Unit Plan: Romantic Era 1825-1900 Music

Grade 12 AMU4M
Learning Goal: Students will be able to grasp simple concepts of the Romantic Era, perform a
romantic song, develop their ear in musical dictation, move forward in theory, and identify the
key components of romantic music.
Success Criteria: Students enhance their musical literacy of the Romantic Era, perform a
Romantic song, thrive on music dictation exercises and theory review, and identify the key
components of Romantic music. Students will enhance their understanding of the function of
Romantic music socially as well as analyze the impact of music.
Introduction: This series of lessons is designed to promote creating, performing, reflecting,
responding, analyzing, and exploring in music. As students study history, theory, music dictation,
and repertoire targeted towards the Romantic Era, students gain a well-rounded understanding of
how the study of music contributes towards well rounded musicianship. It is my goal as an
educator to promote not only talented students but intelligent reflective individuals who
understand why historical insight aids the development and accuracy of a piece, in knowing what
elements to express accurately according to the genre. In order to get students to raise these
questions and make these connections, a lot of lesson time will put the educator in a facilitative
role while enabling an explorative setting. Students will have flexibility in what repertoire to sing
in their summative assessment, but a lot of work will be evaluated formatively. Students will be
assigned creative reflections and journals concerning main points taught; building on reflective
thinking and scaffolding. More importantly, students will have an opportunity to provide
feedback at the end of the unit asking additional questions and/or suggestions to further their
educational experience.
Lesson #1:
Critical Challenge: Students will be introduced to the Romantic Era, Industrial Revolution,
Program Music, and Absolute Music. Students will identify the Romantic sound as well as
question musical ideals. This will promote well rounded intelligent musicians and enhance
student familiarity with musical genres.
Connection to Culminating Activity: Students will move forward in history towards the
Romantic Era in music. This knowledge will give students a grounding towards identifying
Romantic music and grasping key elements of what was occurring historically to cause a shift in
genre.
Overall Expectations: Students will be introduced to the history of Romantic music as well as
observe and critique musical selections (B1.1.) from the Romantic Era. This will challenge their
knowledge of the Elements of Music (B1.3, C1.1) and address main forms in Romantic Music
such as Rubato Time. They will learn and debate the differences between Program and Absolute
music, aiding their knowledge of music and society (B2.1).

Specific Expectations: Students will learn Romantic ideals and debate composers views on the
purpose of music in order critically challenging these views as well as develop their own insight
and definition. Students will be required to creatively reflect and apply their learning to a
homework journal.
Learning Goals:
-Students successfully define descriptive traits in Romantic Era music.
-Students explore Liszt and Wagners positions on Absolute and Program music.
-Students understand Program and Absolute music and can challenge both dispositions.
-Students gain insight on Romantic Era though journal entry rewriting the story of a
Programmatic piece.
Prior Knowledge: Students will know some details of Romantic Era from group projects and
presentations in previous courses. Students will be able to recount a few details and recall main
composers of this Era.
Agenda:
Class discussion:
Teacher: When we hear the word Romantic what do we think? How might we hear this in
music?
Romantic Ideals: emotional, emphasis of individual, respect for arts (pop culture forms with
virtuoso), beauty = principle goal, nature/pastoral scenes, spirituality, past, divinity in music,
passion, personal narrative
As we enter the Romantic Era (1825-1900) we have a lot of industrial mechanics coming out.
What does this mean?
Industrial revolution: less manual labour, more mechanics, musical trends travel faster,
revolutionary political shifts rise of middle class (culture & politics)
Very good! Prior to the Romantic Era composers and musicians were hired craftsmen, or
servants. Now we witness music becoming virtuosic and musicians viewed as artists. In fact,
composers were thought to be a higher figure close to the divinity of music (Cult of Genius).
This means that royals and patrons were lesser used and people who ran concerts and orchestras
took patronage up. Also with the rise of the middle class, domestic music lessons were given to
more people.
Class Debate:
Q: What does music mean to you? Does it speak about your life? Is it about something or
nothing at all? In previous Eras there were debates about music with text and instrumental music,
and what it meant. In the Romantic Era there were differing philosophies on Musics purpose as
well.

Split the class into two groups with one person set as the judge. One group will speak as
Hanslick or Brahms for Absolute Music while the other sides will speak as Liszt or Wagner for
Program Music. Have the class discuss in their groups (judge can float and observe both sides)
and then when the debate begins there are two chairs at the front, one for each side. Only the
people sitting in the chairs can speak. Anyone can speak for their team by tapping their teammate on the shoulder and taking their place. Once tapped the person must stop talking and sit
back at their own seat. At the end the judge will make the final decision.
Absolute music: no meaning or title, music just for the sake of beauty (music stands alone).
Favored by Hanslick & Brahms
Example: [1883] Brahms, Symphony No. 3
- Movement 3 [Scherzo and Trio form]:
The opening scherzo is low, brooding in nature, with very conservative use of orchestral tone
color. The "trio" section in the middle a little relief, but is still dark. Only at the return of the
scherzo does Brahms start to use some color, by introducing the main theme on the horn and then
the oboe. The string color and range gradually gets higher until the burst of expression on the
final scherzo statement:
http://www.youtube.com/watch?v=5-HcTI8zuBo
Program music: Storyline, title and in depth meaning attached and placed by composer with
poetic idea for the audience (enhances music). Favored by Liszt & Wagner
- Example: [1892] Tchaikovsky, The Nutcracker
March of the Toy Soldiers http://www.youtube.com/watch?v=9t1AeJm7XF0

Homework:
Write a paragraph on Tchaikovskys The Nutcracker listening March of the Toy Soldiers fortelling a different story the music could be about. (150-200 words)
OR
Choose a clip from Fantasia and watch it muted. Write a short melody that captures a section of
the animation (minimum 12 bars). Indicate the time of the clip that is being captured. This can be
on any instrument/voice type.
Option 1: https://www.youtube.com/watch?v=3eG_O1wEJ40
Option 2: https://www.youtube.com/watch?v=xHEMkbyXFxs

Differentiated Instruction:
Music is a communal subject and when exploring different genres it is crucial to keep ideas
flowing with open brainstorming and debates. Particularly in this class the idea and concept of
music and what it offers to society is in debate, and students should be actively involved in this
conversation. Discussing what students hear is going to bring a knowledge of musical
identification that will be kept fresh in students minds whether they actively talk or reflectively
listen. Students are also given the chance to actively assume the roles of past composers and
debate and defend their musical values. Students who are introverted and learn better through
observation will be able to demonstrate their learning through the journal entry.
Required materials:
-Computer & Audio System for Youtube clips of various performers
-Large sheets of paper for class debate
Student Assessment: Students will be formatively evaluated on their knowledge/application
process and participation in class. Journals will be marked out of 15 marks and put towards their
grade as a means to display their understanding.
Teacher Reflection Strategies: To be successful in this lesson, the teacher is best suited for a
facilitative role, allowing students to discover their own meaning and purpose for music.
Students should be encouraged and guided to critically think during class discussions building on
prior knowledge and scaffolding. This way students ask questions and test the limitations on the
musical elements, sound, and Romantic genre.

Lesson #2:
Critical Challenge: Students will explore vocal Romantic Era repertoire through a package of
numerous selections that challenge their technique on genre and style. Students will be tested in
their musical dictation.
Connection to Culminating Activity: Students will apply their learning from Lesson #1 to further
emotive performance skills.
Overall Expectations: Students will actively apply their knowledge of theory to review chord
identification and inversion (C1.3) and begin working on rhythmic dictation. Students will
incorporate their prior knowledge of vocal technique and language pronunciation to the text in
the unit repertoire package (A1.1, A2.1, and C2.1).

Specific Expectations: Students will accurately identify the chords, their inversions, and any
modulations. Students will learn notes to this units repertoire package and begin to learn the
correct pronunciation to the text.
Learning Goals:
-Students successfully grasp rhythmic dictation and notate the given exercise
-Students successfully complete their theory review (due Lesson 5)
-Students successfully sight read and progress in musical repertoire package
-Students successfully identify/apply elements of Romantic genre
Prior Knowledge: Students have learned how to approach Romantic music practically through in
depth study and reflection in the previous lesson. Students are familiar with sight reading and
singing in different languages. Students have approached simple dictation exercises and this
lesson is furthering their knowledge through a three bar assessment. Theory in minor scales is
review.
Agenda:
Music Dictation: Rhythm. Have students write down rhythm. Clap it for them minimum five
times. Then if needed play the rhythm on the piano twice.

Theory
Review Package (to be completed by class #5)

Worksheet:
1. Key signature: ____________________ (E minor)
2. Composer: ______________________
3. Molto Allegro e Sempre Staccato means: ________________________
4. Time Signature: __________________________
5. Fz in bar 8 means: __________________________________
6. Identify on the score the chords used including their inversion. (I, ii, ii, IV, V, vi, vii, I for
major, i, II, III, iv, v, VI, VII, I for minor). Be careful in bars 7 and 8!

Warm up:
-massage line
-shoulder rolls
-rag doll
-humming do mi so mi do (sliding) starting on middle C ascending
-tongue trills
-mee may mah moh moo starting on G descending
-many mumbling mice starting on Bb ascending
-zee-ah starting on G descending
-ha ha ha ha ha staccato starting on middle C
-rose round

Work on Romantic Era Package

-learning notes, text pronunciation and sight reading
Johannes Brahms Op.47 No.3 Sonntag (Uhlands Volkslieder)
Gabriel Faur Les Berceaux
Claude Debussy Romance (Can Sing English Translation)
Reynaldo Hahn Si Mes Vers Avaient Des Ailes

Differentiated Instruction:
Students may struggle with music dictation and so repetition and keeping tabs on how many
times the students need to hear the example is important. Clapping the rhythm at a slower pace
may also help students who feel overwhelmed by the task. Students often require review in
theory and so having theory review worksheets is important to keep the discipline in practice.
When sight reading a piece be aware as the educator how comfortable the piece is and where the

students may struggle. Go over notes and rhythms that are challenging for students. Establish a
positive learning environment for student confidence where musical exploration may occur.
Required Materials:
-Piano
-Theory worksheets for review
-Staff paper
-Music stands
Student Assessment: Students will be marked on their rhythmic dictation exercise and
completion of theory when it is due. Students will be evaluated on their vocal progress and
continual growth.
Teacher Reflection Strategies: Educational cues include engaging and challenging all students in
the discipline of music dictation and theory review. Students are to be challenged also in the
flexibility of their voice in approaching differing genres of music.

Lesson #3:
Critical Challenge: Students will explore Beethovens impact on the romantic artist to further
grasp the development of symphonies, the virtuoso, and Program music.
Connection to Culminating Activity: Students will link their previous knowledge to witness a
composer aid in the transition of musical genre. This will help them gain a historical and social
understanding of the Romantic Era as well as further their knowledge in Program music.
Overall Expectations: Students will observe, reflect, respond, and analyze events in the Romantic
Era and in particular, Beethovens role in it. Through purposeful listening (B1.1) students will
deconstruct and identify elements and components of Beethovens Ninth (B1.3). Students will
relate their observations to music and society in the Romantic Era and what factors shaped the
genre (B2.1).
Specific Expectations: Students will observe Beethovens ninth symphony and address
Beethovens impact on the Romantic Era. They will discuss and critique the decision to have
voices in a symphony, and reflect on Beethovens legacy.
Learning Goals:
-Students grasp an understanding of Beethovens impact on Romantic music

-Students further their comprehension of Program music

-Students display traits of critiquing as developing musicians
Prior Knowledge: Students have explored Program and Absolute music in Romantic music, but
have yet to connect Beethovens influence on the Era.
Agenda:
https://www.youtube.com/watch?v=IInG5nY_wrU (1:02:00 mark - 1:14:00)
-

Q:
What did you hear?
Why add voices in a symphony? Were they needed to make a clear message?
Beethoven passed away shortly after so we dont know, but it proved that the
symphony could to anything/ be everything

Beethovens impact on the romantic artist: dramatic & political statement: MUSIC IS POWER
Symphonies were incredible with new ideals, heroic trials, and inspiring programmatic methods
that were revolutionary, expanding intellectual and musical goals of the symphony
9th: musical vehicle- capability to carry messages in creative ways.
Q: In that listening how many times did we receive the ode to joy theme? In how many ways?
Broken up in sections? Together? Instrumental Sections starting with bass and developing
towards a grand finale with the choir.
-

Beethovens funeral: HUGE & ELABORATE: proving the coming of immortalization of

grand artists with an eternal legacy that couldnt be copied nor ignored

romantic ideals of a tortured soul (Beethoven going deaf Heiligenstadt testamentand him being in love Immortal Beloved poem)
Beethoven had the power to think and think when composing (luxury of having numerous
patrons)
Composers struggled to move forward after Beethoven: form, what makes up a symphony
(voice?), fusion of genres, role of finale (Beethoven went FULL out peek statement in finale
contrary to the norm), cyclical coherence, metaphysical undertaking
-Thus, program music was a good new vessel for philosophical ideas and emotions
After Beethoven:
Overture & concerto got bigger in size with added instruments and more complex harmonic
language
1830s after Beethovens 9th, the dimensions & goals of the symphony have been exhausted

1840s new hope for symphony more lyrical, less monumental, nationalism, program music.
Composers typically only wrote 9 symphonies however, as honor to Beethoven.
Differentiated Instruction: This lesson allows students to audibly and visually experience
Beethovens ninth in a way that raises questions and debate. Students are able to actively feed off
of ideas and observations that allows the classroom to progress on their knowledge of the Era
and how it came to be formed.
Required Materials:
-Computer & Audio System for Youtube clips of various performers
Student Assessment: Students will be evaluated on formative contribution and displays of
knowledge.
Teacher Reflection: The teacher is to facilitate educational discussions as students are to be
encouraged to contribute in active learning, class participation, and exploration of musical genre.

Lesson #4:
Critical Challenge: Students will advance in music dictation to include melody and rhythm.
Students will further familiarize themselves with Romantic repertoire as provided in lesson #2.
Connection to Culminating Activity: Students have already been learning rhythmic dictation and
are attempting a more difficult challenge. Students are also progressing in their repertoire
towards performing a section of the piece as summative evaluation in vocal performance.
Overall Expectations: Students will be challenged to further their ear training in music dictation.
Students will apply musicality in rehearsing the unit repertoire package (A1.1, A2.1, and C2.1).
Specific Expectations: Students will incorporate their vocal training into their musicality of
Romantic music. They will apply the elements of music discussed in earlier lessons concerning
the Romantic Era in their rehearsal and display mature musicianship. Students will practice ear
training incorporating a simple melody with rhythm.
Learning Goals:
-Students will successfully identify notes and rhythms in music dictation
-Students will recall and become more familiar with repertoire pieces of the Romantic Era
-Students will successfully display musicianship discipline in practicing vocal repertoire outside
of class
-Students display musicality in rehearsal and critical thinking towards improving their technique
Prior Knowledge: Students are becoming more comfortable in music dictation and identifying
solfege in ear training. They are familiar with notes in the Romantic Era Repertoire package and
will aim to progress in their musicality.

Agenda:

Music Dictation: Give students the first note of the first and third bar. Play on piano and clap
rhythm a total of ten times. Have students write down rhythm first and then the melody. Take up
on the board.

Warm Up:
-Stretch arms
-Neck rolls
-shh to different rhythms
-Humming up scale and down to oo starting on middle C
-Arpeggio to loh with a physical throwing motion ascending starting on middle C
-Mee may mah moh moo starting on G descending by semitone
-1, 1-2-1, 1-2-3-2-1 up to 8 starting on middle C
-Bubble gum
-Coo-coo harmony exercise

Work on Romantic Era Package

-fixate on text/pronunciation, start on dynamics, breathing on long phrases
Johannes Brahms Op.47 No.3 Sonntag (Uhlands Volkslieder)

Gabriel Faur Les Berceaux

Claude Debussy Romance (Can Sing English Translation)
Reynaldo Hahn Si Mes Vers Avaient Des Ailes

Differentiated Instruction:
Students may struggle with music dictation and so repetition and keeping tabs on how many
times the students need to hear the example is important. Providing the melody and rhythm at a
slower pace may also help students who feel overwhelmed by the task. When addressing the
repertoire, go over any notes and rhythms that are challenging for students. Encourage students
to already think about which piece they want to perfect for their summative performance.
Promote student scaffolding so that they may link their theory and historical learning to how they
bring their performance material to life. Establish a positive learning environment for student
confidence where musical exploration may occur.

Required Materials:
-Piano
-Practice rooms
-Music stands
Student Assessment: Students will be formatively assessed on their progress in both musical
performance and ear training. The ear training will not be marked but taken up on the board as an
exercise but a raise of hands will let the educator know where the students struggle and where
further guidance is needed.
Teacher Reflection: Students will be challenged in their musicality and ear training discipline.
Educators are to be mindful towards repetition of listening in order for students to succeed and
fairly pick out the ear training notes and rhythms. Educators are to promote student peer help for
cooperative social skills and peer feedback. The educator is also to engage the class in wellrounded application of musicianship by connecting musical repertoire to theory and history and
making students aware of these connections and interrelationships.

Lesson #5

Critical Challenge: Students will advance in music dictation to include melody and rhythm.
Students will further familiarize themselves with Romantic repertoire as provided in lesson #2.
Connection to Culminating Activity: Students have already been learning rhythmic dictation and
are attempting a more difficult challenge. Students are also progressing in their repertoire
towards performing a section of the piece as summative evaluation in vocal performance.
Overall Expectations: Students will be challenged to further their sight singing technique.
Students will further apply musicality in rehearsing the unit repertoire package (A1.1, A2.1, and
C2.1).
Specific Expectations: Students will incorporate their vocal training into their musicality of
Romantic music. They will apply the elements of music discussed in earlier lessons concerning
the Romantic Era in their rehearsal and display mature musicianship. Students will practice sight
singing incorporating simply melodies with rhythm.
Learning Goals:
-Students will successfully identify and sing notes and rhythms in sight singing
-Students will successfully sing through repertoire pieces of the Romantic Era without further
need to sight read.
-Students will successfully display musicianship discipline in practicing vocal repertoire outside
of class
-Students display musicality in rehearsal and critical thinking towards improving their technique
Prior Knowledge: Students are becoming more comfortable in music dictation and identifying
solfege in ear training. They are advancing in the Romantic Era Repertoire package and will
continue to aim their progress in performance technique and musicality.
Agenda:
Theory review due this lesson (assigned lesson 2)
Sight Reading: Make sure students use solfeggio syllables

Warm up:
-Stretch up to ceiling
-Shrug up shoulders and hold
-Massage jaw
-Shake off stress of day
-Suck in air like balloon (fill stomach) and let out to shh
-lip trills do mi so mi do, starting on middle C
-no-ah up thirds ascending starting on middle C
-ee-oo-ee so do so sliding starting on A descending
-tee do mi so mi do legato-staccato-marcato ascending starting on middle C

-mee may mah moh moo descending starting on G

-nieh nasal so fa mi re do starting on A descending
-Ping-ee-oo starting on high C going down to middle C
-sigh from high register

Work on Romantic Era Package:

-work on bringing out important text/phrases, the story of the piece, the romantic journey
Johannes Brahms Op.47 No.3 Sonntag (Uhlands Volkslieder)
Gabriel Faur Les Berceaux
Claude Debussy Romance (Can Sing English Translation)
Reynaldo Hahn Si Mes Vers Avaient Des Ailes

Differentiated Instruction:
Students may still struggle with music dictation and sight singing so repetition and keeping tabs
is important. Separating rhythm and melody so students can focus on each individual section
before singing it together is very important so that they can process the information and correctly
perform it. Singing at a slower pace may also help students who feel overwhelmed by the task.
Having this activity at the beginning of lessons will help students in their musical growth and put
them into the academic mindset before moving onto vocal performance. When addressing the
repertoire, go over any notes intervals and rhythms that are still challenging for students.
Promote student scaffolding so that they may link their theory and historical learning to how they
bring their performance material to life. Establish a positive learning environment for student
confidence where musical exploration may occur.

Required Materials:
-Piano
-Practice rooms

-Music stands
Student Assessment: Students will be formatively assessed on their progress in both musical
performance and ear training. The ear training will not be marked but taken up on the board as an
exercise but a raise of hands will let the educator know where the students struggle and where
further guidance is needed.
Teacher Reflection: Students will be challenged in their musicality and ear training discipline.
Educators are to be mindful towards repetition of listening in order for students to succeed and
fairly pick out the ear training notes and rhythms. Educators are to promote student peer help for
cooperative social skills and peer feedback. The educator is also to engage the class in wellrounded application of musicianship by connecting musical repertoire to theory and history so
that expression and musical elements are appropriately applied to student vocal technique.

Lesson #6:
Critical Challenge: Students will advance in music dictation by clapping rhythms. Students will
further familiarize themselves with Romantic repertoire.
Connection to Culminating Activity: Students have already been learning rhythmic dictation and
are attempting to actively sight read rhythms. Students are also progressing in their repertoire
towards performing a section of the piece as summative evaluation in vocal performance.
Overall Expectations: Students will be challenged to further their ear training in rhythm. Students
will further apply musicality in rehearsing the unit repertoire package (A1.1, A2.1, and C2.1).
Specific Expectations: Students will incorporate their vocal training into their musicality of
Romantic music. They will apply the elements of music discussed in earlier lessons concerning
the Romantic Era in their rehearsal and display mature musicianship. Students will practice sight
reading rhythmic examples.
Learning Goals:
-Students will successfully identify rhythms in sight reading
-Students will successfully sing through repertoire pieces of the Romantic Era, starting to add
musicality and emotional feeling into the piece
-Students will successfully display musicianship discipline in practicing vocal repertoire outside
of class
-Students display musicality in rehearsal and critical thinking towards improving their technique

Prior Knowledge: Students are becoming more comfortable listening to, identifying, and sight
reading rhythms. They are advancing in the Romantic Era Repertoire package and will continue
to aim their progress in performance technique and musicality.
Agenda:
Practice Rhythm exercises:

Work on Romantic Era Package

-fix any problematic rhythms, brush up on dynamics
Johannes Brahms Op.47 No.3 Sonntag (Uhlands Volkslieder)
Gabriel Faur Les Berceaux
Claude Debussy Romance (Can Sing English Translation)
Reynaldo Hahn Si Mes Vers Avaient Des Ailes

Differentiated Instruction:
Students who struggle with rhythms may need to practically clap them to further transfer their
knowledge of note values to sight reading and music dictation. If students have an issue sight
reading, going at a slower pace and counting note values out loud as a class may help. Having
this activity at the beginning of lessons will help students in technical musicianship and put them
into the academic mindset before moving onto vocal performance. When addressing the
repertoire, go over any sections that are still challenging for students, but at this point in time
students should have a good grasp of the material and will be perfecting the pieces in technique,
emotion, and purpose. Promote student scaffolding so that they may link their theory and
historical learning to how they bring their performance material to life. Establish a positive
learning environment for student confidence where musical exploration may occur. Students who
need additional help may go into practice rooms to plug out notes and rhythms and or focus on
one particular piece they intend to perform for their summative evaluation. If the class has 2 or
more students with the same problem, go over it as a class. There are students who will not
always speak up with what they are struggling with.
Required Materials:
-Piano
-Practice rooms
-Music stands
-Projector/computer system to display rhythms on board and/or handouts for students to sight
read from
Student Assessment: Students will be formatively assessed on their progress in both musical
performance and sight reading. Rhythms will be clapped as a class and errors will let the
educator know where the students struggle and where further guidance is needed.

Teacher Reflection: Students will be challenged in their musicality and sight reading discipline.
Educators are to promote student peer help for cooperative social skills and peer feedback. The
educator is also to engage the class in well-rounded application of musicianship by connecting
musical repertoire to theory and history so that expression and musical elements are
appropriately applied to student vocal technique.

Lesson #7:
Critical Challenge: Students will explore Romantic Era styles of music including German Lied,
Piano Concertos, and Nationalistic music, becoming familiar with composers of the Era and the
principles of the Virtuoso artist.
Connection to Culminating Activity: Students will link their previous knowledge to witness a
composer aid in the transition of musical genre. This will help them gain a historical and social
understanding of the Romantic Era as well as further their knowledge in Program music.
Overall Expectations: Students will observe, reflect, respond, and analyze events in the Romantic
Era and in particular, different styles of music. Through purposeful listening (B1.1) students will
deconstruct and identify elements and components of musical selections (B1.3). Students will
relate their observations to music and society in the Romantic Era and what factors shaped the
genre (B2.1).
Specific Expectations: Students will discuss main traits in the German Lieder and relate it to
their repertoire. They will recognize the social impact of this genre and then progress to explore
piano music and composers and the establishment of the virtuoso. Students will question the
mindset and celebrity impact and relate it to pop culture today. Students will recognize
nationalistic and cultural music established in European countries and later in a culture unit will
tie the sections together. Students will question what makes music nationalistic and how the
elements of music accomplish this sound.
Learning Goals:
-Students grasp an understanding of different styles of Romantic music and how they contributed
to society
-Students further their comprehension of Romantic Era
-Students successfully understand how the role of Composers shifted from servants with patrons
to the virtuoso celebrity; established from Beethovens funeral
-Students display traits of critiquing as developing musicians
Prior Knowledge: Students have explored some key points of Romantic music but are yet to
address main genres of the Era.
Agenda:

German Lied: German Art song

-

Setting of lyric poem for voice & pianoforte

Vehicle for personal expressivity & folk values (personal & collective experience)
Essence of human experience over proper grammar
Domestic music making market (good for composers)
Musical potential of lyric poetry
Condensed emotions/styles of other genres to miniature form/ easily sung
Greater expressive range of piano

Middle class begins to ponder human emotions interest in human mind

Q: Why might the rise of the middle class cause an interest in the human mind?
Poetry: invites reader with descriptive imagery, yet vague enough for the imagination to be
set loose, emotional intimacy and magical longing
Romantic Piano Music: equivalent to a Lied (romantic character music)
Piano: range expanded to 7 octaves, foot pedals verses knee pedals, hammer coverings,
tougher strings, and high demand from middle class
Challenges for Piano Music Composers: Expressive melody with active accompaniment
voice (right & left hands)
-

Experimented with splitting accompaniment (alto voice)

New techniques to imitate orchestral fullness
Octave doubling= trick ear to increase volume and sense of multiple lines

Liszt: high ego in cult of virtuosity

Dashing young man, talented and the first musician to hold a SOLO CONCERT
(well, he had enough fans to be sure!)
Spent life a touring virtuoso
Progressive composer (not conservative in style)
Ambiguous style, chromatic, unpredictability, metrically loose, explores GRAND
(big) and PERSONAL (small)
https://www.youtube.com/watch?v=OxzwEPB4Gd0&spfreload=10
Chopin: wrote more personal piano music (less a fan on concerts)
Played at salons, born in Warsaw (comes from Polish decent), settled in Paris 1831,
living: teaching & composition sales
Didactic forms (Etudes/Preludes), Light Character Pieces & Nocturnes, Polish
dances, Polonaises, Waltzes, Mazurkas, Sonatas, Ballades, Schertzos

 https://www.youtube.com/watch?v=uM09BWHC_HM start at 4:00

Student discussion on differences between Chopin & Liszt listening
Q: What makes a Virtuoso? Compare to celebrities/ pop culture today.
Schoenberg: Self Portraits Q: what does this say about artists? Does it compare today?
https://www.google.ca/search?
q=schoenberg+self+portrait&biw=1467&bih=678&tbm=isch&tbo=u&source=univ&sa=X&sqi=
2&ved=0ahUKEwjrxLqOkKrJAhUHJR4KHSskD1UQsAQIGw
Bel Canto Style: singers had to sing a challenging piece with so little effort the audience would
not realize how challenging it actually is
Mid Century Symphonies -debate on how to respond to Beethovens legacy, some (Wagner)
questioned value of symphonic writing, both sides cited Beethovens symphonies as their
justification
-Wagner and Liszt had argued the symphony had no future but Brahms began a new
chapter in its history: looked back to classical approaches while using modern harmonic and
motivic innovation
Nationalism: trend of century to create musical scenery/home lands, cultural music countrys
pride
-Musical nationalism: Began in Germany and travelled East key genres: opera and
programmatic instrumental music, folk/politics, national styles in classical music only united
over time through repetition
Music & Society in Russia: 2 musical outcomes
Progressive: Social viewpoint reflected in nationalist music (independence of thought, lack of
interest in academic training, national character, Folk, legitimized via Beethoven) the mighty
handful: a group of composers alienated from royal conservatory that was too obsessed with
Europe turned to folk
Conservative: European-inspired viewpoint reflected in focus on professionalism (Russian
conservatives like Tchaikovsky followed model of a Russian musician conservatory trained,
focused on Europe, styles forged a nationalism rooted in subject matter)
Q: What makes music nationalist?
Differentiated Instruction:

Music is a communal subject and when exploring different genres it is crucial to keep ideas
flowing with open brainstorming and debates. Particularly in this class the idea and concept of
music and what it offers to society is in debate, and students should be actively involved in this
conversation. Discussing what students hear is going to bring a knowledge of musical
identification that will be kept fresh in students minds whether they actively talk or reflectively
listen. Reflecting on their knowledge and applying it to present pop culture concepts and
historical events that they are familiar with will trigger memory and learning cues so that
students retain information.
Required materials:
-Computer & Audio System for Youtube clips of various performers
Student Assessment:
Students will be formatively evaluated on their knowledge/application process and participation
in class.
Teacher Reflection Strategies:
To be successful in this lesson, the teacher is best suited for a facilitative role, allowing students
to discover their own meaning and purpose for music. Students should be encouraged and guided
to critically think during class discussions building on prior knowledge and scaffolding. This
way students ask questions and test the limitations of what they know and observe.

Lesson #8:
Critical Challenge: Students will complete a quiz assessing their progress in music dictation.
Students will fine tune Romantic repertoire.
Connection to Culminating Activity: Students have already been learning rhythmic dictation,
melodic dictation, and are attempting to test their abilities through a quiz. Students are also
progressing in their repertoire towards performing a section of the piece as summative evaluation
in vocal performance, due lesson 9-10.
Overall Expectations: Students will be challenged in ear training to further their musicianship
skills in music dictation. Students will further apply musicality in rehearsing the unit repertoire
package (A1.1, A2.1, and C2.1).
Specific Expectations: Students will incorporate their vocal training into their musicality of
Romantic music. They will apply the elements of music discussed in earlier lessons concerning
the Romantic Era in their rehearsal and display mature musicianship. Students will be tested in
music dictation skills.
Learning Goals:

-Students will successfully identify rhythms and melodies in two bar excerpt.
-Students will successfully sing through repertoire pieces of the Romantic Era, fine tuning any
technical/performance errors.
-Students will successfully display musicianship discipline in practicing vocal repertoire outside
of class
-Students display musicality in rehearsal and critical thinking towards improving their technique
Prior Knowledge: Students are becoming more comfortable listening to, identifying, and sight
reading rhythms and melodies. They are advancing in the Romantic Era Repertoire package and
will continue to aim their progress in performance technique and musicality.
Agenda:
Music Dictation Quiz: play piece left hand and right hand separately as well as together on
piano. Clap Rhythm individually. Have students write on staff paper with the key signature, time
signature and first note on both treble and bass clef provided. To be handed in and marked.

Work on Romantic Era Package

-split into groups of 2-3. Sing piece for one another and give peer feedback
Johannes Brahms Op.47 No.3 Sonntag (Uhlands Volkslieder)
Gabriel Faur Les Berceaux
Claude Debussy Romance (Can Sing English Translation)
Reynaldo Hahn Si Mes Vers Avaient Des Ailes

Differentiated Instruction:

Students may still struggle with music dictation and so repetition and keeping tabs on how many
times the students need to hear the example is important. Separating rhythm and melody so
students can hear each individual section as well as playing it together is very important so that
they can process the information and correctly notate it. Providing the melody and rhythm at a
slower pace may also help students who feel overwhelmed by the task. Having this activity at the
beginning of lessons will help students in their ear training growth and put them into the
academic mindset before moving onto vocal performance. When addressing the repertoire, go
over any notes intervals and rhythms that are still challenging for students. Promote student
scaffolding so that they may link their theory and historical learning to how they bring their
performance material to life. Establish a positive learning environment for student confidence
where musical exploration may occur.
Required Materials:
-Piano
-Practice rooms
-Music stands
-Quiz sheets/staff paper
Student Assessment: Students will be given a quiz and summative assessment will mark their
progress in music dictation. They will be formatively assessed on their progress and fine tuning
their performance repertoire.
Teacher Reflection: Students will be challenged in their musicality and ear training discipline.
Educators are to be mindful towards repetition of listening in order for students to succeed and
fairly pick out the ear training notes and rhythms. The educator is to engage the class in wellrounded application of musicianship by connecting musical repertoire to theory and history and
making students aware of these connections and interrelationships.

Lesson # 9-10:
Critical Challenge: Students will be tested in their Romantic repertoire by singing a piece/part of
a piece as a solo. Students will sum up the unit by writing an in class reflection.
Connection to Culminating Activity: Students have rehearsed these pieces throughout the unit
and have been working on applying their Romantic Era knowledge to their performance. They
will reflect on their learning and provide productive feedback in their reflections.
Overall Expectations: Students will perform Romantic Era repertoire from their unit performance
package in a creative knowledgeable way (A1.1), displaying a knowledge of the elements of
music (A2.1) in Romantic Era music. Students will extend their technical skills in voice and
display vocal growth (A3.1). Students will reflect on the study of music on their personal growth,

self-awareness, social issues (B3.1) and demonstrate and understanding of musical benefits in the
community (B4.3). They will provide constructive feedback for the educator to further enhance
the unit to benefit students.
Specific Expectations: Students will incorporate their vocal training into their musicality of
Romantic music. They will apply the elements of music discussed in earlier lessons concerning
the Romantic Era in their rehearsal and display mature musicianship. Students will be tested in
music dictation skills.
Learning Goals:
-Students will successfully sing through repertoire pieces of the Romantic Era, displaying a
knowledge for genre, style, musicality, and performance technique
-Students will successfully display musicianship discipline in practicing vocal repertoire outside
of class
-Students display musicality in rehearsal and critical thinking towards improving their technique
-Students participate in providing peer feedback as well as self-observation on their performance
-Students will reflect on their favorite part of the unit, what they enjoyed, want to improve
on/clarify, and explore further.
Prior Knowledge: Students are advancing in the Romantic Era Repertoire package and will
continue to aim their progress in performance technique and musicality in a variety of genres.
They will reflect on their learnings this unit and comment in a reflection what they enjoyed, want
to improve on/clarify, and explore further.
Agenda:
Perform Solos on Romantic Era Performance Package

Ending the unit, students will write an in class reflection about their favorite part of the Romantic
Era, what they enjoyed learning most, and why. They will also be encouraged to comment on
what they would like to learn more about and what they feel was left unclear so that the educator
may learn from their comments.
Differentiated Instruction:
Students may feel nervous to perform, so allowing them the opportunity to sing as a solo is
beneficial to them, but if they are intimidated and uncomfortable with that, they may sing with
the class but in close proximity to the teacher in order to be heard. It is important to establish a
welcoming classroom that is okay and accepting of error as the voice is a process of continual
growth. Allowing peer feedback is encouraged so long as it is positive, helpful, and mindful of
the individual. The voice is a very personal thing, so feedback must be given practically allowing
the student to feel like they have accomplished something while giving them ways to further
improve.
Required Materials:
-Piano
-Rubrics
-Music stands
Student Assessment: Students will be assessed on their progress and fine tuning of their
performance repertoire. Although this is summative assessment, the voice is a process and
personal growth is what is looked for predominately in evaluation. Reflections will not be graded
but used as a point of reference for the teacher.
Teacher Reflection: Students should be challenged in their musicality and educators are to
engage the class in well-rounded application of musicianship by connecting musical repertoire to
theory, technique, and history concepts. Students will provide educators with reflections and
comments on the unit, helping educators to benefit and reflect on their teaching and approach.

Summary: This unit plan revolves around establishing well rounded musicians through creating,
performing, reflecting, responding, analyzing, and exploring in music. As students study history,
theory, music dictation, and repertoire targeted towards the Romantic Era, students gain a wellrounded understanding of how the study of music contributes to the Era. The impact of this unit
format is to flow with other units that are also Era geared so that students may experience the
journey of music historically in Europe predominately, followed by a cultural unit. As a music
educator next steps would be creating complimentary units that fit this Era based format, test

comfort levels of students to see if they would prefer a wider range of repertoire pieces, and
adhere to student feedback about the unit itself.