Songs of Revolutions Culminating Assessment
Essential Questions:
· What role does the heroic figure play in the ebb and flow of order and chaos in the midst of revolution?
· What patterns arise when examining revolution?
· What tools and devices do writers use to create universal and enduring characters in conflict?
· How does the individual language and voice of a writer convey his/her culture’s values and conflicts?
· What compelling elements of literature touch the reader and help him/her to understand and empathize with the universal emotions, conflicts, and experiences of previous generations?
students will research protest music of various revolutions/movements that have been significant in their impact on the history and culture of a people or peoples.
Within a group, each student will choose one song. The group should have songs from at least five separate revolutions/protest movements.
Each student will research both the song itself (lyrics, criticism, artist(s)) and the revolution and historical event to which it is most closely referenced.
After researching, groups will look for big ideas and patterns between and among songs, completing the planning guide based on the data they have collected.
Finally, each student will have 2-3 minutes to present his/her own powerpoint, prezi, or video project that provides the following: (Note: any lyrics/video or audio clips should be radio-edited).
The big ideas of the individual revolution/protest and the ideals they purposed to achieve and uphold.
The important details of the individual song that underscores and reveals the ideals of the revolutions.
The patterns that all revolutions seem to have in their origins, executions, and culminations.
Trends discovered through research that suggest when the patterns of revolution manifest themselves and trends discovered in the use of language, music, emotions, and persuasive techniques of revolutionary songs that indicate any change in perspective on the nature of revolution and violent overturn, if any.
Unanswered questions that reading of A Tale of Two Cities and researching the songs leave about the nature of revolutions and man’s involvement in and need for change in sometimes extreme ways. Why do revolutions continue to occur and will it be ever so?
First Things First!
Go to the KLMS Wiki page and find on the right hand side bar the link for 8th Grade “Songs of Revolution.” Then, follow each of the link titles/instructions below to begin your “Songs of Revolution” project.
What makes a song revolutionary?
Listen to tracks and look at liner notes for information about lyrics!
Choose your songs from the database of songs and their corresponding protest movements.
Read about the history of Protest Music.
Essential Questions:
· What role does the heroic figure play in the ebb and flow of order and chaos in the midst of revolution?
· What patterns arise when examining revolution?
· What tools and devices do writers use to create universal and enduring characters in conflict?
· How does the individual language and voice of a writer convey his/her culture’s values and conflicts?
· What compelling elements of literature touch the reader and help him/her to understand and empathize with the universal emotions, conflicts, and experiences of previous generations?
students will research protest music of various revolutions/movements that have been significant in their impact on the history and culture of a people or peoples.
Within a group, each student will choose one song. The group should have songs from at least five separate revolutions/protest movements.
Each student will research both the song itself (lyrics, criticism, artist(s)) and the revolution and historical event to which it is most closely referenced.
After researching, groups will look for big ideas and patterns between and among songs, completing the planning guide based on the data they have collected.
Finally, each student will have 2-3 minutes to present his/her own powerpoint, prezi, or video project that provides the following: (Note: any lyrics/video or audio clips should be radio-edited).
The big ideas of the individual revolution/protest and the ideals they purposed to achieve and uphold.
The important details of the individual song that underscores and reveals the ideals of the revolutions.
The patterns that all revolutions seem to have in their origins, executions, and culminations.
Trends discovered through research that suggest when the patterns of revolution manifest themselves and trends discovered in the use of language, music, emotions, and persuasive techniques of revolutionary songs that indicate any change in perspective on the nature of revolution and violent overturn, if any.
Unanswered questions that reading of A Tale of Two Cities and researching the songs leave about the nature of revolutions and man’s involvement in and need for change in sometimes extreme ways. Why do revolutions continue to occur and will it be ever so?
First Things First!
Go to the KLMS Wiki page and find on the right hand side bar the link for 8th Grade “Songs of Revolution.” Then, follow each of the link titles/instructions below to begin your “Songs of Revolution” project.
What makes a song revolutionary?
Listen to tracks and look at liner notes for information about lyrics!
Choose your songs from the database of songs and their corresponding protest movements.
Read about the history of Protest Music.
Songs of Revolutions Presentation Rubric
Expert
Intermediate
Beginner
Self
Teacher
Content
(times 2)
Gifted Benchmarks: Students will formulate and predict trends related to key concepts, issues, and themes; Gifted students will construct generalizations and synthesize across data, concepts and perspectives
The presentation effectively and thoroughly presents research about song and revolution, uncovering big ideas, important details, patterns, trends, and unanswered questions. Presentation has insightful and original generalization(s) about protest song, revolution, conflict, and/or the role of the individual in impacting society. Contributed a thorough and insightful analysis of a song and revolution.
The presentation attempts to synthesize research about song and revolution, uncovering some big ideas, important details, patterns, trends, and unanswered questions. Student has developed a generalization about protest songs, revolution, conflict, and/or the role of the individual in impacting society. Contributed an analysis of a song and revolution.
The presentation does not completely or effectively synthesize research about song and revolution. Missing big ideas, important details, patterns, trends, and/or unanswered questions. Student has not yet developed generalizations about protest songs, revolution, conflict, and/or the role of the individual in impacting society. Did not contribute an analysis of a song and revolution.
Oral Communication and technological prowess
Effective use of images, text, fonts, backgrounds, sound and/or transitions, adding to the audience’s understanding of the content. Oral and technological presentation is rehearsed and therefore smooth and flawless.
Use of images, text, fonts, backgrounds, sound and transitions mostly effective. Oral and technological presentation is rehearsed and works.
Choices of images, fonts, background colors, transitions and/or sounds may be inappropriate or distracting. Not sufficiently rehearsed and therefore not yet smooth or effective.
Cooperative
Group Work
(Individual Accountability)
Worked well with everyone. Took individual roles and responsibilities to add to group effort and group synthesis. Always communicated positively.
Mostly worked well together. Shared some responsibilities towards group synthesis, but others in the group did more. Communication was usually positive.
Difficulty communicating ideas in a positive way. Responsibility is not shared or equally divided in group synthesis. Did much less than everyone else in the group.
Mechanics
Grammar, spelling, punctuation, capitalization are correct.
Some errors in grammar, spelling, punctuation, capitalization.
Abundant and distracting errors in grammar, spelling, punctuation, and capitalization.
Expert
Intermediate
Beginner
Self
Teacher
Content
(times 2)
Gifted Benchmarks: Students will formulate and predict trends related to key concepts, issues, and themes; Gifted students will construct generalizations and synthesize across data, concepts and perspectives
The presentation effectively and thoroughly presents research about song and revolution, uncovering big ideas, important details, patterns, trends, and unanswered questions. Presentation has insightful and original generalization(s) about protest song, revolution, conflict, and/or the role of the individual in impacting society. Contributed a thorough and insightful analysis of a song and revolution.
The presentation attempts to synthesize research about song and revolution, uncovering some big ideas, important details, patterns, trends, and unanswered questions. Student has developed a generalization about protest songs, revolution, conflict, and/or the role of the individual in impacting society. Contributed an analysis of a song and revolution.
The presentation does not completely or effectively synthesize research about song and revolution. Missing big ideas, important details, patterns, trends, and/or unanswered questions. Student has not yet developed generalizations about protest songs, revolution, conflict, and/or the role of the individual in impacting society. Did not contribute an analysis of a song and revolution.
Oral Communication and technological prowess
Effective use of images, text, fonts, backgrounds, sound and/or transitions, adding to the audience’s understanding of the content. Oral and technological presentation is rehearsed and therefore smooth and flawless.
Use of images, text, fonts, backgrounds, sound and transitions mostly effective. Oral and technological presentation is rehearsed and works.
Choices of images, fonts, background colors, transitions and/or sounds may be inappropriate or distracting. Not sufficiently rehearsed and therefore not yet smooth or effective.
Cooperative
Group Work
(Individual Accountability)
Worked well with everyone. Took individual roles and responsibilities to add to group effort and group synthesis. Always communicated positively.
Mostly worked well together. Shared some responsibilities towards group synthesis, but others in the group did more. Communication was usually positive.
Difficulty communicating ideas in a positive way. Responsibility is not shared or equally divided in group synthesis. Did much less than everyone else in the group.
Mechanics
Grammar, spelling, punctuation, capitalization are correct.
Some errors in grammar, spelling, punctuation, capitalization.
Abundant and distracting errors in grammar, spelling, punctuation, and capitalization.
What makes a song revolutionary?
http://www.pbs.org/wnet/getupstandup/music.html
French Revolution
Hymn of 9 Thermidor
This hymn commemorates the overthrow of Robespierre and the Committee of Public Safety by the men of the National Convention. It had its debut performance on the first anniversary of that event (27 July 1795).
//It’ll Be Okay//
Popular during the early years of the Revolution, this song’s lively tune and repetitive chorus expressed revolutionaries’ hopefulness about the future. Singers manipulated its malleable lyrics to address a broad range of topical issues.
Oh Richard, Oh, My King!
This aria from the Gretry opera, Richard the Lion–Hearted, was adopted by royalists during the early years of the Revolution. The song’s accusation that the king had been abandoned by all but his most devoted followers made it a suitable counter–revolutionary anthem.
Patriotic Song on the Unveiling of the Busts of Marat and Le Pelletier (1793)
This song illustrates the fluid boundary between "high" and "popular" musical forms. Although these lyrics were set to a new composition by Joseph Gossec, they could also be sung to a tune already familiar to many French men and women. The song honors journalist Jean–Paul Marat and deputy Michel LePelletier, both of whom had been assassinated and were considered martyrs to the Revolution.
Song of the Marseillaise of the Federation of 10 August, Year II
One of many hymns that was composed by rhyming new lyrics to the wildly popular tune of the "Marseillaise," this song was performed at a festival celebrating the first anniversary of the republican revolution of August 10.
Te Deum for the Federation of July 14, 1790 at the Champ de Mars
A hymn written by Joseph Gossec to celebrate national unity on the first anniversary of the taking of the Bastille. Combining old and new, Gossec set a traditional Latin text to music scored for wind instruments (rather than the common organ), the sound of which carried well at the outdoor festival.
The Alarm of the People
Composed by J.M. Souriguieres, a parisian dramatist, and Pierre Gaveaux, an actor, this song demands revenge for the crimes and bloodshed of the Terror. It was quickly adopted as an anthem by the "gilded youth" of the Thermidoran Reaction, who sang it in opposition to singers of the Marseillaise.
The Carmagnole
Sharing its name with a popular dance, this song heaps scorn upon the queen (Madame Veto), believed to be a traitor, and the "aristocrats" who support her. Like "It’ll Be Okay", the simple tune of the "Carmagnole" permitted even the illiterate to learn lyrics with which to proclaim their conviction in the Revolution’s progress.
The Marseillaise (War Song for the Army of theRhine)
Composed by Joseph Rouget de Lisle when he learned that France had declared war on Austria, the Marseillaise quickly became the anthem of the republican Revolution. it remains the French national anthem today. A republican anthem, the Marseillaise was considered suitable for all sorts of revolutionary events. While it was often sung casually in streets and parks, its learned composition also facilitated its adoption as a hymn by formally–trained musicians and singers.
The Liberty Song
This is a song about a tree or a pole which patriots met around to talk about important things happening around the colonies. To show support for the patriots, women wore a hat and under the hat they would have curled thirteen strands of their hair. They did that to represent the thirteen colonies. It was written by John Dickinson.
American Taxation
This was written by Peter St. John who was school teacher. It was about the Stamp Act which he thought was "an unconstitutional attempt upon our liberties."
Free Americay
This one was written by Joseph Warren. It is sung to the tune of "The British Grenadiers." The Rebels were retreating from Breed's Hill when a bullet took the life of Dr. Joseph Warren.
Free Nelson Mandela by Special AKA
The song that brought Nelson Mandela to the attention of a generation. Kick started the anti-
apartheid movement leading to boycotts of Barclay's, Shell & South African sports teams.
People Have The Power, by Patti Smith
1988, album "Dream Of Life" -- Chorus: "The people/have the power/to redeem/the work of fools. Upon the meek/the graces shower/it's decreed/the people rule," etc.
Sun City, by United Artists Against Apartheid
This song was to protest against the Apartheid government in South Africa.
"Till I Go Down," by Jackson Browne
"I'm not gonna shut my mouth, I'm for the truth to come out, About the leader with the iron will, And his allegiance to the dollar bill" What more can I say?!
"You're the Voice," by John Farnham
"We're not gonna sit in silence, We're not gonna live in fear"
For What It's Worth Buffalo Springfield
Imagine John Lennon
War Bob Marley
Chicago/We Can Change the World Graham Nash
Do You Hear the People Sing?: from Les Miserables
http://www.pbs.org/wnet/getupstandup/music.html
French Revolution
Hymn of 9 Thermidor
This hymn commemorates the overthrow of Robespierre and the Committee of Public Safety by the men of the National Convention. It had its debut performance on the first anniversary of that event (27 July 1795).
//It’ll Be Okay//
Popular during the early years of the Revolution, this song’s lively tune and repetitive chorus expressed revolutionaries’ hopefulness about the future. Singers manipulated its malleable lyrics to address a broad range of topical issues.
Oh Richard, Oh, My King!
This aria from the Gretry opera, Richard the Lion–Hearted, was adopted by royalists during the early years of the Revolution. The song’s accusation that the king had been abandoned by all but his most devoted followers made it a suitable counter–revolutionary anthem.
Patriotic Song on the Unveiling of the Busts of Marat and Le Pelletier (1793)
This song illustrates the fluid boundary between "high" and "popular" musical forms. Although these lyrics were set to a new composition by Joseph Gossec, they could also be sung to a tune already familiar to many French men and women. The song honors journalist Jean–Paul Marat and deputy Michel LePelletier, both of whom had been assassinated and were considered martyrs to the Revolution.
Song of the Marseillaise of the Federation of 10 August, Year II
One of many hymns that was composed by rhyming new lyrics to the wildly popular tune of the "Marseillaise," this song was performed at a festival celebrating the first anniversary of the republican revolution of August 10.
Te Deum for the Federation of July 14, 1790 at the Champ de Mars
A hymn written by Joseph Gossec to celebrate national unity on the first anniversary of the taking of the Bastille. Combining old and new, Gossec set a traditional Latin text to music scored for wind instruments (rather than the common organ), the sound of which carried well at the outdoor festival.
The Alarm of the People
Composed by J.M. Souriguieres, a parisian dramatist, and Pierre Gaveaux, an actor, this song demands revenge for the crimes and bloodshed of the Terror. It was quickly adopted as an anthem by the "gilded youth" of the Thermidoran Reaction, who sang it in opposition to singers of the Marseillaise.
The Carmagnole
Sharing its name with a popular dance, this song heaps scorn upon the queen (Madame Veto), believed to be a traitor, and the "aristocrats" who support her. Like "It’ll Be Okay", the simple tune of the "Carmagnole" permitted even the illiterate to learn lyrics with which to proclaim their conviction in the Revolution’s progress.
The Marseillaise (War Song for the Army of theRhine)
Composed by Joseph Rouget de Lisle when he learned that France had declared war on Austria, the Marseillaise quickly became the anthem of the republican Revolution. it remains the French national anthem today. A republican anthem, the Marseillaise was considered suitable for all sorts of revolutionary events. While it was often sung casually in streets and parks, its learned composition also facilitated its adoption as a hymn by formally–trained musicians and singers.
The Liberty Song
This is a song about a tree or a pole which patriots met around to talk about important things happening around the colonies. To show support for the patriots, women wore a hat and under the hat they would have curled thirteen strands of their hair. They did that to represent the thirteen colonies. It was written by John Dickinson.
American Taxation
This was written by Peter St. John who was school teacher. It was about the Stamp Act which he thought was "an unconstitutional attempt upon our liberties."
Free Americay
This one was written by Joseph Warren. It is sung to the tune of "The British Grenadiers." The Rebels were retreating from Breed's Hill when a bullet took the life of Dr. Joseph Warren.
Free Nelson Mandela by Special AKA
The song that brought Nelson Mandela to the attention of a generation. Kick started the anti-
apartheid movement leading to boycotts of Barclay's, Shell & South African sports teams.
People Have The Power, by Patti Smith
1988, album "Dream Of Life" -- Chorus: "The people/have the power/to redeem/the work of fools. Upon the meek/the graces shower/it's decreed/the people rule," etc.
Sun City, by United Artists Against Apartheid
This song was to protest against the Apartheid government in South Africa.
"Till I Go Down," by Jackson Browne
"I'm not gonna shut my mouth, I'm for the truth to come out, About the leader with the iron will, And his allegiance to the dollar bill" What more can I say?!
"You're the Voice," by John Farnham
"We're not gonna sit in silence, We're not gonna live in fear"
For What It's Worth Buffalo Springfield
Imagine John Lennon
War Bob Marley
Chicago/We Can Change the World Graham Nash
Do You Hear the People Sing?: from Les Miserables