music

Integrated Unit Planning: ♫♪♫ Thank You for the Music! ♫♪♫



FOCUS QUESTION: Does the music of a time represent the issues and concerns of that time?

YEARS: 4/5 LEVEL: 3 TEACHERS: Robyn McNee and Heather Wessling

CURRICULUM ORGANISERS

DIVERSITY & CHANGE CONSTRUCTIVE CITIZENSHIP SUSTAINABLE COMMUNITIES & ENVIRONMENTS

As life-long learners students: As life-long learners students are: As life-long learners students:

 Recognize and value diverse groups  Active, informed and reflective citizens  Recognize impact of environmental change

 Develop identities  Designers of future life pathways  Advocate and take action for preferred future

 Accept change  Use ethical codes of behaviour  Value, care for & shape sustainable communities

 Design own futures  Contribute to peace and world harmony

SELECTED LEARNING OUTCOMES

ARTS: HPE:

ME 3.1 Students combine and manipulate media languages and technologies to EPD 3.1 Students explain how different ways of describing people, including

construct intended meanings. stereotyping of males and females, influence the way people value and treat

ME 3.2 Students present media texts to a specified audience using presentation themselves and others.

techniques associated with particular media forms.

ME 3.3 Students examine and compare the particular languages used to construct

various representations across media forms and genres for specific purposes.

SCIENCE: SOSE:

EC 3.2 Students identify forms of energy and describe the effects and TCC 3.2 Students create sequences and timelines about specific Australian changes

characteristics of those different forms. and continuities.

EC 3.3 Students identify different ways of obtaining energy. CI 3.5 Students explain changing attitudes in different time periods towards gender,

age, ethnicity or socioeconomic identities.

TECHNOLOGY: ICTs

TP3.1 Students examine knowledge, ideas and data from a range of sources and Create a PowerPoint Presentation summarising and presenting information from

establish the relevance of this information when meeting design challenges. their History Through Music Graphic Organiser

TP3.2 Students collaboratively generate design ideas and communicate these

using presentations, models and technical terms.

TP3.3 Students cooperatively develop and follow production procedures to make

products that reflect their design ideas.

TP3.4 Students test and judge how effectively their own or others‟ processes and

products meet the design challenge.

KEY CONCEPTS AND LEARNINGS: Music, social issues, environmental issues, war, sport, social issues, gender, stereotyping, history reflected through

music, sound energy, making music.

PURPOSE/ CONTEXT: If art is truly a window to the soul, then the music of each generation offers a glimpse of the myriad of issues, pains and plagues, influences

and inspirations that have shaped the ethos of the youth of that era. For nowhere are the views of the young displayed more prominently than in the songs they compose

and perform. Take a trip in the Tardis back through time, investigate how music has changed throughout history, how it reflects the issues of society at that time as well as

the attitude towards gender roles and stereotyping.

EXCURSIONS/VISITORS COMMUNITY INVOLVEMENT: SCHOOL INVOLVEMENT:

Parade presentation

PRODUCTIVE PEDAGOGIES

INTELLECTUAL QUALITY CONNECTEDNESS SUPPORTIVE SCHOOL RECOGNITION & VALUING OF

ENVIRONMENT DIFFERENCE

 Higher-order thinking  Knowledge integration  Student direction  Cultural knowledge

 Deep knowledge  Background knowledge  Social support  Inclusivity

 Deep understanding  Connectedness to the world  Academic engagement  Narrative

 Substantive conversation  Problem-based curriculum  Explicit quality performance criteria  Group identity

 Knowledge as problematic  Self-regulation  Active citizenship

 Metalanguage

STUDENTS NEED TO KNOW: STUDENTS NEED TO DO: Self and Others

 What is sound energy  Discuss how they are unique?  Individual lyrics and

 What are different forms of energy  Discuss ways that they can use music to convey significant messages about performance

 What is the transfer and transformation of energy types- sound (vibration, pitch, volume), themselves and the issues that affect them  Small group

electrical  Write a “Me Song”- provide students with a structure- eg. haiku, cinquain, to presentation of issue

 What are the effects of sound energy compose simple lyrics about themselves (Revisit again at the end of the unit) through music for

 What are the characteristics of energy  Explore the science of sound and energy parade presentation

 Pre 1950s- war songs o Experiment with pitch, vibration and sound

 The emergence of rock 'n' roll - 1950s New Orleans music o Compare acoustic and electrical sounds/energy

 Early 1960s (e.g. Brill Building, Motown, folk/protest, British Invasion, Early Aus rock), o Make their own instruments from recycled materials to explore

Late 1960s (e.g. British blues, psychedelic music, soul, folk-rock, singer-songwriters) sound and vibrations

 Early 1970s (e.g. progressive rock, country rock, funk, heavy metal), Late 1970s music  Explore different periods throughout history with a focus on Australia (within a

(e.g. disco, punk, reggae, Aus rock) global community)- discuss environmental, indigenous, economic, social, war

 Early 1980s (e.g. electronic pop, heavy metal, rap, African, Aus Indigenous), Late 1980s and sporting issues of that time

(e.g. techno, house, rave culture, „world‟ styles, metal)  Explore fashions and trends of the period by viewing videos and pictures

 Early 1990s (e.g. grunge, unplugged, trip-hop, electronic styles)  View various stage performances by individuals and groups to discuss/

 Late 1990s-2004 (e.g. alternate rock, Britrock, singer-songwriters, hip hop, electronic critique performance techniques

styles, jazz-pop  Use the Six Thinking Hats to respond to messages in music from various

 Futuristic Music- what next periods:

 What are specific Australian changes and continuities and how are they represented within o White Hat: Facts, information

songs of the time: o Red Hat: Feelings and emotions

o Environmental campaigns (John Williamson Rip, Rip Wood Chip, Counting o Yellow Hat: Good points

Crows “Pay Paradise”, Midnight Oil) o Black Hat: Judgments- who is included, who is marginalized

o Indigenous events (Yothu Yindi, Midnight Oil, John Buttler Trio, Slim Dusty) o Green Hat: Respond creatively

o Economic change/ issues (Phil Collins “Just Another Day in Paradise”, Bruce  Perform their “Me song”- with musical accompaniment on stage for a parent

Springstein) audience

o Social Upheaval (Bob Dylan, World Vision, “We are the World”, Bob Geldoff, o Critique their performance

Paul Kelly)

o War (Only Nineteen, Jack Johnson, Bob Dylan, The Band Played Waltzing  Small groups of students work together to explore various issues (from

Matilda, Bruce Springstein, The Wall Tim Murphy (Copyright 1985)) Graphic organiser), identifying music that illustrates that issue,

o Sport (How’s That, Up There Cazely, Tina Turner, Land Down Under- Men At  Prepare a three minute presentation showing how music reflects a social

Work, True Blue (John Williamson) has become the anthem for the Australian issue through various historical periods in Australia and Internationally

cricket team. A Number On My Back(John Williamson) has become the song the  Write a script identifying speaking roles, props and accompanying music, etc.

Wallabies needed to stir their blood, Sir Don is a tribute song to Don Bradman).  Present their presentation as a culminating activity on parade

 That Stereotyping can be presented through music:

o Land Down Under- Men At Work

o Slim Dusty

o Living and Working on the Land James Blundell, James Reyne

o Country and Western

o Girls Just Want to have Fun Cindy Lauper

PROGRAM MODIFICATIONS

SCAFFOLDING LEARNING: ENRICHMENT: DIFFERENTIATION:

Individual support from LST

ASSESSMENT & EVIDENCE GATHERING OVERVIEW



Pre-testing

KWL- Music









Assessment Tasks Related KLAs How and when judgments

will be made:

“Me Song”- Lyrics and performance The Arts

English

Students: Technology

 Wrote lyrics that reflected their person, individuals values and traits Science

 Designed and made their own musical instrument from recycled materials

 Created music to accompany their lyrics

 Performed their song to an audience of their peer and parents



Parade Presentation- History and Music (Group presentation) SOSE

English

Students:

 Worked cooperatively to plan, write and present short group presentation

about a social issue presented through music of various time periods

 Contributed to the ideas and planning within the group



History Through Music PowerPoint Presentation SOSE Criteria sheet (attached)

The Arts Peer assessment

Students: HPE

 Create a PowerPoint Presentation that depicts major eras of music

through history

LITERACY DEMANDS



 Poetry



 Music lyrics



 Sentence structure



 Syllables



 Spelling



 Script Writing









NUMERACY DEMANDS



 Timeline/ sequencing of events









RESOURCES:

Anti-war songs and lyrics http://www.zmag.org/songs/songarchive.htm

Depression and depression Era Songs- 1929- 1939 (great explanations) http://www.parlorsongs.com/issues/1998-10/oct98feature.asp

School Days and teen attitudes http://www.school-for-champions.com/history/school_days.htm

Rock vs pop music http://www.midtermpapers.com/9186.htm

Understanding the music of the new generation http://www.findarticles.com/p/articles/mi_m1077/is_n10_v45/ai_9231341#continue

About John Williamson (including a list of his songs) http://www.malleeboy.com/html/body_about_john.html

History Through Music

Era Environment War Sport Social Upheaval Economic Indigenous Gender roles

Pre-

1950





1950s









1960s









1970s









1980s









1990s









Present







Future

Music as a Powerful (Tool http://www.rapidintellect.com/AEQweb/cho3023l5.htm)



Unfortunately, one seldom finds music used in the teaching and learning process outside of traditional arts instruction. Teachers do not have

enough time, music is inappropriate, it is not relevant, or there is just a lack of knowledge; all these are excuses for the lack of music integration in

history education. However, if we are interested in contextual history education for active participation and problem solving in society, then music

offers many possibilities. It often provides a context for connections to the world and sense making in the world. Our students also deserve the

opportunity to engage in this discourse and inquiry for music is one area where they seem eager to share their voice and engage in history.



The Baby Boom of the post World War II years also contributed much to the mass audience for popular media and therefore music; and pop

music in all its categories reaped the benefits. One could provide an interesting social history of the latter half of the twentieth century by exploring

the evolution of music. In the sixties, music became harder edged and more serious with the exploration of social issues, for example. In the late

eighties and nineties hip hop and alternative music continued to push the boundaries and explore harder issues as well as entertain. Popular

media and music not only serve as a reflection of the times, but as is evidenced from the social history of the late twentieth century, can also be

very active social forces.



Despite issues in schools such as standardization, test preparation becoming the curriculum, and scripted lessons many social studies teachers

have used music very effectively to demonstrate historical periods. Sample music integration examples include units on music and war, music and

postwar America, the labor movement and music, social issues and music, and global cultures and music. Many of these examples are teacher

directed with the teachers usually choosing and demonstrating the music examples. This is definitely a first step in meaningful integration – that of

modeling, but critical history education necessitates more student active involvement and choice (Brooks and Brooks, 1994). Meaningful history

education requires that we engage in a more sincere effort at promoting the context and connections needed to ensure a more relevant learning

experience. Allowing students to be involved in the social construction of meaning in their world is a vital step.



Keeping with relevant examples, using current events and social issues to provide context and connections for today and for the study of the past

enhances the links necessary for student efficacy and empowerment. Music is a natural tool for achieving these goals. But it must be include

student choice if we are interested in enabling context and connections. We can include our music as examples and modeling, but again, allowing

students to include their personal choices in the teaching and learning process takes it that needed step. Obviously this presents an opportunity to

teach rights and responsibilities regarding ÏappropriateÓ examples for using in schools.



Most music genres or individual artists contain examples of songs that contain social commentary or historical references. Many people are under

the assumption that social commentary in music reached its peak in the late sixties and early seventies. Punk (Clash, Green Day), Hip Hop

(Public Enemy, Eminem) and Grunge (Nirvana, Pearl Jam) are genres from the eighties through today that provide considerable social

commentary and historical references. And Pop and Rock (Springsteen, Dylan) still have much to say regarding social issues. œEven” country

has lots to say regarding similar ideas and themes (Cash, Keith). We should not dismiss artists or genres that we don‟t œown” as many interest

our students.



Many forms of music emerge as commentary or resistance toward more mainstream culture and society. Perhaps no better example of this exists

than in popular music. From its earliest days pop has been viewed as cutting edge, crossing the boundaries, and a threat to the values and morals

of society. Little Richard, Elvis, the Beatles, Bob Dylan, The Rolling Stones, Acid – Pop, Heavy Metal, Disco, Punk, MTV, Grunge and Thrash,

Rave, and Hip Hop have all witnessed their detractors and have been viewed at one time or another as threats to the basic social fabric.

Through its history, pop music like all forms of music has not only served as a reflection of the times, but it also has been a catalyst for critical

social efficacy and societal change. Several themes can be used to integrate pop music into teaching and learning for social efficacy in schools.

Pop music can be a very powerful theme as students investigate issues such as ethnicity and the struggle for equality, population growth,

economics, technology, business and industry, efficacy and empowerment within the context of social history (Szatmary, 2000). This focus in and

of itself would provide the necessary relevance students need to facilitate intrinsically a love of learning leading to effective social efficacy and

empowerment.



Music in the U. S. in the last part of the twentieth century at least, is often reflected through the struggle for equality by various ethnic groups,

particularly African Americans. One must first come to an understanding of the absolute importance of African American culture in the history of U.

S. media music. Pop would not exist as it is without blues which originated from slave songs. Protest music of the sixties often had civil rights as

the predominant theme. African American artists are often the trail blazers in social commentary and music innovation including blues, jazz, R and

B, disco, rap, and hip hop. Each of these genres emerged as a proactive force with music doing more than perhaps any other societal force in

promoting integration and appreciation of cultures.



Applications



The following three applications offer models for integrating music in secondary history education. The themes include music and history, music

and social issues, and music and the 2oth century. They are intended are guides and suggestions, not detailed lessons to ensure student and

teacher negotiation, choice, and adaptation. Each application begins with integrating a teacher choice of music to focus the lesson, then includes

student centered applications focusing on collaborative and inquiry-based strategies.



Music and History



Introduction:

Pass out lyrics to We Didn’t Start the Fire.

Play We Didn’t Start the Fire by Billy Joel.

Ask the following:

What is the song about?

What issues and ideas are presented?

Why does the song begin and end when it does?

Place students in groups of approximately 4.

Tell students that they are going to update the song.

Have students individually brainstorm events and issues from 1990 – present.

Have group members share.

Create a group stanza.

Pass out transparency and have groups write new stanza.

Each group will share / sing new stanza.

Following the sharing have groups discuss rationale for events / issues included.

Have groups research and investigate original song‟s events and issues.



Groups:

Individuals in groups brainstorm themes in history and music examples for integration.

Brainstorm application ideas. Share.



Modeling:

Have examples of music for groups to investigate.

Examples include Say It Loud, Long Road to Freedom, 200 Years of American Heritage in Song, We Sing America, Celebrate Women, The Civil

War, Soundtrack for a Century

Discuss the examples and choose specific examples of music for classroom integration.



Examples:

Have lyrics and music for songs such as Yankee Doodle, Follow the Drinking Gourd, This is Your Land, Blowin‟ in the Wind, and Where is the

Love

Groups should brainstorm integration ideas.



Music and Social Issues



Introduction:

Pass out lyrics to any song that deals with social issues such as Where is the Love by The Blackeyed Peas

Play the song, play other examples of songs that deal with social issues.

Ask the following:

What is the song about?

What issues and ideas are presented?

Why does the song begin and end when it does?

Place students in groups of approximately 4.

Tell students that they are going to write their own lyrics on an agreed upon social issue

Have students individually brainstorm current social issues.

Have group members share.

Create a group stanza.

Pass out transparency and have groups write new stanza.

Each group will share / sing new stanza.

Following the sharing have groups discuss rationale for events / issues included.



Groups:

Individuals in groups brainstorm themes, social issues and music examples for integration.

Brainstorm application ideas. Share.



Modeling:

Have examples of music for groups to investigate.

Examples include songs from Public Enemy, System of a Down, Bob Dylan, Pete Seeger, Ani Defranco,Woody Guthrie, etc.

Discuss the examples and choose specific examples of music for classroom integration.

Examples:

Have lyrics and music for songs such as Changes by 2Pac, Roll with It by Ani Defranco, Shimmy by System of a Down

Groups should brainstorm integration ideas.



Music and 20th Century



Introduction:

Play 2 - 3 of your favorite songs (history, social themes). Inform students of the meanings, connections, and why you like the songs.

Have students so the following:

Write names of 3 favorite songs.

Describe what the songs mean.

Why do you like the songs?

Bring in examples / lyrics.



Groups:

Share examples. Have group members write or draw a response to the examples.

What are the similarities and differences between songs?

Discuss in groups:

What are the elements of a good song, artist?

What kind of music do you like?

What are current issues regarding music in society?

What are your thoughts about these issues?



Extensions:

Do the same with various themed collections such as:

Jukebox Hits of the 50‟s, 60‟s, 70‟s, 80‟s, and 90‟s

Long Walk to Freedom

Say It Loud

Use various themes / issues in the music to teach or make connections to history / social issues.



Conclusion

A vital issue surrounding music (at least regarding schooling) is its role as societal force; as this relates most directly to the issue of social efficacy

and participation. Regardless of the genre, music remains a vibrant cultural force that reflects societal issues but can also have a proactive

impact. Exploring the role of music in reflecting and impacting societal change both in the present and the past can be a very motivating

experience for kids in their endeavor to make sense of the world. The idea is that music is not only a device for entertainment, but one that

provides social commentary and a contextual tool for powerful history education. Allowing for the investigation of issues through music as Shukar

suggests (1994) or using music as social and historical references as Szatmary (2000) suggests can only enhance powerful history education that

actually involves students in discourse and dialog. Integrating music can only enhance student active engagement in historical inquiry and

investigation.



References

Brooks, J. and Brooks, M. The Case for Constructivist Classrooms. Alexandria, VA: Association for Supervision and Curriculum Development.

1994.

Daspit, T. and J. Weaver, 2000. Popular Culture and Critical Pedagogy. New York: Falmer Press.

Freire, P and H. Giroux. Pedagogy, popular media, and public life. In Giroux, H. and R. Simon. Popular Media: Schooling and Everyday Life.

Granby, MA: Bergin and Garvey Publishers. 1989.

Giroux, H. Disturbing Pleasures. New York: Routledge. 1994.

Loewen, J.. Lies my teacher told me. New York: Touchstone. 1995

Steinberg, S. and J. Kincheloe. 1997. Kinderculture: The Corporate Construction of Childhood. Boulder, CO: Westview Press.

Szatmary, D. Rockin' in Time: A Social History of Rock and Roll. Toronto: Prentice Hall. 2000.

Wallis, R. and Malm, K. Youth Policy and Music Activity. New York: Routledge. 1992.

White, C. Issues in Social Studies. Springfield, IL: Charles C. Thomas, 2002.

Zinn, H. A People’s History of the United States. New York: Harper Collins, 2003.



Web Sites

Popular Songs in American History

http://www.contemplator.com/america/

100 years of Music Posters

http://www.music-posters-history.com/

This Day in Music History

http://datadragon.com/day/

Black History in Music

http://www.rhino.com/blackhistory/

Top 20 Music History

http://www.top20musichistory.com/

Education Planet – History and Music

http://www.educationplanet.com/search/search?keywords=history+and+music&startval2=0

Songs for Social Studies

http://songsforteaching.homestead.com/SocialStudies.html

Teaching Media

http://www.media-awareness.ca/eng/med/class/teamedia/popcul.htm

Popular Culture Appreciation Society

http://home.vicnet.net.au/~popcult/net.htm#TOP

Influence on the lyrics of Rock Music (http://www.studyworld.com/newsite/ReportEssay/MusicArt/Music%5CRock_Music-381150.htm)





It is almost impossible to trace the origin of Rock Music as it includes a variety of black and white American music styles: black guitar-accompanied blues; black rhythm and

blues; black and white gospel music; white country and western music; and the songs of white popular crooners and harmony groups. When it first began, rock music was

referred to as "rock 'n' roll'. After 1964 it was simply called "rock music" and was no longer just for dancing.



The first rock ‟n‟ roll record to achieve national popularity was “Rock Around the Clock” made by Bill Haley and the Comets in 1955. It had an exciting back beat and the lyrics

were earthy and simple. Haley was able to translate black rhythm and blues into a form that adolescent white audiences could understand.



Rock 'n' roll was for and about adolescents. Its lyrics dealt with teenage problems: school, cars, summer vacation, parents, and, most important young love. The primary

instruments of this music were guitar, bass, piano, drums, and saxophone. The primary focus is its heavy beat, loudness, self-absorbed lyrics, and raving delivery.



The greatest proponent of rock 'n' roll from 1956 to 1963 was Elvis Presley, a truck driver and aspiring singer from Tupelo, Miss. His dynamic delivery and uninhibited sexuality

appealed directly to young audiences while horrifying older people.



At the turn of the decade Detroit became an important center for black singers, and a certain type of sound known as "Motown" named for Motown Record, developed. This

music is characterized by a lead singer singing an almost impressionistic melody story line to the accompaniment of harmonies of a backup group. Some singers who made

this style famous are Diana Ross and the Supremes, and Gladys Knight and the Pips.



Rock music again surged to popularity in 1962 with the emergence of the Beatles, a group of four long-haired boys from Liverpool, England. Their popularity produced other

groups with unusual names such as the Rolling Stones. These groups revived the blues orientation of rock 'n' roll and their presentations were even louder and more electric.



An important transformation of rock occurred in 1965 at the Newport Folk Festival when Bob Dylan, noted as a composer and writer of folk songs and songs of social protest,

appeared playing electric guitar and backed by an electrified rock band. This brought about a fusion of folk and rock; folk groups used rock arrangements and rock

singers composed poetic lyrics for their songs.



In the 1960s music reflected the tensions of the Vietnam War era and played an important role in American culture. Rock songs turned toward rebellion, protest, sex and drugs.

Some group vocalists tried to reflect in music the experience of psychedelic drugs, producing long, repetitive songs with surreal lyrics (known as "acid rock" or "hard

rock").



By the late 1960s rock was widely regarded as an important musical form. Musicians such as Miles Davis and John McLaughlin tried to combine rock and jazz, and artists as

Leonard Bernstein tried combine rock and classical music. From 1967 onward, the rock festival was regarded as the ideal context in which to hear rock music, and thousands

of fans attended. The most successful and peaceful rock festival, Woodstock, was held in 1969. Later, however, a similar event, featuring the Rolling Stones, was held in

California and was marked by several violent incidents including a murder. The format projected by the Rolling Stones was taken to extremes by performers such as Alice

Cooper and David Bowie with the outrageous behavior during their performances.



A turning point in rock music occurred in the late 1970s in the form of punk rock, which used political protest themes as the base of their music. By the early 1980s, it had

changed rock music considerably; however, in the 1990s the continuing popularity of older bands, such as the Grateful Dead and the Rolling Stones, bore witness to the

enduring appeal of this form among both the young and the increasingly middle-aged. The appeal of older and past rock bands was also evident at the opening (1995) of the

Rock and Roll Hall of Fame in Cleveland, Ohio.

Lyrics of Song School Days Represent Teen Attitudes by Ron Kurtus (26 September 2003)



(http://www.school-for-champions.com/history/school_days.htm)



The lyrics of 1957 hit record "School Days" by singer/songwriter Chuck Berry epitomized the attitudes of high school students of that time. Many would listen to the rock tune

and say, "That's just how my day was." Surprisingly, the lyrics hold up very good to describe today's school experience.



Questions you may have about this are:



 What is historical about song lyrics??

 What are the lyrics to this song?

 How does it compare with today?



This lesson will answer those questions. There is a mini-quiz at the end of the lesson.



History from songs



By examining the songs of an era, the history student can learn much about what the populace did and in what they were interested. Unfortunately, most of history taught in

schools concerns political events, wars and such. But they don't look at what happened with everyday people, especially those in their teens.



The person writing a song will typically express his or her feelings and personal experiences. A good writer has a keen eye to what is happening in society during the time,

especially concerning those in the record-buying age group.



With the advent of rock and roll music, the songs were often written by the singers themselves. They were typically in their early 20s, so what they wrote about was their

particular perspective. Surprisingly, Chuck Berry was 31 years old when he wrote School Days. But he certainly had his finger to the pulse of the youth. Or, perhaps his lyrics

were universal and were also a reflection of his own experience in high school.



School Days lyrics



(Copyright Chuck Berry 1957)



Up in the morning and out to school

The teacher is teaching the Golden Rule

American History and Practical Math

You're studying hard and hoping to pass

Working your fingers right down to the bone

And the guy behind won't leave you alone



Ring, ring goes the bell

The cook in the lunchroom's ready to sell

You're lucky if you can find a seat

You're fortunate if you have time to eat

Back in the classroom, open your books

Gee, the teacher don't know how mean she looks

Soon as three o'clock rolls around

You finally lay your burden down

Close up your books, get out of your seat

Down the halls and into the street

Up to the corner and around the bend

Right to the juke joint, you go in



Drop the coin right into the slot

You've got to hear something that's really hot

With the one you love, you're making romance

All day long you been wanting to dance,

Feeling the music from head to toe

Round and round and round we go



Hail, hail rock and roll

Deliver me from the days of old

Long live rock and roll

The beat of the drums, loud and bold

Rock, rock, rock and roll

The feeling is there, body and soul.



Compare with today



The school experience in 1957 is quite similar to that today, with some minor exceptions.



The Golden Rule is no longer taught in most public schools because it is "religious" and may offend some students. But the subjects are the same, and there still is that pest

who sits behind you. Some schools have done away with the cafeteria, but for those with one, it still is a hassle to find a seat.



A big difference is that teens no longer go to "juke joints" after school. Those were typically ice cream parlors, where the kids would have soft drinks, talk and listen to music

from the juke box or coin-operated record player. In some places that catered to the students, they had an area for dancing.



In conclusion



Studying the lyrics of songs of an era is a good way to find out what its people were concerned about. In more recent times, it reflects the attitudes of those in their teens.

School Days draws a good picture of a typical day in high school in the 1950s. Many of the things of concern to a high school student then still apply today.

Peer Assessment Sheet: PMI

History Through Music Power Point Presentation



Student‟s name: _____________________



PowerPoint Presentation: Use this section to record a Plus, a Minus (something that could be improved) and

an Interesting point about the actual PowerPoint presentation itself (the slides you see on the screen).



PLUS MINUS INTERESTING









Oral Presentation: Use this section to record a Plus, a Minus (something that could be improved) and an

Interesting point about the oral (speaking) part of the presentation (how and what the student says).



PLUS MINUS INTERESTING









Peer Assessment Sheet: PMI

History Through Music Power Point Presentation



Student‟s name: _____________________



PowerPoint Presentation: Use this section to record a Plus, a Minus (something that could be improved) and

an Interesting point about the actual PowerPoint presentation itself (the slides you see on the screen).



PLUS MINUS INTERESTING









Oral Presentation: Use this section to record a Plus, a Minus (something that could be improved) and an

Interesting point about the oral (speaking) part of the presentation (how and what the student says).



PLUS MINUS INTERESTING

History Through Music

Power Point Presentation Assessment Sheet

Name: ________________________________________



Assessment Criteria



Did the slide-show: Yes No

 Contain a sufficient amount of accurate information

 Look visually appealing (with background and font

colours that worked well together and text that could be

seen clearly)

 Appear well organised and well-structured (not

cluttered)

 Contain clip-art

 Have a simple and effective slide transition

 Contain a working hyperlink

 Appear to be a cohesive presentation (Slide Master

used)

 Feature WordArt

 Appear overall, a visually stimulating presentation with

appeal for the intended audience (peer)

Did the speaker:

 Present accurate information

 Appear to understand what he/she was talking about

 Appear confident

 Speak clearly

 Speak loudly

 Make eye-contact with audience members

 Have a stable base, remaining still during the

presentation

 Have an introduction and a conclusion



Overall Comment:









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