will analyze the music of Bach and Handel according to musical characteristics of the period.
Students will understand the organizational structure of the musical forms associated with the Baroque period
of music.
Activity
Lesson One: Students create an illustrated timeline of the significant events of the Baroque period.
Lesson Two: Students compare two kinds of cookies to demonstrate differences between Baroque music
and music of previous time periods and create a story of two teens using specified vocabulary.
Lesson Three: Students create a School Subject Fugue following the structural characteristics of the Baroque
fugue.
Music Toolkit Resources
From the Music Through Time DVD:
Bach to Bach from The Baroque Period
Handel and the Oratorio from The Baroque Period
Medieval Music: Gregorian Chant
Renaissance Music: Palestrina
Length: 24:48
Length: 14:59
Length: 8:31
Length: 9:33
Kentucky Academic Content
Big Idea:
Structure in the Arts
Big Idea:
Humanity in the Arts
Academic Expectations
1.14
Academic Expectations
2.24
Program of Studies
Understandings
AH-8/HS-SA-U-1
Program of Studies
Understandings
AH-8/HS-HA-U-1
AH-8/HS-HA-U-2
AH-8/HS-HA-U-3
Skills and Concepts
AH-8/HS-SA-S-Mu1
AH-8/HS-SA-S-Mu2
Related Core Content
AH-08/HS-1.1.1
Skills and Concepts
AH-8/HS-HA-S-Mu1
AH-8/HS-HA-S-Mu2
AH-8/HS-HA-S-Mu4
Related Core Content
AH-08/HS-2.1.1
Big Idea:
Interrelationships
Among the Arts
Academic Expectations
1.14
Program of Studies
Understandings
AH-8/HS-IAA-U-2
Skills and Concepts
AH-8/HS-IAA-S-1
AH-8/HS-IAA-S-3
Big Idea:
Processes in the Arts
Academic Expectations
1.14
Program of Studies
Understandings
AH-8/HS-PA-U-3
Skills and Concepts
AH-8/HS-Mu-1
Related Core Content
AH-08/HS-4.1.1
Related Core Content
AH-08/HS-5.1.1
AH-EP-4.1.5
Arts Toolkit Music • Lesson Plans •
321
Instructional Strategies and Activities
MATERIALS FOR
LESSON 1
Lesson 1: Now That’s Bizarre!
• Baroque Timeline handout
Length: 1-2 days
• large flashcards or 8x11
Notes to Teacher: View all the video segments in their entirety to
provide background information for the lesson (you may choose to show
complete videos to students or just specific segments as indicated in the
lessons).
• cardstock for pictorial timeline
• markers, colored pencils, or
other art media
• clippings or links of bizarre
news stories or pictures.
Information about the term Baroque:
There are two opinions on the etymology of the word.
1. The origin of the word is from the Italian word baroco, which means
bizarre, eccentric, or strange.
2. The origin of the word is from the Portuguese word barroco, which
means an irregularly shaped pearl, long used to mean abnormal,
exaggerated, in bad taste, or grotesque.
VOCABULARY
aria
Baroque
counterpoint
Either way, the word Baroque still refers to something bizarre. It was
used in 1755 when Charles de Brosses, French magistrate and writer,
complained that the outside of the Pamphili Palace in Rome had been
redone in a way that was “baroque,” meaning “bizarre.” (See picture of
exterior with explanation at the GGS Book Services web site
www.ggs-books.com/pdf_files/Humanities.pdf). The term stuck as
the label for the art and architecture of the time. In 1733, an anonymous
music critic referred to the music of the time as “baroque” because, in the
opinion of the critic, the music was noisy, unconventional,
outrageous, and extravagant (www.ggs-books.com/pdf_files /Human
ities.pdf). By the early 20th century, historians came to recognize that
the arts reflected the culture of the time period and deemed the years
from 1600 to 1750 as the Baroque period.
fugue
Introducing the Concept
(defined in lessons)
Begin class by sharing a bizarre news story or photograph (see resources
for source suggestions). Discuss what makes the story or picture bizarre.
(Weird, odd, strange, out of the ordinary, unusual)
Tell students that today you will begin the study of a period in music history known as the Baroque period. Pose the following riddle: What does
the Baroque period have in common with a chicken that was born with
duck feet? Answer: They are both “bizarre.” Show picture from one of the
links above and explain the meaning of the term Baroque and tell the
story of how it came to describe the ornate, elaborate, and “bizarre” art,
music, and architecture of the historical time period between 1600 and
1750.
Activity: Timeline of Historical Events
Teacher preparation before lesson:
Prepare large (8x11) sheets or card stock with the dates of historic events
of the Baroque period prior to this activity (See Baroque Timeline handout). Prepare cards for Bach and Handel that will be placed on the timeline later in the lesson.
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harpsichord
imitation
improvisation
monophonic
oratorio
polyphonic
recitative
SPECIALIZED
VOCABULARY
development
episode
exposition
grace note
mordent
ornament
recapitulation
subject
trill
turn
virtuoso
COMPARE POSTERS
Post the Music Through Time:
Baroque poster on the wall
after students have completed
their timelines and compare.
Create a visual timeline on the board with 1600 to the far left and 1750
to the far right. Place the date 1685 a little to the right of the middle
and explain that something very important to Baroque music occurred
during this year. Pose this question to students: Why was the Baroque
period considered to be so bizarre that the term stuck with historians?
Explore what students may already know about the period. Place valid
information generated from students in appropriate places on timeline.
Divide students into small groups or pairs. Each group of students
randomly selects one of the teacher-prepared event cards for the timeline. Each group brainstorms what they know about the event, gathers
research about the event, comes to a consensus as to why it might be
considered bizarre at the time, and then illustrates the card to depict the
event. Students place cards on the timeline as they share about their
event. After students have placed events on timeline, explain that the
reason the year 1685 was important to the music of the period was
because that was the year the two most prominent musicians of the
period were born in Germany within a month of each other. George
Frideric Handel was born in Halle on February 23, 1685, and Johann
Sebastian Bach was born in Eisenhach on March 21, 1685. Place
birthdates on timeline. Explain that the music of Bach and Handel
reflect in a very real way the bizarre, ornate, and exaggerated
characteristics of the period.
Bach
Master of the fugue, organ, and harpsichord
Employed as court and church organist, choirmaster, and
Director of Music
Wrote over 300 church cantatas for chorus
Had 20 children by two marriages
Handel
Master of the oratorio
Wrote 40 operas and 30 oratorios
Served as church organist, and violinist for opera orchestra
Worked as a court composer
Wrote the funeral anthem for Queen Caroline
Both were virtuoso musicians (highly skilled performers)
End the class by viewing the segment of Bach to Bach that shows the
performance of Toccata and Fugue in D Minor by Bach. Ask students to
think of ways the music might seem bizarre when compared to previous
periods.
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Lesson 2: Ch aract eri sti cs of Baroque Mus ic
MATERIALS
Length: 2-3 days
LESSON 2
Note to Teacher:
Some of the information for this lesson was adapted from an article at
the Stuff Everyone Should Know web site:
www.sesk.org/Aesthetics/Music/Baroque.htm.
Introduction
Review the characteristics of the Baroque period from the previous
lesson. Ask students to brainstorm what they remember. Create a
“Baroque Period” chart or poster from student-generated ideas. Lead
discussion to include the following information:
Characteristics of Baroque Period
• A period of music history from 1600 to 1750
• The term literally means “bizarre” and was first used to describe the
music and art of the period.
• A change from Medieval and Renaissance music characterized by
rebellion against traditional musical form.
• Bach and Handel are major composers.
• Sir Issac Newton discovers gravity, color spectrum, and laws of
motion.
• (Add any other characteristics you think are appropriate or
important.)
Activity One (Day One)
Tell students: The Baroque period was a time of great change and
discovery in the sciences. Today we are going to scientifically observe
various samples of cookies in order to discover the unique characteristics
of Baroque music and determine what made this music different from
previous eras.
Provide each student with a plain cookie and call it Sample 1. (I use the
simple animal cookie variety that I can purchase in large quantities.)
Have each student create a T-Chart organizer on a piece of paper. Label
one side of the chart Sample 1 and the other side of the chart Sample 2.
Observe Sample 1 cookie according to characteristics such as size, shape,
color, texture, and taste. Guide students to generate words such as tan,
neutral, plain, smooth, bland, etc. Students list words describing the
Sample 1 cookie on their charts.
Hand out frosted animal cookie and call it Sample 2. (I use the Keebler
Frosted Animal Cookie because it has a layer of plain cookie, a layer of
icing and decorative sprinkles on top.) Observe Sample 2 cookie according
to characteristics such as size, shape, color, texture and taste. Guide
students to generate words such as multi-colored, multi-layered, smooth,
bumpy, fancy, colorful, decorated, etc.
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FOR
• chart paper
• cookies (or individual
cakes), one plain and one
decorated for each student
• recordings or videos of
music of the Baroque
period
• Baroque Characteristics
poster/overhead
• blank transparencies
Compare Cookies/Compare Music
After students have observed and eaten the cookies, use the T-Charts to
compare the two samples. Discuss how they are alike and how they are
different. Create a class T-Chart on overhead or chart paper from
student-generated answers. Than have students create a Venn diagram
demonstrating similarities and differences of the two cookie samples.
Example of words that might be included on the diagram:
Sample 1
plain
undecorated
single layer
one flavor
simple
bare
unadorned
Both
cookie
ingredients:
flour
sugar
eggs
etc.
Sample 2
fancy
ornate
multi-layered
spicy
multi-colored
iced
decorated
smooth
bumpy
When students have completed the Venn diagram, explain that the same
comparisons that were made between the two cookies can also be made
between Baroque music and music before the Baroque period. Just like
both cookies could be categorized as cookies because of their
ingredients (flour, sugar, eggs, etc.), music from the Baroque period and
music from previous periods are considered music because of the use of
musical elements. The differences lie in the way in which those elements
are combined within the music. Music before the Baroque period was
more like the Sample 1 Cookie. For example, Medieval music such as the
Gregorian chant had a single layer of sound. Its texture was monophonic
(mono meaning one and phonic meaning sound). In music this is
typically referred to as unison.
Show Medieval Music: Gregorian Chant video segment of UK Singers
performing a Gregorian chant, also called plainchant (show Direct and
Antiphonal portions only). Point out that the chant has a single layer of
sound much like the single layer of Sample Cookie 1. Chants were sung
in unison (all voices singing same part, no harmony). Melodies were
fairly simple and without decoration, similar to the simple and
undecorated Sample 1 Cookie. The tone color or timbre of the sound of
the chant was singular. Only the male voice was heard, and an effort
was made for all voices to sound as one.
The Renaissance opened the door for more complex musical compositions
through the work of Palestrina and the use of imitation. This imitation
created some harmony. However, the melody that was being imitated
remained fairly simple and plain in its structure due to concerns of
church leaders. Show performance segment featuring the Louisville
Brass performing “Sicut cervus” from the Renaissance Music: Palestrina
video.
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Baroque musicians threw caution to the wind, rebelled against the
musical constraints of earlier periods, and developed music that resembled the characteristics of Sample 2 Cookie. Baroque music had the basic
foundation of previous music (just as Sample 2 Cookie had the same
basic ingredients as Sample 1), but it was more colorful and decorated.
The decorations used in Baroque music were called ornaments.
Baroque Ornamentation
Compare ornaments in Baroque music to ornaments on a Christmas
tree. They were used to decorate the melody of the music, just as the
sprinkles on the top of Sample 2 Cookie were used to decorate the cookie.
Ornaments in music are printed signs above the notes that indicate
which decoration you should use. (I use an overhead that I create from
page 5 of “First Bach Album” for piano edited by James Bastien that
shows what the printed symbol would look like in the music.)
Show the first segment of the Bach to Bach in which Schyler Robinson is
playing the opening of Bach’s Toccata and Fugue in D minor. Explain
that the first three notes represent a musical ornament common to
Baroque music called a mordent.
A grace note is an ornamental note that is usually played
quickly before the beat.
A trill is an ornament consisting of the rapid alteration
of two notes that are side by side. For example, the
rapid alteration between the notes C and D.
A turn is an ornament consisting of 4 to 5 notes
that make a “turn” around a given note.
Ask students to listen and watch the opening section of Toccata and
Fugue in D minor again and see how many musical ornaments they can
hear.
Just as the sprinkles on the cookies had patterns of repeated colors,
Baroque music created patterns of melody and rhythm that were
repeated throughout the composition. Just as Sample 2 Cookie is a
multi-layered cookie (cookie, icing, and sprinkles), Baroque music is
multi-layered as well. In music the multiple layering of voices is called
polyphony or polyphonic music (poly meaning many and phonic meaning
sound). The tone color or timbre of Baroque music layered different
instruments and voices in its compositions. The Baroque musicians also
mastered the art of counterpoint, which provided interesting texture and
harmonies.
Show the University of Kentucky Singers performance of Handel’s
“Hallelujah Chorus” from the Handel and the Oratorio video. Pose the
following questions to guide viewing:
• Can you hear four different vocal parts—soprano, alto, tenor, and
bass? (Multiple layers of sound, no more unison)
• Do you hear that each voice has an independent melody line?
• Can you identify a place in the music where one voice imitates
another?
• Can you identify a place in the music where one part is singing
something different from another part?
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Notice also that the “Hallelujah Chorus” is accompanied by the piano.
The piano had not been invented during the Baroque period. The
keyboard instrument that would have accompanied the “Hallelujah
Chorus” would have most likely an organ. The other keyboard instrument popular at the time was the harpsichord.
Listen to other examples of Baroque music and analyze according to the
characteristics of the Baroque period.
Activity Two (Day Two)
Introducing the Concept
When students come into class have the following phrases on the board:
• opposites attract
• banana split
• spontaneous combustion
• broke the rules
Assign students to small groups and explain that each group has 15
minutes to come up with a story about two teenagers that incorporates
the four phrases listed on the board. Have them underline each key
phrase in the story. Alternative: Copy the example story for students to
read and then act out.
Example Story: (A bit “cheesy” as the kids would say, but it makes the
point.)
Once upon a time two teenagers from opposite sides of the track met at
the local ice-cream shop where they were both ordering a banana split.
He was tall, dark, and handsome. She was petite and blonde. His father
was the local sheriff in town and her father was…well, not. The two
teens learned very quickly that there is truth to the saying that
opposites attract. As they sat down beside each other at the counter,
their eyes met and they both felt an instant attraction. When their
banana splits were delivered they reached for a spoon at the same
time, and when his hand touched hers, spontaneous combustion
erupted. Sparks flew between them. As they worked their way through
the many delicious layers of their respective banana splits, they started
to talk and learned more about each other. To their great
disappointment, they quickly realized that their attraction to each other
was doomed. It was against the rules for two people from such different
backgrounds to be together. They feared it would never work. By the
time the last spoon of ice-cream had been devoured they knew what they
were going to do. They broke the rules and started dating each other
when he asked her to go to the prom.
Tell the students they may wonder what the story has to do with
Baroque music. Hand out the Characteristics of Baroque Music sheet for
taking notes. Explain that there are four important points to
remember about the characteristics of Baroque music:
1. opposites attract
2. banana split
3. spontaneous combustion
4. broke the rules
Have a transparency of the handout on the overhead. Instruct students
to take notes by filling in information under each heading as you explain
what they mean.
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1. Opposites attract: Baroque music was full of sharp contrasts. The
music associated with this period in history appealed to the emotions
and was usually created to express a particular mood. The elements were
arranged in a way to give the impression of conflict. Dynamics were
introduced to help express a range of emotions. Baroque dynamics would
suddenly change from loud to soft in a technique called terraced
dynamics. You can often hear the sudden change from loud to soft and
vice versa in Baroque music. The musical texture might change as well.
Using the “Hallelujah Chorus” again as a model, notice how the musical
texture can change from monophonic to polyphonic from one phrase to
the next. The tempo in Baroque music was also subject to dramatic
changes in that it might change from fast to slow. Solo instruments were
often contrasted against a large group of instruments. The Baroque
concerto was in three contrasting movements: fast, slow, fast. Vocal
ranges were used in contrast such as soprano against bass. Pitch
changes occurred more dramatically as well. A high pitch might suddenly
leap toward a low pitch or visa versa. For example, the high pitch of
“hal” in Hal-le-lu-jah is followed by the low pitch of “le” in the
“Hallelujah Chorus.” Show the “Hallelujah Chorus” again. Ask: How
many times can you hear the “opposites attract” idea in the music?
2. Banana split: Baroque music had many layers of delicious sound
complete with ornamental toppings. Musical ornaments such as
mordents, trills, grace notes, and turns were used to decorate the
melodies of Baroque music. Patterns were also used in Baroque music. In
the same way that the layers of ice cream repeat in a banana split,
Baroque music created patterns of melody and rhythm that were
repeated throughout the composition. Many different voices,
instruments, rhythms, and harmonies were piled on top of the simple
bass lines to create interest. Different textures from monophonic to
polyphonic sounds were used. Just as different tastes and textures are
combined to created interest in a banana split, voices and instruments
had their own melodic lines to create different layers of interest in
Baroque music.
3. Spontaneous combustion: Baroque music and musicians could and
would ignite a spark of creative genius on the spot. They were masters of
counterpoint and improvisation. They created independent lines of
melody in various parts of the music that imitated each other in much
the same way that people carry on an argument or debate. (Bach’s
two-part inventions are great examples. Midi files can be accessed at
www.bachcentral.com/invent.html.) Baroque musicians such as Bach
and Handel were also virtuoso musicians, meaning they were brilliant
and highly skilled performers. They were show-offs who liked to have the
last musical word, so to speak. They would often improvise additions or
embellishments to a basic musical idea during a performance. For
instance, Bach might take one of Handel’s tunes and improvise,
embellish, or ad lib trying to show his finesse. You might think this
would anger Mr. Handel but quite the contrary. Very often Baroque
composers would actually write down the basic structure of their music,
hand it out to others, and say something like, “Have at it boys! Let’s see
what you’ve got!” The organ and the harpsichord were two good
instruments for such a feat. A good example is a toccata such as Bach’s
Toccata and Fugue in D minor. The word toccata actually means touch
and was written for the purpose of demonstrating virtuosity.
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MATERIALS FOR
LESSON 3
• chart paper
• 8x11 sheets of paper for
grouping activity
4. Broke the rules: Musicians of the Baroque period rebelled against
all previous forms and styles of music. Baroque music rejected the rigid
forms and rules of the Renaissance. They had the attitude of, “I’ll do it
my way.” Text in music became important. Baroque musicians created
music to fit the text using a technique known as “text painting” or “tone
painting.” Secular music such as opera rose in popularity.
Handel really broke the rules by creating a type of secular opera for the
church in a form called the oratorio. Show the Parts of a Handel
Oratorio segment from the Handel and the Oratorio video and have
students take notes about the parts and definitions. Since opera was a
form of entertainment and the oratorio was patterned after the opera,
Baroque society considered the oratorio to be equivalent to blasphemy.
Rules were also broken when music was written for a specific
instrument such as the violin or solo voice for the sole purpose of
showing the virtuosity of the musician as opposed to music written for
the church. Music for artistic purpose rose to importance equal to music
for ceremonial purpose. Major and minor tonalities were developed and
sharps and flats were introduced to written music. Music was also
written to order. Musicians such as Bach and Handel made a good living
as professional musicians.
Play examples of Baroque music and have students analyze according to
characteristics of the Baroque period. Expand by having students view
works of art from Baroque period artists and analyze their artworks
according to the characteristics of the Baroque period. Discuss how those
characteristics are similarly reflected in both the art and music of the
time.
Close the lesson by showing the “Hallelujah Chorus” segment and
instruct students to use their notes to help analyze the music as you
listen. (See Resources for a helpful listening map or use the Responding
to Music guide in the Responding section of this binder.)
Lesson 3: The Friendly Fugue
Length: 2 days
Introducing the Concept (Day One)
Write the following sentence on the board: The subject of today’s lesson is
“subject.”
Begin by asking one of the students to read the sentence on the board.
Explain that the main idea of today’s lesson is “subject,” an idea that is
common to many disciplines. For example, there are subjects in English.
Ask: What is the complete subject of the sentence on the board? (the
subject of today’s lesson) Explore the idea of subject in one or more of the
following ways: subject of a sentence, subject of an artwork (subjects in
art can be representational or nonrepresentational), or school subjects.
You may want to show works of art by Rembrandt or Caravaggio and
have students identify the subject of the paintings.
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Activity One
Before class, post signs in various areas of the classroom for the different
school subjects, e.g., math, science, arts and humanities, English,
practical living, and history,
Ask students to go stand by the sign that identifies their favorite school
subject. This part of the activity will divide your students into groups.
After groups have been formed, ask them to complete the following task.
Each group is to create a sentence that identifies the main idea or
“subject” of their favorite subject in school. Each sentence should begin
with the following stem: The subject of __________ is __________. Fill in
the first blank with the name of the subject. Fill in the second blank
with a word that describes what the subject is mainly about. For
example, the math group might create the following sentence: The
subject of math is numbers. The science group sentence might read:
The subject of science is discovery. Arts and humanities might read:
The subject of arts and humanities is creativity.
After each group brainstorms a sentence, explain that they will use their
sentences to create a fugue, one of the musical forms of the Baroque
period in which the idea of a subject plays an important role.
Explain that the word fugue literally means “flight” and that in
listening to a fugue it often sounds as though one part is chasing
another. Inform students that the fugue is a musical form that
demonstrates the virtuosity of the performer and that both Handel and
Bach were masters of the fugue. Show a performance of Bach’s Toccata
and Fugue in D minor from the Bach to Bach video to illustrate the
point.
Have students use a note-taking strategy as you provide the following
information.
The Fugue
The fugue is a polyphonic (multiple parts or voices) work based on a
musical idea called the subject. The form of the fugue is somewhat
flexible but the one thing that remains the same among all fugues is how
they begin. The fugue begins by exposing or stating the subject in one
voice and then answering the subject in subsequent voices.
The voices in a fugue can be either vocal or instrumental. The voices
(both vocal and instrumental) are labeled SATB (Soprano, Alto, Tenor,
Bass). Soprano refers to the top melodic line, Alto to the second, Tenor to
the third, and Bass to the bottom melodic line. The subject can be
introduced in any part. Show a written example of a fugue, such as
“Little Fugue in G” by Bach. You can access the musical score and a midi
file for listening by following this link:
www.mit.edu/~jcb/MOTley/dances/little-fugue-2violins.shtml.
Explain that the only essential element of the fugue is the exposition.
The exposition in a fugue is the statement of the subject (a melody on
which a composition is based) in imitation (a repeating of the melodic
statement) by several voices; especially the first such statement, with
which the fugue begins. (The New Harvard Dictionary of Music, Don
Michael Randel, editor, 1986.)
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In creating a fugue composers often follow this organizational structure:
1. Expose the subject (musical theme expressed in the melody and the
rhythm of the musical phrase).
2. Develop the subject.
3. Recapitulate the subject (review or restate in conclusion).
Remind students that good expository writing follows the same kind of
model. Lawyers do the same thing in a courtroom when they are
debating the merits of a case. High school students use this same model
when trying to persuade their parents to let them have the car on Friday
night. The part of the fugue in which the subject is stated is called the
exposition.
In the exposition, the subject is stated by one voice and then answered by
all other voices in turn. There must be at least one answer to be
considered an exposition. In other words, it takes at least two parts or
voices to make a fugue. In creating a fugue, the subject is first presented
as a solo. After the subject has been stated by the solo, it is answered in
imitation by a second voice. Depending on the number of voices
contained within the fugue, each one continues entering (answering) in
the same way; third voice enters, fourth voice enters, etc., until all voices
have entered (answered).
The exposition usually ends immediately after the subject has been
stated in the last voice. The exposition works in a way similar to a
round. The difference is that each voice of a fugue enters on a different
pitch. (The first voice usually enters in tonic and the second voice
usually enters on the dominant or 5th tone of the established key. Each
successive entrance usually alternates between tonic and dominant.
Tonic is the note name of the given key. For example, in C major the
tonic is C. The dominant is the 5th tone, or note, of the scale in the given
key. For example, in C major the dominant is G. Following this process,
the first voice, or part stating the exposition in a fugue in C major, would
begin on C, the second voice, or part, would begin on G, the third voice
on C, the fourth voice on G, etc.)
The exposition is the only essential element for the composition to be
considered a fugue. Aside from the exposition, the form of the fugue is
fairly flexible.
At the end of the exposition, after each voice has taken its turn to
present the subject, the composer can decide how to next present the
subject. This section of the fugue is sometimes called the development
because the composer is free to develop, modify, or change the subject in
any way. Very often the development will involve the reappearance of the
subject in various keys. The following are examples of some of the other
ways the subject may be changed.
• It can be turned upside down. (Notes that originally went down,
go up, and notes that originally went up, go down.)
• It can be reversed (repeat the notes backwards).
• The time values of the notes can be lengthened.
• The time values of the notes can be shortened.
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The subsequent appearances of the subject in an altered form are often
separated by episodes. Episodes are passages in which the subject is not
heard. They are usually short and are meant to provide interest.
After the development is complete, at least one voice usually repeats the
subject in the home key. When this happens it is called the
recapitulation.
Create a School Subject Fugue
In their “favorite subject” groups, students create School Subject Fugues
according to the following directions:
Exposition:
1. Students explore vocal timbres to determine who has the highest and
lowest vocal timbre. Students then order their group members from
highest to lowest speaking voice. The highest voice becomes Student
One and the lowest voice will be the last student to speak in the
group.
2. Students begin their fugues by speaking the following sentences as the
subject:
• The first sentence will be the sentence the group created at the
beginning of the lesson.
• The second sentence will be “My favorite subject is (subject
name).”
3. Student One will state the subject as a solo. For example, the first
person in the math group might say, “The subject of math is numbers.
My favorite subject is math.”
4. As Student One completes the subject, Student Two answers by
imitating exactly what Student One said. Then Student Three
answers and so on until all members of the group have stated the
subject. This completes the exposition.
Development: Students will work together to plan how they will alter
their subject during the development section.
Recapitulation: Students will decide if all voices will speak the subject
in unison one final time or if one voice will return to state the subject to
end the piece.
Allow ample time for students to practice their fugues in their groups.
Activity Two (Day Two)
Review the structural characteristics of a fugue. Options:
• Show Bach’s Toccata and Fugue in D minor from the Bach to
Bach video segment and discuss its structure.
• Show digital listening map of Bach’s Toccata and Fugue in D
minor www.youtube.com/watch?v=ipzR9bhei_o and have
students listen for places where it sounds as though a
conversation might take place.
• Show So You Want to Write a Fugue?
www.youtube.com/watch?v=_1ain4qftoM for a great
demonstration using a vocal composition by Glen Gould.
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HOW TO WRITE
A FUGUE
One way to demonstrate the
fugue is to show students the
You Tube demonstration video
“How to Write a Fugue” by
Daniel Pi. This short video
uses the melody from Brittany
Spears’ “Oops, I Did it Again”
(pun on words intended) to
create a fugue. The video can
be accessed by following this
link:
www.youtube.com/watch?v=t
gDcC2LOJhQ.
Before viewing the video,
explain to students that
according to one historian
(Forkel), “Bach considered his
parts as if they were persons
who conversed together like a
select company.” Bach thought
of the different voices in the
fugue as though they were
having a conversation, a
debate, or an argument. Have
students watch and listen to
see if they think Bach’s idea
about the parts of the fugue is
accurate and be ready to
justify their responses with
examples from the
demonstration.
WRITING TO
COMMUNICATE
The local chamber music
society will be celebrating the
music of the Baroque period
during its next concert. Write a
speech about the significant
contributions of Baroque music
to the history of Western music
to be presented to the
audience prior to the concert.
Write an article about the
music of the Baroque period.
Include background
information about the history of
the period and discuss major
composers, forms, and
musical innovations of the
period.
After this review, allow students to revisit their fugue compositions and
make any necessary revisions. After ample practice time, have students
perform their fugues for their classmates.
Support/Connections/Resources
For Lesson 1:
Picture of Pamphili Palace:
www.ggs-books.com/pdf_files/Humanities.pdf
Bizarre news stories (screen in advance): www.chron.com/news/bizarre
Bizarre photos:
spotted.augusta.com/chronicle/display.html?gallery=14166&page=1
Music Resources:
Free musical scores of The Messiah with permission to reproduce can be
downloaded by following this link: www.singharmony.com/samples/messiah_scores.php?Local_Session=3c7e2eb03ed6a1e7fd74e40dd4c47bcf
Choose a major work of either
Handel or Bach and critique
the work according to the
characteristics associated with
the Baroque period of music.
For a listening map of the “Hallelujah Chorus,” see The Music Teacher’s
Almanac by Loretta Mitchell, pp. 4-11 (1999).
ADAPTATIONS FOR
DIVERSE LEARNERS
An online resource for stylistic characteristics of Baroque music:
www.ddlarson.com/baroque.html
Provide graphic organizers for
students with special needs.
For hearing-impaired students
provide listening maps so
students can have a visual
framework for the music.
Clip of the “Hallelujah Chorus” with orchestral accompaniment at:
w3.rz-berlin.mpg.de/cmp/handel_messiah.html
Applications Across the Curriculum
Language Arts
Write poems about something students consider bizarre.
Create a brochure about the Baroque period and its music.
Write a satire of a modern day issue that grossly exaggerates as a way to
spark thought in the style of Jonathon Swift’s “A Modest Proposal,”
written in 1729, in which he suggests the Irish eat their own children.
Baroque music developed a form consistent with the form of rhetoric which
includes 1. find the subject, 2. plan the subparts, and 3. elaborate or
develop the idea. Write a persuasive speech using the art of rhetoric.
Science
Newton’s Laws of Motion. Research the three laws of motion: the law of
inertia, the law of acceleration, and the law of reciprocal actions. Connect
to the idea of imitation or counterpoint in music and to the subject/answer
aspect of the fugue.
Newton’s Law of Universal Gravity: What goes up must come down. Relate
to tonality and the introduction of major/minor tonalities in the Baroque
period and associate with home tone and chord progressions. In Western
music, what starts on home and progresses forward must come back to
home in the form of a cadence. Also relate this law to melodic contour in
terms of text painting. Example in Handel’s “Hallelujah Chorus”: When
singers sing “Every Valley,” the melody of the tenor voice goes up when
referring to mountain and comes down when referring to valley.
Arts Toolkit Music • Lesson Plans •
333
For a site that puts Newton’s laws in simple language:
www.allworldknowledge.com/newton/index.html
Compare the mechanisms of the pendulum clock to that of a metronome
in order to initiate a discussion about the importance of establishing a
framework for time, whether in life or in music.
Mathematics
Proportion was an important concept in the work of Newton. Explore
interval proportions in music as they apply to major/minor triads and to
the step patterns of major and minor scales.
Research the numerical symbolism in Bach’s works using these web
sites:
www.ntnu.no/gemini/2000-06e/32-34.htm or
www.morgenwelt.de/futureframe/000724-bach.htm
Social Studies
Compare the society of Colonial America to European society during the
Baroque period. How were they alike and different? What made them
each bizarre in their own way?
Handel’s performances of The Messiah were said to have been concerts to
benefit charity. It is said, that on no occasion did Handel conduct this
oratorio for money but invariably for charity. While Handel’s favorite
charity was reported to be the Foundling Hospital, on occasion he also
performed to benefit other charities. One charity that supposedly
benefited from Handel’s concerts was debtor’s prison. Research debtor’s
prison and debate its merits.
Practical Living
The first checks were said to be cashed during the Baroque period. Give
students a budget to purchase their favorite Baroque music. Have
students itemize the cost of each CD, iTune, or piece of sheet music, add
sales tax, and write a check for the total cost. Teach students how to
balance their account.
Open Response Assessment
Prompt: Music of the Baroque period reflected the society of the time
and the philosophical beliefs of the people.
Directions to Students:
A. Identify two significant musical contributions of the Baroque period
and explain how each one works in music.
B. Evaluate the impact the society of the Baroque period had on the
development of the musical contributions you identified.
C. Analyze the use of one of the musical contributions you identified in
Part A in a composition of either Handel or Bach.
334 • Lesson Plans • Arts Toolkit Music
NOTES FOR TEACHER
Major triads consist of the 1st,
3rd, and 5th tone of a scale;
this creates the tonic chord or
the 1 chord in any given key.
Example: In C Major, a C
Major chord is C, E, and G. A
minor triad is also built using
the 1st, 3rd, and 5th tone of
the scale, but the 3rd has been
lowered by 1/2 a step.
Example: in C minor, a C minor
chord is C, E-flat, and G.
A musical scale is built through
a series of whole steps and
half steps called tones and
semi-tones. A whole step or
whole tone is an interval
consisting of two semi-tones
(also called 1/2 steps). On a
piano keyboard, a whole step
(also called whole tone)
consists of two notes
separated by one note in
between. For example, C to D
is a whole step. C is a white
key and D is the next white
key, but in between C and D is
the black key or the semi-tone
(also called a 1/2 step). C to
C# is a semi-tone or 1/2 step.
A major scale is created with
the following pattern: W, W,
1/2 , W, W, W, 1/2 or Whole
Step, Whole Step, 1/2 Step,
Whole Step, Whole Step,
Whole Step, 1/2 Step.
Example: C Major is C, D, E, F,
G, A, B, C.
A natural minor scale is
created with the following
pattern: W, 1/2, W, W, 1/2 , W,
W or Whole step, 1/2 step,
Whole Step, Whole Step, 1/2
Step, Whole Step, Whole Step.
Example: C natural minor is C,
D, E-flat, F, G, A-flat, B-flat, C.
"Music is a secret
exercise in arithmetic of
the soul, unaware of its
act of counting."
—Gottfried Leibniz,
OPEN RESPONSE SCORING GUIDE
Student
accurately
identifies TWO
musical
contributions of
the Baroque
period with an
in-depth
explanation of
how each one
works in music.
Student
accurately
identifies TWO
musical
contributions
of the Baroque
period with a
broad
explanation of
how each one
functions in
music.
Student
accurately
identifies TWO
musical
contributions of
the Baroque
period with a
basic
explanation of
how each one
functions in
music.
Student
attempts to
identify at least
ONE musical
contribution of
the Baroque
with limited or
no explanation
of how it
functions in
music.
No answer or
irrelevant
response
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17
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20
philosopher and mathematician
Student
effectively
evaluates the
impact the
society of the
Baroque
period had
on the
development
of the musical
contributions
identified in
Part A by
offering
insightful
examples that
connect the
period to the
music.
Student offers
an extensive
analysis of the
use of one of
the musical
contributions
identified in
Part A by
providing
relevant details
and supporting
examples from
a composition
of either
Handel or
Bach.
Student
effectively
evaluates the
impact the
society of the
Baroque
period had
on the
development
of the musical
contributions
identified in
Part A by
offering clear
examples that
connect the
period to the
music.
Student offers
a broad
analysis of the
use of one of
the musical
contributions
identified in
Part A by
providing
relevant
details and
supporting
examples from
a composition
of either
Handel or
Bach.
Student
evaluates the
impact the
society of the
Baroque period
had on the
development
of the musical
contributions
identified in
Part A by
offering some
examples that
connect the
period to the
music.
Student offers a
basic analysis
of the use of
one of the
musical
contributions
identified in
Part A by
providing
sufficient details
and/or supporting example(s)
from a
composition of
either Handel or
Bach.
Student
provides an
underdeveloped
evaluation of
the impact the
society of the
Baroque period
had on the
development
of the musical
contributions
identified in
Part A with little
or no details or
examples.
Student offers a
limited analysis
of the use of
one of the
musical
contributions
identified in
Part A with
unsupported
examples from
a composition
of either
Handel or
Bach.
Performance Assessment
Performance Event: “A Fairly Familiar Fugue”
Create a musical composition in the style of the Baroque fugue.
Directions: Working with a partner or in a group of four:
A. Choose a familiar song such as “Row, Row, Row Your Boat,” “Amazing
Grace,” or “Oops, I Did It Again.” (Any simple song familiar to the
group will work.)
B. Using your knowledge of the elements of music, arrange the song
according to the characteristics of the fugue.
C. Add musical ornaments. Perform your composition in a manner
consistent with the characteristics of Baroque music. (Composition
can be sung or played on classroom instruments such as
Boomwhackers or other pitched percussion instruments.)
Arts Toolkit Music • Lesson Plans •
335
PERFORMANCE SCORING GUIDE
Students
effectively
complete all
aspects of
assignment
including
evidence that
every group
member fully
participated.
Students
effectively
complete all
aspects of
assignment
including
evidence that
every group
member fully
participated.
Students
correctly
complete all
aspects of
assignment
including
evidence that
every group
member fully
participated.
Students
complete
some aspects
of assignment
including some
evidence that
every group
member
participated.
Nonparticipation
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The
composition is
well organized
in a way that
demonstrates
extensive
knowledge of
the elements
of music as
they apply to
the
characteristics
of the fugue.
Students add
appropriate
musical
ornaments that
are relevant to
the period.
Student
performances
demonstrate
an extensive
understanding
of the musical
form and the
characteristics
of Baroque
music.
The
composition is
well organized
in a way that
demonstrates
broad
knowledge of
the elements
of music as
they apply to
the
characteristics
of the fugue.
Students add
appropriate
musical
ornaments
that are
relevant to the
period.
Student
performances
demonstrate a
broad
understanding
of the musical
form and the
characteristics
of Baroque
music.
The
composition is
organized in a
way that
demonstrates
basic
knowledge of
the elements
of music as
they apply to
the
characteristics
of the fugue.
Students add
appropriate
musical
ornaments that
are relevant to
the period.
Student
performances
demonstrate a
basic
understanding
of the musical
form and the
characteristics
of Baroque
music.
The
composition
lacks
organization
and
demonstrates
limited
knowledge of
the elements of
music as they
apply to the
characteristics
of the fugue.
Students
demonstrate a
limited use of
musical
ornaments that
are relevant to
the period.
Student
performances
demonstrate a
limited
understanding
of the musical
form and the
characteristics
of Baroque
music.
Multiple Choice Questions
Lesson One
1. The word which best depicts the original meaning of the term baroque
is
A. common.
B. quiet.
C. grotesque.
D. robust.
2. The most significant composers of the Baroque period were
A. Mozart and Beethoven.
B. Tchaikovsky and Wagner.
C. Handel and Bach.
D. Palestrina and Vivaldi.
336 • Lesson Plans • Arts Toolkit Music
MULTIPLE CHOICE
ANSWER KEY
Lesson
1. C
2. C
3. B
One:
DOK 1
DOK 2
DOK 2
Lesson
1. D
2. A
3. B
Two:
DOK 3
DOK 3
DOK 2
Lesson
1. A
2. C
3. C
Three:
DOK 1
DOK 1
DOK 3
3. The phrase that best describes the idea of Baroque thought is
A. the age of reason.
B. an age of rebellion and scientific discovery.
C. the age of the monarchy.
D. an age of absolute domination by the church.
Lesson Two
1. In his aria “Every Valley Shall Be Exalted” from the Messiah, Handel
composes music to the lyrics “the crooked straight.” In employing the
use of text painting to create the melody for these lyrics Handel would
most likely
A. create a melodic shape that repeats the same pitch in a straight
line pattern.
B. create a melodic shape that descends as each successive pitch gets
lower in a downward angle pattern.
C. create a melodic shape that ascends as each successive pitch gets
higher in an upward angle pattern.
D. create a melodic shape that alternates a high pitch with a low pitch
in a zigzag pattern.
2. Which dynamic markings below best represent the music of the
Baroque period?
A. p to f
B. mp to mf
C. p to mp
D. f to mf
3. The scenario that best describes an authentic Baroque music scene is
A. a composer creates a chant for a religious ceremony.
B. a virtuoso improvises a musical idea.
C. a composer creates music for the masses.
D. a musician warns of impending danger.
Lesson Three
Author: Jeanne Ann Lee
Copyright 2007 KET
Reviewed by the Kentucky
Department of Education
This lesson plan is part of the
Music Arts Toolkit. To order the
entire toolkit or for more
information about the Arts
Toolkit project, visit
www.ket.org/artstoolkit or
call (859) 258-7294.
1. The essential element of a fugue is the
A. exposition.
B. recapitulation.
C. ornamentation.
D. augmentation.
2. The melodic theme of a fugue is called the
A. verse.
B. chorus.
C. subject.
D. answer.
3. Which of the following scenes best represents the fundamental idea of
the fugue?
A. Two people sitting quietly on a park bench reading the newspaper.
B. Two dogs taking a nap on the front porch of the park’s visitor’s
center.
C. A teenage couple arguing back and forth at the park’s entrance
when she runs off and he chases after her.
D. a mother singing nursery rhymes to her baby as she pushes his
stroller around the track that circles the park’s edge.
Arts Toolkit Music • Lesson Plans •
337
BAROQUE TIMELINE
1607 Jamestown Colony founded.
1600-1750
1608 The telescope is invented by Hans Lippershey.
1610 Galileo discovers four of Jupiter’s moons.
1618 Harvey discovers the circulation of blood.
1619 First slaves sold in America.
1620 Pilgrims arrive in what is now Massachusetts aboard the Mayflower.
1626 The Dutch buy Manhattan (NY) for $24 in trade.
1657 First fully functional pendulum clock invented.
1666 Sir Issac Newton discovers the color spectrum.
1679 The pressure cooker is invented.
1686 Newton discovers Theory of Gravity.
1692 Salem Witch Hunts
1700 All Catholic priests ordered to leave Massachusetts or face life in prison.
1705 Virginia proclaims slaves to be real estate.
1709 Fahrenheit invents the thermometer.
1714 Tea is introduced to the colonies.
1720 Theft becomes a capital offense in Philadelphia.
1735 Rubber is discovered.
1747 Ben Franklin publishes first writings on electrical experimentation.
338 • Lesson Plans • Arts Toolkit Music
CHARACTERISTICS OF BAROQUE MUSIC
Opposites
Attract
Baroque music was full of sharp contrasts:
Dynamics: loud/soft
Tempo: fast/slow
Timbre: high/low
Banana
Split
Baroque music had many layers of delicious sound:
Ornaments: trills, turns, grace notes
Spontaneous
Combustion
Baroque music and musicians could and would ignite a spark of creative genius on the spot:
heated-up; argument; counterpoint
explosive improvisation/show off!
Broke the
Rules
Music of this time period rebelled against all previous forms or styles of music. “I’ll do it my way!”
Arts Toolkit Music • Lesson Plans •
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340 • Arts Toolkit Music • Lesson Plans