College of Arts: "Antonio Neumane"

Area meeting: Middle Basic Level (3rd, 4th, 5th)

Prepared by: Msc. Juanita Espinoza Almeida.
Date: May 2015

Area meeting: Middle Basic Level (3rd, 4th, 5th)

COMPETENCES :
Currently, competencies are understood as comprehensive actions to identify, interpret, argue and solve contextual
problems with suitability and ethics, integrating knowing how to be (values and attitudes), knowing how to do (skills) and
knowing how to know (knowledge). Before presenting the different types of competencies, it is necessary to define what
competencies are? In this case, we refer to competencies as all those behaviors made up of cognitive skills, values
activities, motor skills and various information that make possible to carry out any activity effectively.
A competence allows you to identify, select, coordinate and mobilize in an articulated and interrelated manner a set of
diverse knowledge within the framework of an educational situation in a specific context.

The music area contributes to the acquisition of basic skills.

a) Competence in linguistic communication.- Through songs or simple dramatizations, they are a favorable vehicle for
the acquisition of new vocabulary and developing skills related to speech, such as breathing, diction or articulation.
b) Mathematical reasoning competence.- Through the rhythmic work carried out in the activities, as well as the processes
of ordering, sequencing, serialization, structuring, repetition and alternation, proportionality and numbering implicit in most
musical activities, whether of any order (vocal, instrumental, movement).
c) Competence in knowledge and interaction with the physical and natural world.- Through the perceptual work of
sounds, it serves as a pretext for artistic creation, explores it, manipulates it and incorporates it to give it a dimension that
provides enjoyment and contribute to the enrichment of people's lives. Likewise, it takes into account another equally
important dimension, which concerns attacks that deteriorate the quality of life, such as noise pollution.
d) Digital competence and information processing.- Through the use of technology as a tool to show processes related
to music and bring students closer to the creation of artistic productions and sound analysis. Competence in searching for
information about artistic manifestations is also developed.
e) Social and citizen competence.- Within the area, interpretation and creation often involve group work, which sets in
motion attitudes of respect, acceptance and understanding, which positions the area as a vehicle for the development of
this competence. A commitment is formed with others.
f) Cultural and artistic competence.- It does so directly in all aspects.
g) Competence and attitudes to continue learning autonomously throughout life.- Provides protocols for inquiry and
planning of processes that can be used in other learning.
h) Competence for autonomy and personal initiative.- Creativity requires acting with autonomy, launching initiatives,
considering diverse possibilities and solutions. The process not only contributes to originality, the search for innovative
forms, but also generates flexibility because different responses can be given to the same assumption.
MUSICAL COMPETENCES
 Musical competence 1: the student will use his or her vocal
and/or instrumental resources (knowledge and attitudes) to communicate his or her version of a piece of music that has
been entrusted to him or her.
 Musical competition 2: Starting from a given proposal, the student will improvise alone or in a small group, a musical
sequence
 Musical competition 3: Based on an individual or collective intervention, born from various given references, the
student will improvise, alone or in a small group, a musical sequence.
 Musical competition 4: On his or her own initiative or based on a given proposal, the student will compose alone or
in a small group, a musical sequence intended to be performed by a specific group.
 Musical competence 5: The student will create and perform the accompaniment of a song (bordon, ostinato, sound
effects, rhythmic support...) taking into account its specific characteristics.
 Musical competence 6: Starting from music already composed, identifying the procedures used (composition,
interpretation, diffusion) and taking up the elements gathered during listening, the students will create, alone or in a small
group, a musical sequence.
 Musical competence 7: The student will use listening as a means of analyzing a situation and/or musical production.
 Musical competence 8: The student will use listening as a means of constructing his or her musical thinking.

The musical skills that students should achieve and demonstrate in future diverse contexts would be those seen
below.
Interpretative – expressive
A student competent in musical expression will be someone who knows how to sing, whether as part of a choral,
instrumental, mixed group or singing a cappella.
 College of Arts: "Antonio Neumane"
Area meeting: Middle Basic Level (3rd, 4th, 5th)
Prepared by: Msc. Juanita Espinoza Almeida.
Date: May 2015

You would also be expressively competent if you know how to dance and synchronize movement with other performers, and
know how to use a musical instrument to interpret melodies or accompaniments with acceptable technical mastery, whether
reading musical scores, in conventional or unconventional format, or interpreting by ear.
Creative
A student competent in creativity will be one who knows how to create music through the use of traditional instruments and
materials as part of an interdisciplinary artistic project, without leaving aside knowledge for the students in the vast field of
creativity, whether through from the use of numerous ICT resources, that is, the simplest instruments that you find in the
classroom, in rehearsals, or in your participation in large orchestral groups.
Perceptive
In the ability to be conscious and experience by one's own will or in response to a given listening context, different levels of
musical perception, from the purely sensory: background music, to emotional listening: evocation of images, thoughts,
feelings or synesthetic hearing, which music can provoke, or analytical listening: understanding of musical discourse.
A good listener knows that his exercised skill requires an active attitude towards music and a knowledge of the various
contexts in which musical perception can occur.
Therefore, self-knowledge of one's own cognitive benefits will allow one to activate the attention processes necessary to
extract maximum information and satisfaction from the act of listening, adapting to the circumstances of the given format.
Historical – theoretical
In the ability to conceptualize musical terminology, identifying, understanding, relating and transferring all those declarative
knowledge that constitute the materials used in musical discourse.
In this way, this knowledge becomes instrumental to enrich the expressive and perceptive processes that occur in the act of
interpreting, creating and listening to music.
Instrumental (axiological – cognitive)
On the one hand, it is the ability to apply and grant values and attitudes that promote positive social contexts through music.
On the other hand, in the ability to become aware of the transfer possibilities that musical listening and practice develops.
Group instrumental practice, that is, orchestral, provides axiological values, of a life in society where they are able to listen
to the voices of others and feel that their personal participation is as important as that of others, which provides the values
of work in group and the capacity for coordination.

HELP MATERIAL, SUPPORT EXAMPLES

 TOPIC: MUSICAL LANGUAGE
 Objective of the Work Unit: Know and decode musical symbols for reading sheet music.
Procedures (organizing contents)
- Read melodically, scores of various styles and genres applying simple, binary, ternary and quaternary measures.
- Solfe with practical criteria from the pulse: quarter notes and eighth notes to internalize the rhythm.
- Solfete melodically using the pentaphony, natural major scale and harmonic minor scale.
- Discriminate, write and state major, minor, just, increased and decreased intervals with the purpose of applying them to the
tessituras.
- Train auditorily from the modal and functional tonal conception in order to discriminate them.
- Apply dynamic signs expressively with the purpose of improving interpretive quality.
- Identify the key signature in the score and the tonality aurally to define the different musical structures.
- Locate the American cipher in a work of popular music to simplify harmonization.
Facts/concepts (supporting content)
- Musical Reading: figures and silences, alterations, staff and musical notes.
- Elements of music: concepts, classes and qualities of sound.
- Rhythm: characterization and internalization through onomatopoeia and body expression.
- Intervals: joint and disjoint degrees; ascending and descending in different modes and tones.
- Signs of dynamics and expression: pp, p, mf, f, ff, cresc, decrec and others.
Attitudes/values/norms (supporting content)
- Values the importance of musical theory and notation in the learning process.
- Actively participates in learning intervals.
- Recognizes the importance of musical expression as a message.
- Is sensitive and appreciates the effect of tones on mood
- Appreciate the diversity of chord structures and colors.
- Assess good melodic and harmonic ornamental management in a given work.
- Responsibly fulfills assigned duties and tasks.
- Is supportive of teamwork.
Teaching and learning activities
 College of Arts: "Antonio Neumane"
Area meeting: Middle Basic Level (3rd, 4th, 5th)
Prepared by: Msc. Juanita Espinoza Almeida.
Date: May 2015

- Analyze and conceptualize music from your individual perspective.

- Describe sound: parameters and relationships with figures, silences and musical notes.
- Conceptualize and combine various rhythmic schemes.
- Perform major and minor scales and arpeggios.
- Apply the signs of dynamics and expression: p pp, f, ff, mf; rit. , acc, regulators, sound extension, movements and
character among others.
- Sing popular and educational melodies.
- Use the American cipher in the melodies.
Evaluation criteria
- Various concepts of music have been presented with personal criteria.
- The relationships of sound with figures, silences and musical notes have been described.
- Concepts and combinations have been developed for various rhythmic schemes.
- Melodies have been presented using major and minor scales and arpeggios.
- All signs of dynamics and expression have been used appropriately.
- A repertoire of popular and educational melodies has been performed efficiently.
- The American cipher has been used correctly in the melodies.

 TOPIC: THEORY AND MUSICAL SIGNS

 Objective of the Work Unit: Know and understand the Western musical alphabet to apply it in vocal and
instrumental practice, creation and arrangements of works.
Procedures (organizing contents)
- Integrate musical signs and their combinations for their application in Reading.
- Identify sound parameters in order to discriminate similarities and differences.
- Analyze and classify intervals for their application in the melodic and harmonic structures of the works.
- Recognize the structure of chords and scales with the purpose of analyzing harmonic links and the melodic line.
- Read setbacks, syncopations, irregular values and decorations.
Facts/concepts (supporting content)
- Musical signs of duration and frequency: figures, notes, alterations, patterns, keys, measures.
- Popular alphabetical notation (American cipher).
- Keys: key signatures, scales, arpeggios, major and minor chords.
- Signs of articulation and expression: prolongation, ligatures, phrasing.
- Concept of tone and semitone: joint and disjoint degrees.
Attitudes/values/norms (supporting content)
- Values the importance of musical theory and notation in their learning process
- Actively participates in learning the Intervals.
- Recognizes the importance of musical expression as a message.
- He is sensitive and appreciates the effect of tones on mood.
- Appreciate the diversity of chord structures and colors.
- Assess good melodic and harmonic ornamental management in a given work.
- Responsibly fulfills assigned duties and tasks.
- Is supportive of teamwork.
Teaching and learning activities
- Read and write a musical score efficiently.
- Phrase correctly incorporating signs of articulation and expression.
- Recognize alternative notations for percussion instruments.
- Build scales with sharps and flats, arpeggios, major and minor chords.
Evaluation criteria
- An adequate process of musical reading and writing has been carried out.
- The signs of articulation and expression have been clearly identified and incorporated into the phrasing.
- Alternative notations for percussion instruments have been recognized and incorporated into practice.
- Scales and arpeggios have been correctly constructed with sharps and flats, majors and minors.

ESSENTIAL EVALUATION INDICATORS

1 Document (draw, write) the sounds of the environment in a creative way.
1 Recognizes sounds by their origin and pitch when listening to environmental sounds and simple pieces of music.
1 Sing children's songs expressively
1 Recognizes and analyzes musical parameters: rhythm, melody and intensity, in an exercise of body expression, and
instrumental or choral interpretation.
1 He establishes from his perspective the instrumental classification considering similarities, differences and sound
possibilities.
 College of Arts: "Antonio Neumane"
Area meeting: Middle Basic Level (3rd, 4th, 5th)
Prepared by: Msc. Juanita Espinoza Almeida.
Date: May 2015

1 Applies expressiveness (articulation, vocalization and breathing) when singing a repertoire, appropriate to their
vocal possibilities.
1 Experience the timbre of your voice within the choral expression, in a free and spontaneous way.
1 Manipulates various instruments by rhythmically and melodically recreating musical works.
1 Enjoy and value the musical work from your own interpretation.
1 Expresses and communicates his inner and outer world by interpreting various rhythms
1 Select materials and design musical instruments with creativity.
1 Read musical symbols (figures and notes) in elementary rhythmic and melodic exercises.
1 Represents musical ideas through basic signs and spellings.

SKILLS WITH PERFORMANCE CRITERIA

KNOWN
 Distinguish different types of sounds through the classification of their origin (natural or artificial) and tone (high or
low).

 Compare different musical genres , that represent different cultures and historical moments, based on the
assessment of their expressive quality.

 Evidence the creation and evolution of Ecuadorian musical instruments through research into their history.

 Analyze and evaluate the artistic creations of classmates.

 Differentiate musical works of popular, classical and contemporary style.

 Discriminate sound elements: timbre, intensity, rhythm and melody.

 Document Ecuadorian and Latin American musical instruments.

CREATES
 Interpret varied rhythms by distinguishing intuitive movements of your body.
 Perform a song with your body, voice or an instrument.
 interpret a basic musical repertoire with expression and relative precision.
 Create and decorate a musical instrument using everyday or recycled materials.

APPRECIATE
 Practice the expressiveness of the voice : articulation, vocalization, breathing through the unison
interpretation4 of popular songs.
 Practice choral expression, in a repertoire of songs.
 Practice instrumental expression in order to recreate nuances and melodies of musical works.
 Analyze the value of choral and instrumental works by listening to selected songs and own interpretation.
 Experience rhythm, melody, harmony and nuances.
 Participate in the formation of duos, trios or musical groups, in order to promote teamwork and expression of
ideas and/or thoughts.

EXPLORE
 Reproduce musical units: ostinatos, rhythmic and melodic formulas using basic spellings.
 College of Arts: "Antonio Neumane"
Area meeting: Middle Basic Level (3rd, 4th, 5th)
Prepared by: Msc. Juanita Espinoza Almeida.
Date: May 2015

PREPARED BY: MSC. DORIS SERRANO

MUSICAL LANGUAGE: 4th NBM – FIRST QUARTER

UNIT 1
MUSICAL THEORY.
* MUSICAL SIGNS:
Staff, clefs, figures, notes, silences.
Barlines, additional lines, repetition signs, ligatures, dots, main articulation signs.
Pulse, rhythm and accent, relative value of figures, simple measures.
RHYTHMIC AND INTONATED READING
* Rhythmic Reading: rhythmic formulas with figurations of up to ¼ time in simple measures. Polyrhythm.
* Toned reading: In one voice
HEARING DEVELOPMENT
* Rhythmic dictation: One voice
* Melodic dictation: In one voice
UNIT 2
MUSICAL THEORY
* Simple measures with denominator 2, 4, 8. Strong and weak times.
* Point, double point
* Tone and semitone (diatonic and chromatic)
RHYTHMIC AND INTONATED READING
* Rhythmic Reading: Rhythmic exercises for one voice, pollyrhythm.
* Toned Reading: In one voice
HEARING DEVELOPMENT
* Rhythmic dictation: One voice
* Melodic dictation: In one voice
MUSICAL LANGUAGE: 4° NBM. - SECOND QUIMESTRE
UNIT 3
MUSICAL THEORY.
* Intervals: Harmonic, melodic, simple, compound, ascending and descending.
* Alterations: Own and accidental
* Syncopation, first type setback in simple measures
RHYTHMIC AND INTONATED READING
* Rhythmic Reading: rhythmic formulas with figurations of up to ¼ time in simple measures. Polyrhythm.
* Syncopation and setback application
* Toned reading: In one voice
HEARING DEVELOPMENT
* Rhythmic dictation: One voice
* Melodic dictation: Intervals
UNIT 4
 College of Arts: "Antonio Neumane"
Area meeting: Middle Basic Level (3rd, 4th, 5th)
Prepared by: Msc. Juanita Espinoza Almeida.
Date: May 2015

MUSICAL THEORY
* Key armor: Identification, construction
* The tone
* Compound time signature, numerator 6.
* Scale: Concept, name of the degrees
* Major scale with sharps and flats
RHYTHMIC AND INTONATED READING
* Rhythmic Reading: Repertoire exercises
* Compound measures application
* Intonated reading: Tetrachord scales, natural major scale.
HEARING DEVELOPMENT
* Rhythmic dictation: One voice
* Melodic dictation: Scales: natural major

MUSICAL LANGUAGE: 5th NBM – FIRST QUARTER

UNIT 1
MUSICAL THEORY
* Pulse, rhythm and accent, relative value of figures, simple, compound and amalgam measures.
* Syncopation, first, second and third type setback, regular and irregular, anacruse.
RHYTHMIC AND INTONATED READING
* Rhythmic Reading: simple, compound and amalgamation measures in simple and compound measures.
* Rhythmic forms with anacruse, syncopation and setback.
* polyrhythms
* Toned reading: In one voice
HEARING DEVELOPMENT
* Rhythmic dictation: One voice and two voices
* Melodic dictation: In one voice
UNIT 2
MUSICAL THEORY
* Combined measures, irregular figures
* Signs of expression, nuances (pp, p, mp, mf, f,ff,fp)
* Agogic: Alegro, Moderato, Adagio, etc.
RHYTHMIC AND INTONATED READING
* Rhythmic Reading: Rhythmic exercises for one voice
* Combined measures applications.
* Toned Reading: In one voice
HEARING DEVELOPMENT
* Rhythmic dictation: One voice
* Melodic dictation: In one voice
MUSICAL LANGUAGE: 5° NBM. - SECOND QUIMESTRE
UNIT 3
MUSICAL THEORY.
* Modality or mode
 College of Arts: "Antonio Neumane"
Area meeting: Middle Basic Level (3rd, 4th, 5th)
Prepared by: Msc. Juanita Espinoza Almeida.
Date: May 2015

* Name of the scale degrees

* Natural major, natural minor, harmonic and melodic scales
RHYTHMIC AND INTONATED READING
* Rhythmic Reading: Repertoire exercises.
* Toned reading: Tetrachord scales, natural major scale and minors
HEARING DEVELOPMENT
* Rhythmic dictation: One voice
* Melodic dictation: Scales: natural major and minors.
UNIT 4
MUSICAL THEORY
* Intervals: Harmonic, melodic, simple, compound, ascending and descending, major, minor, augmented, diminished,
consonant and dissonant.
RHYTHMIC AND INTONATED READING
* Rhythmic Reading: rhythmic formulas with figurations of up to ¼ time in simple and amalgam measures, and 1/16 time in
compound measures
* Polyrhythms.
* Toned reading: In one voice
HEARING DEVELOPMENT
* Rhythmic dictation: One voice and two voices
* Melodic dictation: Intervals

MUSICAL LANGUAGE: 6° NBM. – FIRST QUARTER

UNIT 1
MUSICAL THEORY
SYNCOPA AND COUNTERTIME
 CONCEPT
 REGULAR
 SPECIES
 IRREGULAR
 ASSOCIATION FORMULAS.
RHYTHMIC AND INTONATED READING
 RHYTHMIC SOLFEO 81 TO 84 BONA
 MELODIC SOLFEO.- 5 LENAIN MELODIES
RHYTHMICAL AND MELODIC DICTATIONS IN ONE VOICE

UNIT 2
MUSICAL THEORY
INTERVALS, COMPLETE STUDY
 CONSTRUCTION
 INVESTMENT
 FROM SOLUTION
 IN HARMONY
 College of Arts: "Antonio Neumane"
Area meeting: Middle Basic Level (3rd, 4th, 5th)
Prepared by: Msc. Juanita Espinoza Almeida.
Date: May 2015

RHYTHMIC READING
 RHYTHMIC SOLFEO 85 TO 88
 MELODIC SOLFEO.- 5 LENAIN MELODIES.
RHYTHMICAL AND MELODIC DICTATIONS IN ONE VOICE

MUSICAL LANGUAGE: 6° NBM. - SECOND QUIMESTRE

UNIT 3
MUSICAL THEORY
 OTHER SCALES
 CHROMATIC
 PENTAPHONE
 MAJOR HARMONIC
 GREGORIAN SCALES
RHYTHMICAL AND MELODIC DICTATIONS FOR 2 VOICES

UNIT 4
RHYTHMIC READING
 RHYTHMIC FORMULAS WITH 1/8 TIME FIGURATIONS WITH SIMPLE AND COMPOUND TIMES.
 AMALGAM COMPASSES
 COMPOUND COMPASSES
 ADVANCED RHYTHMICAL FORMULAS WITH SYNCOPAGE AND COUNTERTIME IN ALL ITS SPECIES AND
COMPAS
 POLYRHYTHMY
AUDITORY RECOGNITION OF:
 CHORDS
 SCALES
 INTERVALS
 ARPEGIOS