The following planning is flexible; It is subject to modifications according to the needs of the

groups worked and pedagogical corrections in accordance with the institutional project that
requires it. Didactic sequences and specific projects will be added during the course of the year.

Thematic core Axis Contents Activities Resources

The Context Relationships between music and its Listen to the song “El
organization of environment (instruments, typical Pescador” version by Toto
dances, places and situations where
musical music circulates).
la Momposina and then the
language • Text-music-sociocultural version by Mariana Baggio.
environment in the songs. Chat about similarities and
Shape differences between both Player
Formal segmentation as a result of versions and other cumbias. Song “The
the organization of the work.
Relationship between the parts:
Comment on the Fisherman”
Language degrees of permanence, change and geographical and temporal
return. Musical phrases: their limits. origin of the genre.
Recognize the themes,
verses, chorus (formal
aspect).

Rhythm
• Pulse: Striated and Smooth In the round, create a
Language Rhythm. Pulse and accent ratio. rhythmic motif with the
• Meter: Regular metric. Binary and
ringing that lasts one
ternary compasses. Their
relationships in musical contexts. measure, marking the pulse Ringing,
Popular rhythms with feet, hands, body knock-knock
simple and with simultaneous movements, etc. Sing that
polymetry reason if possible. Refine
The execution of instrumental
relying on the pulse, with its
arrangements in group and
Production individual performances. subdivisions.
• The adaptation to the execution Accompany the song “The
roles based on the totality Fisherman” with some of
Vocal and instrumental performance the motifs worked on.
of songs from the children's and
popular repertoire.
Technical-instrumental aspects. Sing the chorus highlighting
Vocal and instrumental exploration. question-answer between
Percussion groups. groups. Show some
Hearing the components of rhythmic motifs typical of
language cumbia with each Guitar
• Melody and rhythm: their
Reception instrument fulfilling its role. Metallic
 relationship and interdependence in Accompany the song with guiro, bass
music of different genres and styles. the instruments, adding the drum
• Texture: possibility of attending to
the diversity of sound planes present
previously worked motifs. Cowbell
in music of different genres and (wood),
styles. Listen to the song again. ringing
• The form: the structure of the work Talk about the meaning of
as a result of the reconstruction of the lyrics, their social
what was heard
context. Sing it completely
without instrumentation,
only with the
accompaniment of the
guitar. Add the instruments
additively.

Listen to the song “Tra tra

que tra” by Canticuénticos.
Sing the chorus. Recognize
accents and pulses. Inquire
Tempo: fast-moderate-slow.
Acceleration and deceleration. about speed changes and
Regularity. subdivisions.
Language Sudden and progressive changes. Recognize formal aspects. Song “Tra tra
Sing the song by imitation. que tra”
Polyphonic vocal games: canon,
Chinese box
imitation and quodlibet.
In a round, play to put
together a collective story.
Each student says a word
successively, completing a
sentence. Once finished,
register it. Read it aloud in
Vocal exploration. Inflections, different ways, playing with
articulation and expression in the your voice.
The sound Production spoken and sung voice.
materials Propose the game of
collective history but instead
of words make small
rhythms made with the
body. In this case, the game
becomes one of memory,
cumulative. Once finished,
Exploration of one's own body as a discuss and agree on how
sound source: voice, palms, fingers, to record the rhythm.
feet.
• Group creation.
writing music
• Various criteria for writing the
sound and the different components
of the language.
• Writing and reading analogue
graphics. Play collective history again
The composition record
The • Graphic record of the productions
in a round but this time with
composition themselves a melodic instrument:
from analog scores metallophone. Compare
previous games with this
one. Imagine a scene,
Descriptive and abstract possibilities
visual image, feelings that
of musical language the melody evokes. Inquire
 Language Implementation of different about difficulties they were Metallophon
procedures facing; similarities and e
compositional
Production • The structural planning of music.
differences.
• The conception of the entire work Record each sound that is
versus additive composition. made until the round is
Graphic record of the productions finished.
themselves
from analog scores
writing music
• Various criteria for writing the A student will be asked to
sound and the different components play the noted sequence.
of the language. Propose that a rhythm be
assigned to the sequence of
Production Hearing the components of the
sounds. Listen to different
The language options. Discuss how a
organization of • Melody and rhythm: their melody can be recorded.
musical relationship and interdependence in
language Reception music of different genres and styles. Resume the composition
The auditory interpretation
from what was recorded. In
• The relationships between the
elements based on the interpretation small groups perform the
and understanding of a musical work. Record it. Listen to
discourse. the different versions that
were recorded. Reflect on
how the work was written.

Listen to the song

“Collective Unconscious” by
Charly García. Pay
attention to the
instrumentation and formal
aspects (verses, choruses,
melodic and harmonic
The form: the structure of the work
as a result of the reconstruction of modifications in verses).
what was heard Recognize any keystrokes.
Pulse: Striated and Smooth Rhythm.
Pulse and accent ratio. Sing the song accompanied
Vocal and instrumental. Childish, by the guitar. Talk about the
classic, traditional, avant-garde.
Folklore, Tango, Rock/Pop. changes in accent in some
conventional musical instruments words due to the meter.
Context Popular music instruments from the Exchange ideas about the
nearby context. lyrics.
Think about different genres
Text-music-sociocultural that can help us make
environment in songs. another version.
The compositional procedures
and Once you have learned the
The materials context lyrics, look for the best
• The genres and styles belonging to
a specific cultural context, and possible combination in
its most characteristic procedures your instrumentation, taking
into account that you can
hear the lyrics and have
Arrangement as a form of space for the arrangements
composition
The variation on pre-existing music
that work according to the
The The performer as composer chosen version.
composition
Listen to “Gardener's Song”
 by M. AND. Walsh version
by León Gieco. Identify the
instruments. Inquire about
the musical genre of that
version (jazz) relating it to
other songs that the group
knows.

Sing the song accompanied

by the guitar and then add
percussion instruments.
And finally the melodic
ones.

For the use of instruments that the school has or the teacher brings, both known and unknown,
they will be presented for exploration. Then the different ways of executing it will be shared.
(Modes of action to produce sounds: percussion, scraping, rubbing, shaking, clashing, blowing,
plucking. Production axis. Popular music instruments from the nearby context. context axis).
Different types of instruments (which will not be present in class) will also be worked on using
images, auditions and videos, in class or through practical work. (Instruments of the symphony
orchestra: their sound possibilities and their use in diverse musical contexts. context axis)

The songs worked on will be practiced, taking a record of the performance trajectory of each
student, the adaptation to their roles, and the disposition towards the different musical instruments
used. In this way, an evaluation is carried out by the teacher and self-evaluation by the students,
becoming aware of the difficulties and achievements.