SubjectVISUAL AND Performing ARTS

organizer--visual arts (K-8)

Standard 1

Understand and apply media, techniques, and processes related to the visual arts

K-2 Benchmarks

1. Know, name, and use with responsible care basic art materials and tools such as crayons, tempera, paint, clay, glue.

2. Know how to experiment with different media, processes, and techniques.

K-2 Performance Indicators

1a. Create drawings, prints, designs, paintings, and crafts.

1b. Use markers and crayons to illustrate a

story.

1c. Mix colors using watercolor and tempera.

2a. Identify and use geometric and organic shapes.

2b. Make 3-D constructions.

2c. Use a variety of objects to print.

3-5 Benchmarks

1. Know how different media - e.g., watercolor, clay, wood, videotape techniques and processes are used to communicate ideas, experiences, and stories.

2. Know how different materials and techniques cause different responses from

the viewer.

3. Know how different media (tempera, watercolor, cra-pas, markers, crayons, papier-mache, clay) techniques and processes are used to communicate ideas.

4. Use art materials and tools in a safe and responsible manner.

3-5 Performance Indicators

1. Demonstrate techniques and processes related to drawing, painting, designing, printmaking, sculpture, and crafts.

2. Critique with appropriate vocabulary the artwork of others.

3. Select appropriate materials, use appropriate techniques to express specific ideas.

4. Demonstrate proper procedure and cleanup.

6-8 Benchmarks

1. Understand what makes different art media, techniques, and processes effective or ineffective in communicating various ideas.

2. Know how the qualities and characteristics of art media, techniques, and processes can be used to enhance communication of experiences and ideas.

6-8 Performance Indicators

1. Discriminate between options in media and technique in order to communicate specific ideas - e.g., manipulate size, overlapping, and camouflage techniques

using letters as design.

2a. Make choices within one medium to achieve a specific result - e.g., experiment with color schemes during portrait exploratory.

2b. Demonstrate use of tools to achieve desired effect - e.g., use linoleum cutter to create line and space on a lino plate surface.

Standard 2

Know how to use design - e.g., sensory qualities, organizational principles, expressive features to create a variety of art forms

K-2 Benchmarks

1. Understand basic design elements [line, color, space, form, texture].

2. Understand basic design principles (repetition, balance, emphasis, contrast, and unity).

K-2 Performance Indicators

1a. Create line drawings - e.g., draw one image in three different sizes to create perspective in a drawing.

1b. Create 2 and 3-D objects.

1c. Mix and use primary colors.

1d. Experiment with space and composition.

1e. Identify and produce implied and actual textures.

2. Create art that explores basic design principles.

MSAD #16 Hall-Dale Framework for Academic Standards Fall 1997

Visual & Performing Arts

3-5 Benchmarks

1. Understand design elements (line, color, space form, texture).

2. Understand basic design principles - e.g., experiment with repetition and contrast using a 3-D geometric form for layered earth drawing.

3-5 Performance Indicators

1a. Create line drawings using a variety of

tools and media.

1b. Mix and use primary and secondary color schemes.

1c. Demonstrate use of negative and positive space.

1d. Reproduce a variety of textures for specific purposes.

1e. Develop 2 and 3-D forms in a variety of media.

2. Create art that further explores design principles.

6-8 Benchmarks

1. Know how to use design elements for a variety of design purposes.

2. Understand what makes various design principles effective or ineffective in the communication of ideas.

3. Know how the qualities of design elements and principles are manipulated to enhance communication of ideas.

6-8 Performance Indicators

1. Produce personal 2 and 3-D art that shows an understanding of the elements

and principles of design - e.g., using repetition and emphasis develop an interesting composition based on a contour line self-portrait.

2. Manipulate design principles to express specific ideas - e.g., develop and compare line drawings that use techniques of overlapping to show calm and hostility and chaos.

3. Critique formal elements and principles in own work and the work of others using specific art vocabulary.

Standard 3

Know how to use art as a visual language to express ideas

K-2 Benchmarks

1. Know how to brainstorm and develop ideas for works of art.

2. Know how subject matter, symbols, and ideas are used to communicate meaning.

K-2 Performance Indicators

1. Express life experiences in art forms.

2. Develop art vocabulary and appropriate images to express ideas.

3-5 Benchmarks

1. Know how to brainstorm and develop

ideas for works of art.

2. Know how subject matter, symbols, and ideas are used to communicate meaning.

3-5 Performance Indicators

1. Develop teacher-initiated topics into a variety of art forms.

2a. Develop a personal symbolism to convey meaning - e.g., design a shield based on an event that has greatly affected the student; transpose the event using symbolic language.

2b. Learn how to read a visual language - e.g., using coins or stamps as depicted throughout time, write a critique about why the images changed over time; also complete cross-cultural critique of imagery.

6-8 Benchmarks

1. Know how to brainstorm, select, and focus on appropriate ideas to develop works of art; select and combine ideas with appropriate images in order to communicate meaning.

2. Know different subjects, themes, and symbols that convey intended meaning in artwork.

6-8 Performance Indicators

1. Develop own ideas into art forms - e.g., create symbols for landforms and animals found in Maine, complete as a design using radial symmetry as the format.

2. Develop own iconography to express personal ideas - e.g., arrange a paper sculpture using imagery that relates to self, family, and community.

MSAD #16 Framework for Academic Standards Fall 1997

Visual & Performing Arts

Standard 4

Understand the visual arts relation to history and cultures

K-2 Benchmarks

1. Know that the visual arts have a history and a specific relationship to various cultures.

2. Identify specific works of art as belonging to particular cultures, times, and places.

3. Know how history, culture, and the visual arts can influence each other.

K-2 Performance Indicators

1. Explore own and other cultures through the visual arts.

2. Compare artworks from several different cultures - e.g., Maine, Native American, Mexican, and other ethnic groups.

3-5 Benchmarks

1. Know that the visual arts have a history and a specific relationship to various cultures.

2. Identify specific works of art as belonging to particular cultures, times, and places.

3. Know how history, culture, and the visual arts can influence each other.

3-5 Performance Indicators

1. Create artwork inspired by other cultures and art periods, both European and Asian - e.g., create a design using organic and geometric shapes that would be suitable for a kimono design print based

on historical visual review.

2. Respond to artwork of different cultures and art periods - e.g., French impressionism.

3. Create art integrated with other subjects, Japanese, Spanish, French - e.g., construct a Retablo sculpture, incorporate sculptural elements from Spanish as well as own culture; complete a visual/historical/geographical introduction of Inuit people and design stencil print being mindful of native technique.

6-8 Benchmarks

1. Understand the similarities and differences among the characteristics of artwork from various eras and cultures.

2. Understand the historical and cultural contexts of art.

3. Understand how factors of time and place - e.g., climate, resources, ideas, technology influence the characteristics that give meaning or function to a work of art.

6-8 Performance Indicators

1. Create artwork inspired by other cultures - i.e., Australian, Tibetan, Native cultures - e.g., create a design using the concept of mandala as traced cross-

culturally; incorporate images based on own phenomenology into a map using elements of Aboriginal artwork, native pictographs, and scientific visuals of mapping of body systems or geological formations.

2. Respond orally, and in writing, to art- works of different cultures and time periods.

3. Imitate the techniques and processes of another culture or time period.

Standard 5

Understand the characteristics and merits of one's own artwork and the artwork of others

K-2 Benchmarks

1. Know that each person has a unique way of self-expression.

2. Know how to validate and appreciate the artwork of others.

3. Know how people's culture and environment can influence the development of specific artwork.

K-2 Performance Indicators

1. Compare and discuss each other's artwork.

2. Use appropriate language to talk about the art of others.

3. Compare and discuss artwork from other cultures.

3-5 Benchmarks

MSAD #16 Hall-Dale Framework for Academic Standards Fall 1997

Visual & Performing Arts

1. Know that each person has a unique way of self-expression.

2. Know how to validate and appreciate the artwork of others.

3. Know how people's culture and environment can influence the development of specific artwork.

3-5 Performance Indicators

1. Take care of, finish, and respect own art.

2. Respond with appropriate respect for the art of others.

3. Respond through understanding cultural and historical differences.

6-8 Benchmarks

1. Distinguish among multiple purposes for creating works of art.

2. Understand contemporary and historic meanings in specific artwork.

3. Understand how one's own artwork as well as artwork from various eras and cultures may elicit a variety of responses.

6-8 Performance Indicators

1. Identify verbally, and in writing, various purposes for creating art - i.e., advertising, expressing emotions, expressing ideas.

2. Integrate art into other subject areas.

3. Develop tolerance and open-mindedness to the art of others - e.g., during Maine Women in History Week, recall and view artwork done by Maine women

throughout time; compare this with contemporary work done by Maine women artists.

4. Understand how various interpretations can be used to understand and evaluate works of visual art.

subject--visual AND performing arts

organizerDesign 1 (Trimester 1)

(9-12)

Standard 1

Understand and apply media, techniques, and processes related to the visual arts

9-12 Benchmarks

1. Understand the creative process, how to choose an idea from many ideas, develop, refine, execute, and evaluate an idea into a polished work of art.

2. Understand a variety of drawing techniques and visual techniques in order to draw better.

3. Understand differences between watercolor and tempera painting.

9-12 Performance Indicators

1a. Draw an organic or inorganic object from three or more angles; combine the views or the object with other objects and put them together into a unified composition.

1b. Relate objects to each other and to a specific format.

2a. Demonstrate understanding of negative space drawing, contour drawing, and modified contour drawing.

2b. Demonstrate ability to draw a variety of lines with ebony pencil and charcoal and particular color schemes in watercolor.

Standard 2

Know how to use design elements and principles (line, color, space, form, texture and balance, emphasis, rhythm, repetition and contrast, unity) to create a variety of art forms

9-12 Benchmarks

1. Understand how design elements and principles are used to accomplish personal, group, commercial, or other aesthetic intentions.

2. Know how design elements and principles can be used to solve specific visual arts problem.

3. Understand color theory and techniques to show depth including linear perspective.

9-12 Performance Indicators

1. Participates in a variety of studio experiences that reflect a variety of purposes - e.g., a) invents something, b) designs a personal logo, c) does a series of paintings that show an awareness of color schemes: monochromatic, d.) paints

MSAD #16 Framework for Academic Standards Fall 1997

Visual & Performing Arts

to express a mood or a feeling.

2. Demonstrate, through drawings, an understanding of one and two-point perspective.

3. Demonstrate, through a series of paintings, an understanding of the properties of all colors: hue; value; intensity; and color schemes.

Standard 3

Know how to use art as a visual language to express ideas

9-12 Benchmarks

1. Understand how visual expression is tempered by culture and history (compare sculpture by Christo and George Segal with work by Michelangelo and Donatello)(compare Andy Warhol to Giotto or Raphael). 2. Apply various subjects, symbols, and ideas in one's artwork.

3. Know right and left brain thinking, haptic and visual.

9-12 Performance Indicators

1a. Do a drawing that uses twentieth century subject matter.

1b. Show how specific lines, colors, shapes connote specific feelings, moods, and statements - e.g., select a significant event in your life and develop a design to describe it.

2. Maintain a sketchbook/journal to develop personal images - e.g., develop a

tempera-Batik painting that uses objects that are seen and objects from the imagination.

3. Demonstrate an ability to brainstorm a variety of ideas (right brain) and develop them into a work of art (left brain) - e.g., select an object or household appliance and draw it from three different angles

(visual); add ideas from the imagination to complete the design (haptic); combine all three drawings into one design; paint the design.

Standard 4

Understand the visual arts relation to history and cultures

9-12 Benchmarks

1a. Know a variety of historical and cultural contexts regarding the characteristics and purposes of works of art.

1b. Understand how art expresses an historical period, reacts against the art of that period, and synthesizes art of various cultures and periods - e.g., the role of art academies, the emerging democratic spirit, and Asian influences which changed the direction of modern art.

1c. Understand a contemporary art education compared to an academic art education; be aware of contemporary trends in art.

2. Know the function and meaning of specific art within varied cultures, times,

and places.

9-12 Performance Indicators

1. Demonstrate through research, written and oral expression understanding of the historical and cultural similarities and differences in art; identify works of art

that are romantic, classic - e.g., write short essays comparing style, technique, subject matter of romantic and classic art, and how these differences reflect a change in political and social thinking.

2. Understand historical and contemporary art through oral and written expression -

e.g., be able to identify and explain, in writing, the contributions of major Impressionist painters: Monet, Manet, Cassett, Seurat, etc. and how their work ushered in a radical new way of thinking about subject matter, technique, and style - e.g., explain, in writing, the difference between Expressionist and Impressionist art.

Standard 5

Understand the characteristics and merits of one's own artwork and the artwork of others

9-12 Benchmarks

1. Identify the intentions of those creating artwork.

2. Understand some of the implications of intention and purpose in particular

MSAD #16 Hall-Dale Framework for Academic Standards Fall 1997

Visual & Performing Arts

works of art.

3. Understand how various interpretations can be used to understand and evaluate works of visual art.

9-12 Performance Indicators

1. Know how to research, discuss, and write about the art of others - e.g., participate in regular class critiques.

2. Demonstrate a social, political, and psychological awareness of a variety of art forms - e.g., analyze various art forms in writing; have studio experiences which ask students to focus on a major issue.

3. Demonstrate understanding of individual and movements of art of both historical and historical artists - e.g., select representative art periods and artists, compare their techniques, materials, and styles and do a studio experience influenced by one style or one artist - e.g., pointillism/Seurat.

subjectvisual AND performing arts

organizer--Design 2 (Trimester 2)

(9-12)

Standard 1

Understand and apply media, techniques, and processes related to 3-D art and printmaking

K-2 Benchmarks

1. Apply media, techniques, and processes related to sculpture and printmaking with sufficient skill, confidence, and sensitivity that one's intentions are carried out in artwork.

2. Understand how the communication of ideas relates to the media, techniques, and processes used.

K-2 Performance Indicators

1a. Use the creative process to develop, refine, and evaluate a concept into a sculpture or a print.

1b. Make informed choices about media used in sculptures: clay; plaster; papier mache; found objects.

1c. Make informed choices about media used in prints: linoleum; collagraph; monoprints.

1d Make informed choices about tools and techniques.

2. Defend an idea in terms of media and techniques.

Standard 2

Know how to use design elements and principles (line, color, space, form, texture and balance, emphasis, rhythm, repetition and contrast, unity) to create 3-D art and prints

9-12 Benchmarks

1. Know how to manipulate positive and negative space into unified sculptures with movement and rhythm.

2. Know how to develop negative and positive space in prints.

3. Focus on particular design elements and principles to express specific ideas.

9-12 Performance Indicators

1. Participate in a variety of sculptural studio experiences: an assemblage; a monument; clay sculptures.

2. Participate in a variety of printmaking experiences: linoleum print; monoprint; collagraph.

3. Evaluate sculpture and prints on the basis of design.

Standard 3

Know how to use art as a visual language to express ideas

9-12 Benchmarks

1. Understand how sculpture is tempered by culture and history.

2. Understand how prints are tempered by culture and history.

3. Apply various subjects, symbols, and ideas in one's sculpture and prints.

9-12 Performance Indicators

1a. Know how to discuss and develop a personal aesthetic based on culture and history in 3-D art.

1b. Completes a collagraph that expresses a personal experience.

2. Fabricate an assemblage or sculpture using a particular form such as a hat or a

MSAD #16 Framework for Academic Standards Fall 1997

Visual & Performing Arts

chair to express themselves.

3. Develop a series of prints that graphically convey a specific idea.

Standard 4

Understand sculpture and printmaking in relation to history and cultures

9-12 Benchmarks

1. Know a variety of historical and cultural contexts regarding the characteristics and purposes of sculpture.

2. Know a variety of historical and cultural contexts for printmaking.

3. Know the function and meaning of specific art within varied cultures, times, and places.

9-12 Performance Indicators

1. Demonstrate through research, written and oral expression understanding of the historical and cultural context for sculpture.

2. Identify differences between purposes, media, and content of historical and contemporary sculpture - e.g., compare the Vietnam Memorial in Maine or Washington, D.C. to a war memorial of an earlier period.

3. Describe, compare, and contrast two sculptures from two distinctly different periods and speculate on the sculptures' concept and intent. Construct a sculpture that reflects a contemporary attitude.

Standard 5

Understand the characteristics and merits of one's own artwork and the artwork of others

9-12 Benchmarks

1. Identify the intentions of those creating artwork.

2. Understand some of the implications of intention and purpose in particular works of art.

3. Know how specific works are created and how they relate to historical and cultural contexts.

4. Understand how various interpretations can be used to understand and evaluate works of visual art.

9-12 Performance Indicators

1. Participate in individual and group critiques.

2. Demonstrate a social, political, and psychological awareness of a variety of art forms.

3. Demonstrate understanding of individual and movements of art of both historical and historical artists.

4. Understand art in a critical context.

subjectvisual AND performing arts

organizer--Design 3 (Trimester 3)

(9-12)

Standard 1

Understand and apply media, techniques, and processes related to art, specifically focusing on graphic design and design applications

9-12 Benchmarks

1. Apply media, techniques, and processes with sufficient skill, confidence, and sensitivity that one's intentions are carried out in artwork.

2. Understand how the communication of ideas relates to the media, techniques, and processes used.

9-12 Performance Indicators

1a. Complete a series of pen and ink exercises in order to learn the vocabulary of pen and ink.

1b. Design and complete a pen and ink project that reflects a variety of textures, tones, and line qualities.

1c. Complete a series of drawings in a variety of media focusing on the profile.

1d. Design a game, a musical instrument, or another project that involves concept, layout, design, construction.

2. Make appropriate choices in media and tools to complete all projects.

Standard 2

Know how to use design elements and principles (line, color, space, form, texture and balance, emphasis, rhythm, repetition and contrast, unity) to create a variety of art forms

MSAD #16 Hall-Dale Framework for Academic Standards Fall 1997

Visual & Performing Arts

9-12 Benchmarks

1. Understand balance, unity, emphasis, proportion, rhythm, and movement in organizing the elements.

2. Understand the effectiveness of various artwork in terms of design elements and principles.

3. Know how design elements and principles can be used to solve specific visual arts problems.

9-12 Performance Indicators

1. Complete a series of exercises to demonstrate understanding of symmetrical, radial, and asymmetrical balance.

2. Complete a pen and ink project and a game to demonstrate understanding of the concept of unity and methods to achieve it (repetition of visual units, consistency of technique, artists style, surface quality).

3. Demonstrate the ability to manipulate content in order to achieve a satisfactory design; complete a series of sketches to prepare for a project.

Standard 3

Know how to use art as a visual language to express ideas

9-12 Benchmarks

1. Understand how visual expression is tempered by culture and history.

2. Apply various subjects, symbols, and ideas in one's artwork.

9-12 Performance Indicators

1. Demonstrate the ability to choose an idea, research the idea, and develop the idea into a personal statement in paint, pen, and ink, and other drawings.

2. Use and expand personal symbolism and develop a personal aesthetic to create art.

Standard 4

Understand the visual arts relation to history and culture

9-12 Benchmarks

1. Know the place of Leonardo, Michelangelo, Donatello, and Raphael in the history of art; understand the influence of one culture on another - i.e., the Greek classical spirit and its synthesis with Christian art.

2. Know the function and meaning of specific art within varied cultures, times, and places.

9-12 Performance Indicators

1. Demonstrate through research, written and oral expression understanding of the Renaissance by an understanding of Leonardo, Michelangelo, Donatello, and Raphael.

2. Demonstrate through studio experiences, slides, and other visuals, the changing nature of portraits such as Rembrandt,

Baroque artists, Van Gogh, Chuck Close, David Hockney, etc.

Standard 5

Understand the characteristics and merits of one's own artwork and the artwork of others

9-12 Benchmarks

1. Identify the intentions of those creating artwork.

2. Understand some of the implications of intention and purpose in particular works of art.

3. Know how specific works are created and how they relate to historical and cultural contexts.

4. Understand how various interpretations can be used to understand and evaluate works of visual art.

9-12 Performance Indicators

1. Know how to research, discuss, and write about the art of others.

2. Demonstrate a social, political, and psychological awareness of a variety of art forms.

3. Demonstrate understanding of individual and movements of art of both historical and historical artists.

4. Understand art in a critical context.

subjectvisual AND performing arts

organizer--MUSIC (K-8)

MSAD #16 Framework for Academic Standards Fall 1997

Visual & Performing Arts

Standard 1

Sing, alone and with others, a varied repertoire of music

K-2 Benchmarks

1. Sing in pitch and in rhythm with appropriate timbre, diction, and posture and maintain a steady tempo.

K-2 Performance Indicators

Given a musical selection such as "America," the student will:

·Sing on pitch.

·Sing with steady beat and rhythm.

·Sing with good diction and tone, with pure vowels, and clear articulation.

·Sit or stand erect with head up and mouth sufficiently open, with breath control, and good tone support.

3-5 Benchmarks

1. Sing ostinatos (repetitions of a short musical pattern), partner songs, and rounds.

2. Sing expressively with appropriate dynamics, phrasing, and interpretation.

3. Blend vocal timbres, match dynamic levels, and respond to the cues of a conductor when singing as part of a group.

4. Know songs representing genres - e.g., march, work song, lullaby, Dixieland, and styles - e.g., of various composers, nations from diverse cultures.

3-5 Performance Indicators

1. In singing partner songs, rounds, and ostinatos, the student will:

· begin and end songs without being distracted by the other singer(s);

·enter first or second singing equally well;

·maintain good rhythm and pitch with correct words.

2. The student will be asked to sing three songs which are familiar to him/her. Song A should be sung softly, Song B is made up of clearly defined phrases, and Song C is legato style and emphasizes expressive singing. The student will:

·Sing Song A maintaining a soft dynamic level throughout;

·Sing Song B demonstrating correct phrasing by breathing only at appropriate points throughout;

·Sing Song C demonstrating knowledge of expression by singing in a legato style, by varying dynamics, and by breathing only at the ends of phrases.

3. The student will perform three familiar songs that contrast in tempo and style. The groups may sing in two or three parts as required while the teacher conducts. The teacher, through the use of gestures, calls for unrehearsed changes in dynamics, style, or tempo. The student will:

·Blend the voice with the other members of the group so that no one voice stands out to the casual listener.

·Sing the correct pitches and rhythms with good intonation and a steady beat- attacks and releases are together.

·Respond to unrehearsed changes in dynamics, tempo, and style as indicated by the conductor.

4a. Sing from memory at least a dozen songs including one verse or refrain from each with good rhythm and intonation.

4b. Sing songs associated with three ethnic groups.

6-8 Benchmarks

1. Sing with good breath control, expression, and technical accuracy - e.g., appropriate timbre, intonation, and diction; correct pitches and rhythms at a level that includes modest ranges and changes of tempo, key, and meter.

2. Sing music written in two and three parts.

3. Know music that represents diverse genres - e.g., sonata, madrigal, jazz, barbershop, and cultures.

4. Sing with expression and technical accuracy a repertoire of vocal literature with a level of difficulty of two on a scale of one to six including songs performed from memory.

6-8 Performance Indicators

1. Two times during the trimester while the student is singing with a group during class or rehearsal, his or her individual performance will be tape-recorded. Two times during the trimester, the student is

MSAD #16 Hall-Dale Framework for Academic Standards Fall 1997

Visual & Performing Arts

recorded performing alone, with or without accompaniment, either during class or outside of class. The pieces include a variety of works. The student will:

·Sing with good intonation, rhythm, and diction on the correct pitches.

·Demonstrate an effective singing range of an octave to a tenth. (This determination should be postponed if the voice has not finished changing.) The throat is open and the jaw relaxed. The voice is resonant and supported from the diaphragm.

·The student breathes only at the ends of phrases and routinely demonstrates good habits of breathing and breath control.

2. The student will be asked to sing a familiar part in a three-part song with a level of difficulty of two. The other two parts are sung by other students. There is one student on a part. The student will:

·Maintain his or her own part without being distracted.

·Sing with good intonation, tone quality, and rhythm.

·Differentiate, from recorded examples, music that represents diverse genres - e.g., sonata, madrigal, jazz, barbershop and cultures.

·At the end of the course of study for the year, the student will be asked to sing songs representing at least three nations with dissimilar cultures - e.g., Germany,

Ghana, and Japan. This may be done in class or in a private session with the teacher. When performing, the student will:

·Make a clear distinction among the three styles.

·Perform accurately and demonstrate good results with respect to intonation, rhythm, expression, and other elements of performance.

3. In private session with the teacher, the student is asked to sing a half dozen varied familiar songs, with accompaniment including at least two from memory. The songs vary in level of difficulty from one to three. The student will:

·Maintain good intonation.

·Sing with good rhythm and a steady beat.

·Demonstrate the ability to vary dynamics, style, and expression with well-shaped phrases.

·Sing at least two songs from memory with the same degree of accuracy, musicianship, and confidence as from notation.

Standard 2

Performs on instruments, alone and with others, a varied repertoire of music

K-2 Benchmarks

1. Echo short rhythms (two to four measure)

and melodic pattern.

K-2 Performance Indicators

1. Demonstrate the ability to echo short rhythms (two to four measure) with simple percussion instruments - e.g., rhythm sticks, sandpaper blocks, maracas, triangles after hearing them played by the teacher.

3-5 Benchmarks

1. Perform on pitch, in rhythm with appropriate dynamics and timbre and maintain a steady tempo.

2. Perform a simple rhythmic, melodic, and chordal pattern accurately and independently on rhythmic, melodic, and harmonic classroom instruments - e.g., recorder-type instruments, percussion instruments, keyboard instruments, electronic instruments, fretted instruments such as a guitar or ukulele.

3. Perform a varied repertoire of music representing diverse genres and styles.

4. Perform in groups - e.g., blend instrumental timbres, match dynamic levels, and respond to the cues of a conductor.

5. Perform independent instrumental parts - e.g., simple rhythmic or melodic ostinatos, contrasting rhythmic lines, harmonic progressions and chords while others sing or play contrasting parts.

MSAD #16 Framework for Academic Standards Fall 1997

Visual & Performing Arts

3-5 Performance Indicators

1. The student will be asked to play a familiar tune such as "Go Tell Aunt Rhody" on a keyboard or mallet percussion instrument, recorder, or other wind instrument or guitar or other stringed instrument. A dynamic level between piano and forte and one change in dynamics will be specified by the teacher. The student will:

·Perform accurately on pitch.

·Maintain good rhythm and steady beat.

·Sit or stand properly with the head up and shoulders erect. The student's posture and position are good. Breath control and bow control are good.

·The timbre of wind and string instruments is good with tones held to full value.

·Begin at the specified dynamic level and the change in the dynamic level is well-defined.

2. The student is given three tasks:

TASK A: The student is given a woodblock and stick and is taught an eight-beat rhythm pattern to accompany a familiar song. The pattern consists of quarter and eighth notes. The notation is provided, but the student should become familiar with the pattern so that the notation is merely a reminder. The student is asked to play the pattern as an ostinato to accompany the song.

TASK B: The student is given a xylophone (or similar melodic

instrument) and taught a brief repeated melodic pattern to accompany a familiar song. The notation is provided, but the student should become familiar with the pattern so that the notation serves merely as a reminder. The student is asked to play the pattern as an ostinato to accompany a tape of student's singing the song.

TASK C: The student is given a chorded zither - e.g., autoharp or chromo harp or guitar or ukulele and asked to play a simple accompaniment to a familiar song. He or she is told the key of the song. He or she is not told the chords of the song, but given ample time to find them by experimentation. The student is asked to accompany a tape of students singing the song. For TASK A and B, the student will:

·Perform the ostinato throughout the song on the first attempt.

·Maintain a steady beat and accurate rhythm.

For TASK C, the student will:

·Play appropriate chords throughout the song on the first attempt. Chords are played in a regular rhythmic pattern throughout including chords on every downbeat.

·Play with a steady beat and accurate rhythms.

·The student will be asked to perform from one to two dozen familiar selections with a repertoire representing

works in these three categories: a) folk or traditional melodies; b) jazz, pop, or show tunes; and c) short selections of Medieval, Renaissance, Baroque, Classical, Romantic, or Contemporary music. The student will:

·Perform a dozen selections including works from all three categories of repertoire. The intonation and rhythm are good.

·Perform with expression.

·Perform with a clear distinction between genres or styles.

4. The teacher will choose three familiar pieces in at least two parts that contrast in tempo and style. The score contains no indications of dynamics, tempo, or style. The students play the pieces on recorder or other melodic instruments while the teacher conducts. Occasionally, by means of conducting gestures, the teacher calls for unrehearsed changes in dynamics, tempo, and style. The student will:

·Blend well with the other instruments with no one instrument being discerned by the listener.

·Play the correct pitches and rhythms with good intonation and a steady tempo. Attacks and releases are together.

·Respond well to the unrehearsed changes called for by the conductor.

5. The student is asked to play either 1) an instrumental counter-melody or descant to a familiar song, or 2) a part in an

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instrumental selection of from two to four parts. After two minutes of preparation, the student performs the selection with a tape of voices or instruments. The student will:

·Complete the selection with the tape. All pitches are correct.

·Play with accurate rhythms and steady beat throughout.

·Perform with good and accurate intonation, dynamics, attacks, releases, and expression.

6-8 Benchmarks

1. Perform on at least one instrument - e.g., band orchestral, keyboard, fretted, or electronic accurately and independently, alone and in small and large ensembles, with good posture, good playing position, and good breath, bow, or stick control.

2. Perform with expression and technical accuracy on a string, wind, percussion, or other classroom instrument a repertoire of instrumental literature that may include modest ranges and changes of key, tempo, and meter.

3. Perform music representing diverse genres and cultures with expression appropriate for the work being performed.

4. Play by ear simple melodies - e.g., folk songs on a melodic instrument and simple accompaniments - e.g., strummed, I, IV, V, vi, ii chords on a

harmonic instrument.

6-8 Performance Indicators

1. Two times during a trimester when the student is playing in class or rehearsal, his or her individual performance will be tape-recorded. Two or three times during the trimester, the student is recorded playing alone, with or without accompaniment, either during class or outside of class. The pieces vary in level of difficulty from one to three. Performances should be brief and contain a variety of works. The student will:

·Play pieces or passages with a level of difficulty of two, either with the group or alone, without hesitation or errors. The intonation and rhythm are good.

·Demonstrate good posture and playing position.

·Demonstrate good breath, bow, or stick control.

·Demonstrate the ability to tune his or her instrument.

·Demonstrate the ability to maintain his or her part.

2. Two or three times during the trimester, the student is recorded playing alone, with or without accompaniment, either during class or outside of class. The pieces vary in level of difficulty from one to three. The performances should be brief and contain a variety of works. The student will:

·Play with good intonation.

·Play with good rhythm and a steady beat.

·Demonstrate an understanding of dynamics, phrasing, style, and expression.

·Play with a good tone quality and accurate attacks and releases.

3. The student will be asked to perform three pieces: 1) a folk or traditional melody in a slow, lyrical style; 2) a march in staccato style; and 3) an example of non- Western music. Any suitable instrument may be used. The task is to perform in a manner that reflects the musical style of each work. The student will:

·Reflect through the performance an understanding of the essential and the distinguishing stylistic characteristics of the music.

·Perform accurately and demonstrate good results with respect to intonation, rhythm, dynamics, tempo, expression, and other elements of musical performance.

4. There are two tasks:

TASK A: The student is asked to sing a simple, familiar melody, then play it by ear on a recorder or another melodic instrument. The starting pitch is given and the student may sound the pitch on the instrument. Any incorrect pitches should be corrected immediately. The student is not given the opportunity to practice the melody on the instrument.

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This task is repeated for a total of three melodies. At least one melody should feature stepwise motion and one melody should feature skips. The student will:

·Play passages featuring stepwise motion and passages featuring skips. Any incorrect notes should be corrected immediately by the student.

·Maintain a steady beat.

TASK B: The student is asked to sing a simple, familiar melody, then play it by ear on a recorder or another melodic instrument. The starting pitch is given . The accompaniment may be played on a fretted instrument, a chorded zither, or a keyboard instrument. Any incorrect chords should be corrected immediately. The student may hum or sing along if it makes the task easier. The student is not given the opportunity to practice the accompaniment on the instrument. The task is repeated for a total of three melodies. The student will:

·Play no more than one incorrect chord in any one melody.

·Immediately correct any incorrect chords.

·Maintain a steady beat.

Standard 3

Improvise melodies, variations, and accompaniments

K-2 Benchmarks

1. Improvise "answers" in the same style to given rhythmic and melodic phrases.

K-2 Performance Indicators

The student will be given two tasks.

TASK A: The student is asked to improvise a rhythmic "answer" to a "question" played by the teacher. The teacher plays a four measure pattern; the student plays an "answer" of the same length and in the same tempo. The student should play immediately following the teacher with no interruption of the beat. The teacher and student may play on woodblocks or other percussion instruments or may clap the pattern. The student will:

·Follow the question with no hesitation or interruption in the beat.

·Follow the question in the same tempo with a steady beat.

·Perform the answer with precision.

·Perform an answer identical in length to the question with similar, but not identical rhythm patterns. Any new rhythms are derived from the rhythms in the question.

·TASK B: The student is asked to improvise a melodic "answer" to a "question" sung by the teacher. The teacher sings a four measure pattern; the student sings an "answer" of the same length and in the same tempo. The student should sing immediately following the teacher with no

interruption of the beat. The student will:

·Follow the question with no hesitation or interruption of the beat.

·Follow the question in the same tempo as the question with a steady beat.

·Sing the melody of the answer with precision.

·Sing an answer that is identical in length to the question.

·Sing an answer that includes essentially the same melodic material as the question. Any new melodic material is derived from the melodic materials of the question.

·Sing the answer in the same style as the question.

3-5 Benchmarks

1. Improvise simple rhythmic and melodic ostinato (repetition of a short melodic pattern) accompaniments.

2. Improvise simple rhythmic variations and simple melodic embellishments on familiar melodies.

3. Improvise short songs and instrumental pieces using a variety of sound sources including traditional sounds - e.g., voices, instruments, non-traditional sounds - e.g., paper tearing, pencil tapping, body sounds - e.g., hands clapping, finger snapping, and sounds produced by electronic means - e.g., personal computers and basic MIDI devices such as keyboards, sequencers,

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synthesizers, and drum machines.

3-5 Performance Indicators

1. The student will be asked to improvise a melodic ostinato to a familiar selection on a suitable instrument. The student is given a brief period of time to devise an ostinato and is asked to perform it with a tape of the song. The student will:

·Perform the ostinato throughout the selection on the first attempt.

·Maintain a steady beat and accurate rhythms.

·Perform an ostinato that does not clash harmonically with the selection.

·Perform an ostinato that is based on rhythmic or melodic fragments of the selection.

2. The student will be given two tasks.

·TASK A: The student is asked to play "Hot Cross Buns" or another simple, familiar four-measure tune on a recorder, mallet percussion instrument, or other melodic instrument. The teacher asks the student to do something different with the rhythm while keeping the melody the same. The student is given a brief period of time to plan or practice. The student will perform the melody with at least two variations in the rhythm while maintaining the melodic contour. ·TASK B: The student is asked to play "Hot Cross Buns" or another simple, familiar four-measure tune on a recorder, mallet percussion instrument, or other

melodic instrument. The teacher asks the student to do something different with the melody while keeping the rhythm the same. The student is given a brief period of time to plan or practice. The student will perform the song with at least two embellishments in the melody while maintaining the rhythmic structure.

2. There will be two tasks.

·TASK A: The student is given a short poem of four to eight lines and asked to sing an improvised, unaccompanied musical setting of it. The student is given a brief period of time to prepare. The student will:

·Demonstrate unity and variety in the music.

·Perform music that is consistent with the rhythm of the poem.

·TASK B: The student is given access to a variety of classroom instruments and electronic instruments. He or she is asked to improvise a short piece in ABA form in which the B section is as different as possible from the A section with respect to timbre. Vocal sounds, body sounds, and non-traditional sounds available in the classroom may be used. The student is given a brief time to prepare. The student will:

·Perform the improvisation in ABA form.

·Distinguish the B section from the A section by changing the timbre showing

imagination in creating the contrast.

6-8 Benchmarks`

1. Improvise simple harmonic accompaniments.

2. Improvise melodic embellishments and simple rhythmic and melodic variations on given pentatonic melodies and melodies in major keys.

3. Improvise short melodies, unaccompanied, and over given rhythmic accompaniments in a consistent style - e.g., classical, blues, folk, gospel, meter - e.g., duple, triple, and tonality - e.g., major, pentatonic.

6-8 Performance Indicators

1. The student is asked to improvise an accompaniment on a fretted instrument, a keyboard instrument, a mallet percussion instrument, or a chorded zither while the class sings a familiar song containing simple chords - e.g., I, IV, V. The student's task is to improvise an appropriate accompaniment using traditional chords. The student is given three minutes to prepare. The student will play the correct chords maintaining a steady beat without error or hesitation embellishing the accompaniment by means of strumming, finger picking, arpeggioing, or other embellishments appropriate to the instrument.

2. The student is given two tasks:

·TASK A: On a recorder or other

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melodic instrument, or with the voice, the student is asked to improvise on a familiar pentatonic melody or a melody in a major key. The variation should be based primarily on melodic embellishment or variation. The melody should be eight to sixteen measures long. The student should use more than one of the techniques of variation and is given three minutes to prepare. The student will use two or three different techniques of melodic variation. The variation is the same length as the original melody.

·TASK B: On a recorder or other melodic instrument, or with the voice, the student is asked to improvise on a familiar pentatonic melody or a melody in a major key. The variation should be based primarily on rhythmic variation. The melody should be eight to sixteen measures long. The student should use more than one of the techniques of variation and is given three minutes to prepare. The student will use two or three different techniques of melodic

variation. The variation is the same length as the original melody.

3. The teacher provides an eight-measure background using a drum machine or keyboard rhythm track. The student is asked to improvise a vocal pattern over the background using a neutral syllable. Alternately, the student may improvise on a melodic or harmonic instrument. The student is given three

minutes to prepare during which he or she may listen to the rhythmic background. The student will:

·Perform an improvisation that is consistent throughout in meter, tonality, and style.

·Base the improvisation on regular melodic patterns of two to four measures and achieves closure.

·Perform an improvisation that contains both repetition and contrast and is in recognizable form such as AB or AA.

Standard 4

Compose and arrange music within specified guidelines

K-2 Benchmarks

1. Use a variety of sound sources when composing - e.g., classroom instruments, electronic sounds, body sounds.

K-2 Performance Indicators

1. The student is given access to a variety of classroom instruments and electronic instruments. He or she is asked to compose a short piece using at least three distinctive sounds including one electronic sound and one vocal sound. The student is given time to prepare and to create a written version of the piece. The student will:

·Use three sounds that are distinctive and that include an electronic sound and a vocal sound.

·Create a piece using a recognizable form - e.g., AA or AB.

·Make a written presentation of the piece that is sufficient to enable the student to perform the work the same way on another day.

3-5 Benchmarks

1. Create and arrange music to accompany readings or dramatizations - e.g., manipulates dimensions such as the variety of sounds, tempo, loudness, mood.

2. Create and arrange short songs and instrumental pieces within specified guidelines - e.g., a particular style, form, instrumentation, compositional technique.

3-5 Performance Indicators

1. The student is asked to create original music or adapt existing music to accompany a short story about any topic. The student may tell the story while performing the accompaniment, record the story on tape, or use another speaker to tell the story. The student is given time to prepare. Written notes or notation are expected. The student will:

· Choose distinguishing and easily identifiable music to accompany or symbolize most of the major characters, places, objects, actions, events, or feelings described in the story. The music for each representation is

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distinctive with respect to one element - e.g., pitch, rhythm, tempo, dynamics, timbre. The student uses the same music to accompany or symbolize each subsequent reference to that component of rhythm, tonality, intervals, chords, and harmonic progressions.

2. Know criteria that affect the quality - e.g., use of elements to create unity, variety, tension/release, balance and effectiveness - e.g., expressive impact of musical performances and compositions.

6-8 Performance Indicators

1. Demonstrate the ability to identify specific musical events - e.g., entry of oboe, change of meter, return of refrain when listening to music by describing what is happening musically - e.g., the entrance of a particular instrument, which instrument is playing the melody, the accompaniment? How is variety achieved? How is tension achieved? The student will:

·Answer seventy-five percent of the questions accurately.

·Use the technical vocabulary of music when responding.

2a. The teacher will play a short work of music selected because it contains musical features that are readily discernible. The student is asked to identify the form of the work and describe how pitch, rhythm, dynamics, timbre, and harmony or texture are used

in the work. A checklist or worksheet listing these elements may be provided. The work is heard four times with approximately thirty seconds following each hearing during which the student may make notes. The student will:

·Identify, after the first hearing, the form of the work.

·Provide, after the second hearing, an accurate description of the use of two of the following elements of music: pitch, rhythm; dynamics; timbre; and harmony or texture.

·Provide, after the third hearing, an accurate description of the use of one more element of music.

·Provide, after the fourth hearing, an accurate description of the use of one more element.

2b. Three brief excerpts are chosen by the teacher that clearly illustrate practices used by composers to achieve contrast or variety with respect to pitch or rhythm in music. The student is given the scores, allowed to hear each excerpt, and asked to analyze or describe what is happening with respect to a given topic such as meter, rhythm, tonality, intervals, chords, or harmonic progressions. The student will:

· Recognize and describe what is happening in the music in two excerpts out of three.

·Demonstrate, through analysis or description, a reasonable understanding of what is happening in the music.

2c. There are two tasks required:

TASK A: The student is asked to develop an adjudication form for evaluating music performances. The form should specify the criteria by which the performance will be judged - e.g., tone, intonation, diction, technique, interpretation, attack and release, balance, blend, musical effect. It should also provide a scale of at least three points - e.g., excellent, good, needs improvement for each criterion and include space for comments. The student is then asked to use the adjudication form to evaluate a recording of his or her performance of a work of music or to evaluate another recording from any source. The student will:

·Exhibit at least six appropriate criteria in the adjudication form.

·Explain the basis for his or her evaluation by using the adjudication form.

·Exhibit reasonable consistency with the teacher's evaluation.

TASK B: The student is asked to develop an adjudication form for evaluating music compositions. The form should specify the criteria by which the composition will be judged - e.g., unity and variety, balance, craftsmanship, imagination, expressive characteristics,

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musical effect. It should also provide a scale of at least three points - e.g., excellent, good, needs improvement for each criterion and include space for comments. The student is then asked to use the adjudication form to evaluate a composition of his or her own or from any other source. The student will:

·Exhibit at least four appropriate criteria in the adjudication form.

·Justify, in a well-founded manner, the basis for his or her evaluation by using the adjudication form.

·Exhibit reasonable consistency with the teacher's evaluation.

Standard 5

Read and notate music

K-2 Benchmarks

1. Read standard symbols used to notate meter - e.g., 2/4, 3/4, 4/4 time signatures, rhythm - e.g., whole, half, dotted half, quarter, eighth notes, pitch - e.g., notes in treble clef and dynamics - e.g., p, f, <, > in simple patterns.

K-2 Performance Indicators

Using a set of flash cards each showing

one measure of rhythmic notation. Collectively, the notation includes whole, half, dotted half, quarter, and eighth notes and rests in 2/4, 3/4, and 4/4 meters. The teacher establishes a tempo and asks the

student to read the rhythms by clapping or using rhythmic syllables while keeping the beat as the cards are displayed in succession. Each new card is revealed at the final beat on the preceding card. The exercise continues for two minutes and every symbol and meter is used several times. Any card that is misread is shown again later. The student response will be:

· To read seventy-five percent of the cards correctly.

· No hesitation from one card to the next.

·The beat will remain steady throughout.

3-5 Benchmarks

1. Read whole, half, dotted half, quarter, and eighth notes and rests in 2/4, 3/4, and 4/4 meter signatures.

2. Know symbols and traditional terms referring to dynamics - e.g., piano, forte, crescendo, diminuendo, tempo - e.g., presto, ritardando, accelerando, and articulation - e.g., staccato, legato, marcato, accent.

3-5 Performance Indicators

1. Using a set of flash cards each showing one measure of rhythmic notation. Collectively, the notation includes whole, half, dotted half, quarter, and eighth notes and rests in 2/4, 3/4, and 4/4 meters. The teacher establishes a tempo and asks the student to read the rhythms

by clapping or using rhythmic syllables while keeping the beat as the cards are displayed in succession. Each new card is revealed at the final beat on the preceding card. The exercise continues for two minutes and every symbol and meter is used several times. Any card that is misread is shown again later. The student response will be:

·To read seventy-five percent of the cards correctly.

·No hesitation from one card to the next.

·The beat will remain steady throughout.

2. The student is given a series of (1) music terms relating to dynamics, tempo, and articulation, and (2) symbols or abbreviations for those terms. He or she is asked to name or define each term, symbol, or abbreviation and, when appropriate, to illustrate it in performance of a phrase from a familiar song. The phrase may be sung or played on a recorder or other melodic instrument. The student responses will be:

·The student will define seventy-five percent of the terms, symbols, and abbreviations.

·The student can illustrate convincingly the meaning of seventy-five percent of the terms, symbols, and abbreviations by means of performance.

6-8 Benchmarks

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1. Read sixteenth notes and rests in 6/8, 3/8, and alla breve (2/2) meter signatures.

2. Sight read simple melodies in both the treble and bass clefs.

3. Know standard notation symbols for pitch, rhythm, dynamics - e.g., piano, forte, crescendo, diminuendo, tempo, articulation - e.g., accents, legato, staccato, marcato and expression - e.g., phrasing.

4. Use standard notation to record musical ideas.

6-8 Performance Indicators

1. The student is asked to sight read the rhythm of three varied, unfamiliar excerpts of music. He or she may either clasp or use rhythmic syllables. The excerpts vary in length from four to eight measures. Collectively, they include whole, half, quarter, eighth, sixteenth, and dotted notes and rests in 2/4, 3/4, 4/4, 6/8, 3/8, and alla breve (¢) meters. They may be presented in print or by means of overhead transparencies. The student response will be:

·The student can perform the excerpts with no more than one error per excerpt.

·The beat is generally steady.

2. The student is asked to sight sing four varied, unfamiliar melodies from four to eight measures in length. Two are in treble and two are in bass clef. The student may sing or use any appropriate instrument. Both major and minor keys

are included. The melodies are folk song- like and contain few or no chromatic tones. They are rhythmically simple and contain no notes faster than eighths except sixteenths in conjunction with dotted eighth notes. The student is given approximately thirty seconds to study each melody before beginning. In singing, an error resulting in a change of tonality counts as one error. The student response will be:

·The student can sight read the melodies with few errors. The student does not stop.

·The beat is generally steady.

·The student may be able to read better in one clef than the other, but can read satisfactorily in both clefs.

3. The student is given a series of (1) music terms relating to dynamics, tempo, and articulation, and (2) symbols or abbreviations for those terms. He or she is asked to name or define each term, symbol, or abbreviation and, when appropriate, to illustrate it in performance of a phrase from a familiar song. The phrase may be sung or played on a recorder or other melodic instrument. The student responses will be:

·The student will define seventy-five percent of the terms, symbols, and abbreviations.

·The student can illustrate convincingly the meaning of seventy-five percent of

the terms, symbols, and abbreviations by means of performance.

4. The student is asked to write on a staff using standard notation, a series of four simple melodic patterns of four measures each played by the teacher on a keyboard instrument. The student is also to indicate the dynamic level and the meter which will be either 3/4 or 4/ 4 and to insert bar lines as needed. The starting pitch and beat note are given for each pattern. The student response will be:

·The rhythm of seventy-five percent of the notes is correct.

· The pitch of seventy-five percent of the notes is correct.

·In three of the four patterns, the meter and bar lines are correct.

·In three of the four patterns, the dynamic level indicated by the student is correct.

Standard 6

Evaluating music and musical performances

K-2 Benchmarks

1. Know personal preferences for specific musical works and styles.

2. Identify simple musical forms - e.g., AB, ABA, call and response when presented aurally.

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3. Respond through purposeful movement - e.g., swaying, skipping, dramatic play to selected prominent music characteristics or to specific music events - e.g., meter changes, dynamic changes, same/ different sections)while listening to music.

K-2 Performance Indicators

1. The student is asked to name three favorite works of music and to explain using appropriate music terminology just what it is that he or she likes about those works. The student response will be:

·The student can cite two appealing musical features of each of the works named. These features are based on the expressive qualities of music rather than on extramusical associations.

·More often than not, the student uses music terminology rather than general vocabulary terms in describing his or her preferences.

2. Three short musical examples are played for the student who is asked to identify the form of each example. Forms may include ABA, AABA, ABACA, other forms involving not more than three sections, or call and response. Each example is heard three times. Both instrumental and vocal examples are included. The student response will be:

By the end of the third hearing, the student can identify the form of two of

the three examples.

3. The student is asked to devise original movements that reflect the moods and character of a brief unfamiliar recorded music example and to change his or her movements to respond to changes in the style of music. The example is selected to provide clear changes in style. In a series of subsequent examples, the student is asked to respond by movement to new sections - e.g., each section in a rondo to specific events - e.g., oboe solo, cymbal crash, recapitulation, or to changes in tempo, meter, instrumentation, or register. Props such as streamers, balls, hoops, or wands may be provided if desired. The student response will be:

more often than not, the student is able to devise and demonstrate movements that plausibly reflect the mood and character of the music examples and to change his or her movements to reflect events or changes in the music.

3-5 Benchmarks

1. Know music of various styles representing diverse cultures.

2. Know appropriate terminology used to explain music, notation, musical instruments and voices and musical performances.

3. Identify the sounds of a variety of instruments - e.g., orchestral, band, instruments from various cultures and voices - e.g., male, female, children's

voices.

3-5 Performance Indicators

1. The student is asked to describe or explain how (1) pitch or melody, (2) rhythm or tempo, (3) harmony or texture, (4) voices or instruments, and (5) form or structure are used distinctively in three brief recorded examples of music from diverse cultures from various parts of the world. The student response will be:

·The student can describe or explain the distinctive use of three of the five categories of characteristics in two if the examples.

·The student's answers are accurate and complete.

2. The student is asked to describe or explain a notated piece of music, a recorded music performance, or a live performance by the teacher. Whenever the student uses a general vocabulary term for which there is a standard music term, the teacher asks, "What do musicians call that?" The student response shall be:

·More often than not, the student uses music terms rather than general vocabulary terms in describing music and music performances.

· When asked by the teacher for a music term equivalent to a general vocabulary term he or she has used, the student can usually supply the music term.

3. Given brief recorded excerpts of

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unaccompanied solo performances, the student is asked to identify the following instruments or voices: violin, viola, cello, double bass, flute, clarinet, oboe, bassoon, saxophone, trumpet, horn, trombone, tuba, timpani, snare drum, male voice, female voice, piano, organ, guitar, and at least three folk or ethnic instruments of various cultures - e.g., bongo drums, dulcimer, marimba. The student response shall be:

· The student can identify at least seventy-five percent of the instruments or voices.

· When errors occur, they tend to occur with instruments or voices that belong to the same families.

6-8 Benchmarks

1. Identify specific musical events - e.g., entry of oboe, change of meter, return of refrain when listening to music.

2. Understand how the elements of music are used in various genres and cultures.

3. Understand the basic principles of meter, rhythm, tonality, intervals, chords, and harmonic progressions.

4. Know criteria that affect the quality - e.g., use of elements to create unity, variety, tension/release, balance and effectiveness - e.g., expressive impact of musical performances and compositions.

6-8 Performance Indicators

1. Demonstrate the ability to identify specific musical events - e.g., entry of oboe,

change of meter, return of refrain when listening to music by describing what is happening musically - e.g., the entrance

of a particular instrument; which instrument is playing the melody, the accompaniment? How is variety achieved? How is tension achieved? The student response shall be:

· The student can answer seventy-five percent of the questions accurately.

·The student response uses the technical vocabulary of music.

2. The teacher will play a short work of music selected because it contains musical features that are readily discernible. The student is asked to identify the form of the work and describe how pitch, rhythm, dynamics, timbre, and harmony or texture are used in the work. A checklist or worksheet listing these elements may be provided. The work is heard four times with approximately thirty seconds following each hearing during which the student may make notes. The student response shall be:

·After the first hearing the student is able to identify the form of the work.

·After the second hearing ,the student is able to provide an accurate description of the use of two of the following elements of music: pitch; rhythm; dynamics; timbre; and harmony or texture.

· After the third hearing, the student is

able to provide an accurate description of the use of one more element of music.

· After the fourth hearing, the student is further able to provide an accurate description of the use of one more element.

3. Three brief excerpts are chosen by the teacher that clearly illustrate practices used by composers to achieve contrast or variety with respect to pitch or rhythm in music. The student is given the scores, allowed to hear each excerpt, and asked to analyze or describe what is happening with respect to a given topic such as meter, rhythm, tonality, intervals, chords, or harmonic progressions. The student response shall be:

· The student can recognize and describe what is happening in the music in two excerpts out of three.

· The student's analyses or descriptions demonstrate reasonable understanding of what is happening in the music.

4. There are two tasks required:

TASK A: The student is asked to develop an adjudication form for evaluating music performances. The form should specify the criteria by which the performance will be judged - e.g., tone, intonation, diction, technique, interpretation, attack and release, balance, blend, musical effect. It should also provide a scale of at least three points - e.g., excellent, good, needs improvement for each criterion and

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include space for comments. The student is then asked to use the adjudication form to evaluate a recording of his or her performance of a work of music or to evaluate another recording from any source. The student response shall be:

·The student's adjudication form includes at least six appropriate criteria.

· In using the adjudication form, the student can explain the basis for his or her evaluation.

·The student's evaluation is reasonably consistent with the teacher's evaluation.

TASK B: The student is asked to develop an adjudication form for evaluating music compositions. The form should specify the criteria by which the composition will be judged - e.g., unity and variety, balance, craftsmanship, imagination, expressive characteristics, musical effect. It should also provide a scale of at least three points - e.g., excellent, good, needs improvement for each criterion, and include space for comments. The student is then asked to use the adjudication form to evaluate a composition of his or her own or a composition from any other source. The student response shall be:

·The student's adjudication form contains at least four criteria.

· In using the adjudication form, the student can explain his or her evaluation. The explanation is largely well-founded and justifies the evaluation

assigned.

· The student's evaluation is reasonably consistent with the teacher's evaluation.

Standard 7

Understanding music in relation to history and culture

K-2 Benchmarks

1. Know characteristics that make certain music suitable for specific use.

2. Know appropriate audience behavior for the context and style of music performed.

K-2 Performance Indicators

1. The student is asked to prepare a list of events or occasions at which he or she has sung, played instruments, or heard music outside school during the preceding two weeks - e.g., watching television, on a car radio, on a CD at a friend's home, at a religious service, at a piano lesson, at the mall, at a football game, at a parade, at a birthday party. Repetition should be avoided, but different kinds of music used in the same setting may be listed - e.g., music for different purposes on television. For each event or occasion, the student is asked to describe the type of music or list the title of the specific work(s) performed or heard and explain the characteristics of that work or type of music that make it suitable for that

occasion (or explain why it was not as suitable as it might have been). The student will:

·Provide a reasonable (for that student) list of events or occasions.

·Recall many of the specific works or types of music and to describe the music using appropriate music terminology.

·Identify, for most of the examples, the important characteristics that make the music suitable for the occasion.

2. There are two tasks:

TASK A: After the class has discussed appropriate audience behavior in various performance settings, the student is given a checklist. Along one axis of the checklist is a list of music performance groups or soloists - e.g., symphony orchestra, community band, piano recitalist, jazz or pop group, folk performer, marching band, church choir. Along the other axis is a list of behaviors - e.g., remaining quiet, remaining seated, standing up, talking with friends, singing along, applauding intermittently, reserving applause, tapping one's foot, moving to the music, chewing gum, eating or drinking, shouting. The student is asked to place a "Y" for yes or "N" for no in each box on the checklist to indicate whether or not the behavior is normally appropriate when attending performances by that group or soloist. Any exceptions should be explained in the space provided. All

MSAD #16 Hall-Dale Framework for Academic Standards Fall 1997

Visual & Performing Arts