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2003 Mississippi Visual and Performing Arts Framework

MISSISSIPPI VISUAL AND PERFORMING ARTSFRAMEWORK

2003

Henry L. Johnson, Ed.D., State Superintendent of EducationJohn W. Jordan, Ed.D., Deputy State Superintendent

Bonita Potter, Ph.D., Associate State Superintendent of Academic EducationJudy Couey, Bureau Director, Office of Curriculum and Instruction

Wendy Tucker, Director, Office of CurriculumSally W. Edwards, Visual and Performing Arts Specialist, Office of Curriculum

Mississippi Department of EducationP. O. Box 771, Jackson, Mississippi 39205

Phone: (601) 359-2586Web: http://www.mde.k12.ms.us


ACKNOWLEDGEMENTS

FRAMEWORK FACILITATOR

Teresa Aikens

The Mississippi Department of Education gratefully acknowledges the hardwork and dedication of Teresa Aikens, for facilitating the development of a qualitydocument to improve visual and performing arts education for our students. Teresaserved as Visual and Performing Arts Specialist for the Mississippi Department ofEducation from July, 2000 to August, 2002.

MISSISSIPPI VISUAL AND PERFORMING ARTSFRAMEWORK REVISION COMMITTEE

The Mississippi Department of Education gratefully acknowledges the hardwork and dedication of the following educators for developing a quality document toimprove visual and performing arts education for our students.

DANCE COMMITTEE

Patricia Amacker McConnell, ChairAssociate Professor of Dance, University of Southern Mississippi

Lillian Bell, Canton Elementary School, Canton Public School DistrictJanis Cowart, McNair Elementary School, Humphreys County School DistrictOpal Croke, Starkville High School, Starkville School DistrictJana Perkins, Power Academic and Performing Arts Complex, Jackson Public School

DistrictTracy Smith, Petal Middle School, Petal School DistrictTammy Stanford, Hattiesburg High School, Hattiesburg Public School DistrictRegina Withers, Dance Education Consultant, Moselle, MS

MUSIC COMMITTEE

Althea Jerome, ChairAssistant Professor of Music Education, University of Southern Mississippi

Kevin Bishop, Kosciusko High School, Kosciusko School DistrictDorothy Brasfield, Music Consultant, Edwards, MSDr. Mark Butler, Professor of Music, Delta State University


Linda D. Gibbs, Watkins Elementary School, Jackson Public School DistrictPatsy Gilmore, Richland Elementary School, Rankin County School DistrictElizabeth Gober, Madison Station Elementary School, Madison County School DistrictZachary Harris, Brookhaven High School, Brookhaven School DistrictDaphne Johnson, Wesson Attendance Center, Copiah County School DistrictVirginia Majure, Music Educator, Quitman, MSJohn Mixon, Oxford High School, Oxford School DistrictJacquelyn Perry, Mississippi Symphony OrchestraLinda Smith, Lumberton High School, Lumberton Public School District

THEATRE COMMITTEE

Sharon Wheeler, ChairPerforming Arts Coordinator, Power Academic and Performing Arts Complex,Jackson Public School District

Charles Bosworth, Professor of Theatre, Mississippi Gulf Coast Community College,Perkinston Campus

Morgan Gadd, Professor of Theatre, Millsaps CollegeJohn Howell, Casey Elementary School, Jackson Public School DistrictJacquelyn Schulze, Natchez High School, Natchez-Adams School DistrictLelon Thompson, Power Academic and Performing Arts Complex, Jackson Public

School District

VISUAL ARTS COMMITTEE

Dr. Vicki Bodenhamer, ChairExecutive Director, Mississippi School of the Arts

Margaret Collier, Mississippi School for the Deaf, Jackson, MSTrisha Havard, George County Middle School, George County School DistrictMarsha Iverson, Northwest Junior High School, Meridian Public School DistrictRandy Jolly, Warren Central High School, Vicksburg Warren School DistrictNona Lee, Mendenhall Elementary School, Simpson County School DistrictNancy Ray, Poplar Springs Elementary School, Meridian Public School DistrictMiriam Wahl, Lafayette Middle School, Lafayette County School DistrictDr. Lenagene Waldrup, Shaw School DistrictDr. Charles Waller, Oxford High School, Oxford School DistrictDr. Mary Jane Zander, Assistant Professor of Art, University of Mississippi


ADVISORY COMMITTEE MEMBERS

The Mississippi Department of Education expresses thanks to the distinguishedmembers of the Advisory Committee who dedicated themselves to reviewing the draftsand providing guidance to the writing team.

Marshall Adams, Curator of Education, Mississippi Museum of ArtMartha Barnett, Parkview Elementary School, Meridian Public School DistrictShirley Bilbo, Lucy Webb Elementary School, Greenville Public SchoolsDr. Michael Brown, Professor and Head of Music Education, Mississippi State

UniversityMary Chadwick, Poplarville High School, Poplarville Separate School DistrictDr. Gail Cheney, Curriculum and Instruction Supervisor, Cleveland School DistrictDr. Martha Cheney, Mississippi Arts CommissionDonna Crisler, Rosa Scott Middle School, Madison County School DistrictDr. Read Diket, Professor of Art and Education, William Carey CollegeBecky Dimino, Central School, West Point School DistrictAngela Dussouy, Nora Davis Elementary School, Laurel School DistrictMarie-Julie Etua, Louisville High School, Louisville Municipal School DistrictMarsha Evans, Colmer Middle School, Pascagoula Separate School DistrictDianne Falkner, Music Education, University of MississippiDr. James Franklin, McLaurin Attendance Center, Rankin County School DistrictKay Franz, Power Academic and Performing Arts Complex, Jackson Public School

DistrictJane Griffith, Magee Elementary School, Simpson County School DistrictCathy Henley, Picayune Memorial High School, Picayune School DistrictBrenda Hunt, Noxapater Attendance Center, Louisville Municipal School DistrictJessica Jackson, Power Academic and Performing Arts Complex, Jackson Public

School DistrictKathryn Lewis, Mississippi Alliance for Arts EducationDr. Kathryn C. Lewis, Assistant Professor of Art, Delta State UniversityAmanda Long, Long Beach Middle School, Long Beach School DistrictCharlie Magers, Eiland Middle School, Louisville Municipal School DistrictCindy Melby, Ward-Stewart Elementary School, Starkville School DistrictJennifer Mizenko, Associate Professor of Theatre Arts, University of MississippiTena Nalker, Brandon Elementary School, Rankin County School DistrictSally Ogden, Lipsey School, Brookhaven School DistrictSandra Polanski, Power Academic and Performing Arts Complex, Jackson Public

SchoolsRene Pulliam, Associate Professor of Theatre Arts, University of MississippiFrances Rome, Morgantown Elementary School, Natchez-Adams School DistrictMelissa Rustin, Gorenflo Elementary School, Biloxi Public School DistrictFrances Schelver, Rosa Scott Middle School, Madison County School DistrictMarjorie Selvidge, Oxford Elementary School, Oxford School DistrictNancie Simmons, Harper McCaughan Elementary School, Long Beach School District


Dr. Lucienne Simon, Assistant Professor of Art Education, University of SouthernMississippi

Dr. Alan Spurgeon, Associate Professor of Music, University of MississippiJanice Strickland, Hayes Cooper Center for Math, Science, Technology, Cleveland

School DistrictDr. Lealan Swanson, Assistant Professor of Art, Jackson State UniversityDr. Charlotte Tabereaux, Director of Federal Programs, Rankin County School DistrictCheryl Thomas, Executive Director of Curriculum and Professional Development,

Meridian Public School DistrictTommy Thompson, Grenada High School, Grenada School DistrictMary Wentworth, McLaurin Elementary School, Rankin County School DistrictDr. Bonnie Blu Williams, Associate Professor of Music, Mississippi CollegeBobbie Wynn, West Primary School, Natchez-Adams School DistrictDr. Craig Young, Assistant Professor of Instrumental Music, Mississippi College


TABLE OF CONTENTS

GENERAL INTRODUCTION .................................................................................. i

DANCEDance Introduction .......................................................................................D3Dance Benchmarks......................................................................................D4Elementary Introduction ...............................................................................D9Kindergarten.................................................................................................D10First Grade ...................................................................................................D15Second Grade ..............................................................................................D20Third Grade ..................................................................................................D25Fourth Grade................................................................................................D29Middle School Introduction ...........................................................................D34Middle Level I ...............................................................................................D35Middle Level II ..............................................................................................D39Middle Level III .............................................................................................D43Middle Level IV.............................................................................................D47High School Introduction ..............................................................................D52High School Level I ......................................................................................D56High School Level II .....................................................................................D61High School Level III ....................................................................................D61High School Level IV....................................................................................D66Literature Connections .................................................................................D72Technology Connections..............................................................................D78Resources ....................................................................................................D83Glossary .......................................................................................................D88

MUSICMusic Introduction ........................................................................................M4Music Benchmarks.......................................................................................M5Elementary Introduction ..............................................................................M10Kindergarten.................................................................................................M11First Grade ...................................................................................................M16Second Grade ..............................................................................................M21Third Grade ..................................................................................................M26Fourth Grade................................................................................................M31Keyboard, Beginner Level (K-4) ...................................................................M35Strings, Beginner and Intermediate Level (K-4)……………………………….M40Middle School Introduction ...........................................................................M48Level I...........................................................................................................M51Level II..........................................................................................................M55Level III.........................................................................................................M60Level IV ........................................................................................................M64Choral Performance .....................................................................................M70Instrumental Performance............................................................................M79


Small Group Jazz Improvisation...................................................................M101Keyboard, Intermediate Level ......................................................................M106High School Introduction ..............................................................................M110General Music ..............................................................................................M114Choral Performance .....................................................................................M122Instrumental Music .......................................................................................M142Keyboard......................................................................................................M158Small Group Jazz Improvisation...................................................................M162Music Theory and Harmony/Literature .........................................................M170Literature Connections .................................................................................M177Technology Connections..............................................................................M181Resources ....................................................................................................M185Glossary .......................................................................................................M191

THEATRETheatre Introduction .....................................................................................T3Theatre Benchmarks....................................................................................T4Elementary Introduction ...............................................................................T9Kindergarten.................................................................................................T10Grades 1 - 2 .................................................................................................T14Grades 3 - 4 .................................................................................................T21Middle School Introduction ...........................................................................T29Middle Level I – II .........................................................................................T30Middle Level III – IV......................................................................................T36High School Introduction ..............................................................................T43High School Level I ......................................................................................T46High School Level II .....................................................................................T54High School Level III ....................................................................................T61High School Level IV....................................................................................T69Theatre Production.......................................................................................T78High Tech Video Production.........................................................................T84Dramatic Criticism and Performance............................................................T90Oral Interpretation/Readers’ Theatre............................................................T95Literature Connections .................................................................................T100Technology Connections..............................................................................T106Resources ....................................................................................................T112Glossary .......................................................................................................T118

VISUAL ARTSVisual Arts Introduction ................................................................................V4Visual Arts Benchmarks ...............................................................................V5Elementary Introduction ...............................................................................V10Kindergarten.................................................................................................V11First Grade ...................................................................................................V18Second Grade ..............................................................................................V24Third Grade ..................................................................................................V30


Fourth Grade................................................................................................V37Middle School Introduction ...........................................................................V45Middle Level I ...............................................................................................V47Middle Level II ..............................................................................................V54Middle Level III .............................................................................................V60Middle Level IV.............................................................................................V67High School Introduction ..............................................................................V73High School Level I ......................................................................................V80High School Level II .....................................................................................V88High School Level III ....................................................................................V96High School Level IV....................................................................................V105Ceramics I ....................................................................................................V115Ceramics II ...................................................................................................V121Drawing I ......................................................................................................V128Drawing II .....................................................................................................V135Painting I ......................................................................................................V140Painting II .....................................................................................................V145Photography.................................................................................................V152Literature Connections .................................................................................V158Technology Connections..............................................................................V178Resources ....................................................................................................V181Glossary .......................................................................................................V187

Advanced Placement Visual and Performing Arts Courses

Art HistoryMusic Theory

Studio Art: Drawing - PortfolioStudio Art: 2D Design - PortfolioStudio Art: 3D Design - Portfolio

For questions concerning the Advanced Placement Program, contact:[email protected]

(888)CALL 4 AP (Toll Free)www.collegeboard.org/ap

To order AP Publications, contact: AP Order ServicesP. O. Box 6670

Princeton, NJ 08541-6670(609) 771-7243


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STATEMENT OF PHILOSOPHYAND VISION FOR ARTS EDUCATION

(The following statement is an excerpt from the National Standards for Arts Education and is adopted asthe philosophy and vision for arts education by The Mississippi Visual and Performing Arts FrameworkRevision Committee)

The arts have been part of us from the very beginning. Sincenomadic peoples first sang and danced for their ancestors, since huntersfirst painted their quarry on the walls of caves, since parents first actedout the stories of heroes for their children, the arts have described,defined, and deepened human experience. All peoples, everywhere,have an abiding need for meaning—to connect time and space,experience and event, body and spirit, intellect and emotion. Peoplecreate art to make these connections, to express the otherwiseinexpressible. A society and a people without the arts are unimaginable,as breathing would be without air. Such a society and people could notlong survive. The arts are one of humanity's deepest rivers of continuity. Theyconnect each new generation to those who have gone before, equippingthe newcomers in their own pursuit of the abiding questions: Who am I?What must I do? Where am I going? At the same time, the arts are oftenan impetus for change, challenging old perspectives from fresh angles ofvision, or offering original interpretations of familiar ideas. The artsdisciplines provide their own ways of thinking, habits of mind as rich anddifferent from each other as botany is different from philosophy. Atanother level, the arts are society's gift to itself, linking hope to memory,inspiring courage, enriching our celebrations, and making our tragediesbearable. The arts are also a unique source of enjoyment and delight,providing the "Aha!" of discovery when we see ourselves in a new way,grasp a deeper insight, or find our imaginations refreshed. The arts havebeen a preoccupation of every generation precisely because they bringus face to face with ourselves, and with what we sense lies beyondourselves.

The arts are deeply embedded in our daily life, often so deeply orsubtly that we are unaware of their presence. The office manager whohas never studied painting, nor visited an art museum, may neverthelessselect a living-room picture with great care. The mother who neverperformed in a choir still sings her infant to sleep. The teenager who is astranger to drama is moved by a Saturday night film. A couple who wouldnever think of taking in a ballet are nonetheless avid square dancers.The arts are everywhere in our lives, adding depth and dimension to theenvironment we live in, shaping our experience daily. The arts are apowerful economic force as well, from fashion to the creativity and design


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that go into every manufactured product, to architecture, to theperformance and entertainment arts that have grown into multibilliondollar industries. We could not live without the arts–nor would we wantto.

For all these reasons and a thousand more, the arts have been aninseparable part of the human journey; indeed, we depend on the arts tocarry us toward the fullness of our humanity. We value them forthemselves, and because we do, we believe knowing and practicing themis fundamental to the healthy development of our children's minds andspirits. That is why, in any civilization–ours included–the arts areinseparable from the very meaning of the term "education." We knowfrom long experience that no one can claim to be truly educated wholacks basic knowledge and skills in the arts.

If our civilization is to continue to be both dynamic and nurturing,its success will ultimately depend on how well we develop the capacitiesof our children, not only to earn a living in a vastly complex world, but tolive a life rich in meaning. The vision this document holds out affirms thata future worth having depends on being able to construct a vitalrelationship with the arts, and that doing so, as with any other subject, isa matter of discipline and study. (Consortium, 1994, p.5)

Understanding that a quality visual and performing arts education is an essentialpart of the core academic program for all students, the United States Congress hasdefined the term “core academic subjects” as meaning English, reading or languagearts, mathematics, science, foreign languages, civics and government, economics,arts, history, and geography (No Child Left, 2001). To assist districts and schools indeveloping curriculum for these academic subjects, the Mississippi Department ofEducation develops frameworks on which curriculum is to be based. The frameworkwriting committee is composed of members nominated by superintendents and schooladministrators throughout the state. The Fine Arts Framework Revision Committeeworked over a period of two years revising the 1996 Mississippi Fine Arts Framework.

With the revision of the 1996 Mississippi Fine Arts Framework an importanttransformation has occurred. In the new Mississippi Visual and Performing ArtsFramework, the revision committee has produced a document which celebrates theshared goals of all four arts disciplines – dance, music, theatre arts, and visual arts –while respecting the uniqueness of each respective art form. A review of nationalresearch findings and consensus of thought in arts education discloses five consistentcomponents. These are presented as overarching goals of arts education. Fiveoverarching goals common to all four arts disciplines form the basis for development ofthe framework. These goals reflect the vision embodied in The National Standards forArts Education: What Every Young American Should Know and Be Able to Do in theArts.

The Mississippi Visual and Performing Arts Framework provides direction, focus,coordination, and guidance for schools in the areas of dance, music, theatre, and visualarts to meet the challenges of providing the quality arts education that our studentsneed and deserve. Through the use of the framework, learners will benefit from an arts


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education that empowers and enriches their lives, allowing them to develop more thanan acquaintance with the arts. It is through this pathway of deeper engagement andknowledge that our children will find their own directions, make their uniquecontributions, discover who they are, and who they can become.


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MISSION STATEMENT

The mission of arts education in Mississippiis to ensure that students

know and experience the uniqueness of the arts,understand themselves and their world by

creating, expressing, and communicating meaningthrough the arts, and

value the arts as humanity’s most essential and universal languagetranscending culture, time, and place.

OVERARCHING GOALS OF ARTS EDUCATION

Students will:

• Communicate ideas and feelings by creating and performing works of art;• Respond to, describe, analyze, interpret, and evaluate the complex characteristics

of works of art;• Understand the roles and functions of artists and works of art in cultures, times, and

places;• Perceive, understand, and appreciate the diverse meanings and values of art;• Make valid connections among the content of the arts, other subject areas, and

everyday life.

With the identification of these overarching goals of arts education we aredefining a comprehensive, specific vision of what students need to know and to be ableto do in the arts. These goals are represented in the five consistent strands that runthroughout this framework in the programs of study for Dance, Music, Theatre. andVisual Arts. These strands are Creating/Performing, Critical Analysis, History/Culture,Aesthetics, and Connections. Within the programs of study, the required competenciesrelate to the five strands and state the content students need to acquire at each gradelevel from kindergarten through grade four. For middle school through high school, therequired competencies relate to levels of learning rather than grade levels.

These programs of study describe what to teach, not how to teach it. Respectfor decision-making at the local school and district level is maintained through the use


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of this framework as a guide for development of specific curriculum and instructionalpractices that best deliver the required content to the students within each district.

The Mississippi Visual and Performing Arts Framework sets forth a rigorousstandard for a comprehensive, sequential arts education experience that every studentin Mississippi deserves. With student mastery of the content, visual and performingarts achievement in Mississippi schools will rival that of any other state. Offering thebest, most complete learning opportunities to our students is what quality education isall about.

PURPOSE

The arts—Dance, Music, Theatre, and Visual Arts—are core components of aworld-class education that will prepare Mississippi students to fully participate in globalcommunities. The arts are deeply embedded in our visually and aurally saturatedculture, from film to web sites and architecture to product design. The MississippiVisual and Performing Arts Framework describes what students should know and beable to do in the arts to prepare them for life in our multi-dimensional world. Thisdocument provides an outline for local schools and districts to use as a guide tocurriculum development for a comprehensive, sequential K-12 arts education in each ofthe arts disciplines.

USE OF THE FRAMEWORK

School districts shall use the programs of study in this framework as a basis forcurriculum development of courses. Curriculum must be designed to cover thecompetencies listed in the program of study. The competencies are required to betaught. The teaching objectives, strategies, and assessments are suggested asindications of how competencies can be fulfilled. At the middle school and high schoollevels, some programs of study may be applied to curriculum development for morethan one course. A list of the applicable courses is included in the description of eachprogram of study. To facilitate application of the program of study to multiple courses, aSuggested Strategies and Assessments Chart for each applicable course is includedfollowing the program of study.

Depending on the local school context, some secondary courses may be offeredfor one or one-half Carnegie unit, as listed in the Approved Courses for SecondarySchools in Mississippi. Both one Carnegie unit courses and one-half Carnegie unitcourses must cover the competencies in the program of study corresponding to thatcourse. Courses that are offered for one Carnegie unit will cover the competencies ingreater depth than the courses offered for one-half Carnegie unit.


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LANGUAGE OF THE ARTS

In using this framework, some clarification of terms may be helpful. The mostobvious change in the new framework is the title change from Mississippi Fine ArtsFramework to Mississippi Visual and Performing Arts Framework. This change wasmade to reflect our wider vision and broader goals for arts education in our state. Thenew title is more encompassing of the many aspects of the arts important to the totaleducational experience we seek to provide our students.

In this document, the term art is used to refer to creative works and processesemployed in producing them, and the whole body of creative work in the art forms thatmake up our human cultural heritage. The terms art form and arts discipline areused interchangeably to refer to the individual areas of Dance, Music, Theatre, andVisual Arts. When this document refers to the arts, it means all activities in the fourarts disciplines or art forms.

CYCLE

All Mississippi content area frameworks are on a six (6) year cycle.Approximately three years after a framework is implemented, a revision team is chosento review the current framework and make changes and modifications based on bestpractices in the teaching of the arts as reflected in state and national trends. The pilotyear (optional) for the Mississippi Visual and Performing Arts Framework is 2003-2004.The implementation year for the Framework is school year 2004-2005.

ORGANIZATION

The Mississippi Visual and Performing Arts Framework is comprised of four artsdisciplines– Dance, Music, Theatre, and Visual Arts. Within each discipline, content issequential from Kindergarten through Twelfth Grade. In order for students to achievethe level of competency necessary to successfully fulfill the Mississippi arts graduationrequirement (1 Carnegie Unit of arts), they must have the opportunity to progressthrough each level of learning. This framework delineates that continuum for learning.

The Framework is organized by grade levels from Kindergarten through FourthGrade, with competencies defined for each grade level. At middle and high school,traditional grade level specifications are replaced by “levels of learning” withcompetencies defined for each level. The “levels of learning” more easilyaccommodate elective scheduling and courses of study that could include studentsfrom different grade levels who can demonstrate levels of proficiency. In middle andhigh school, programs of study are designated by these levels. In middle school, thelevels are designated Middle School Level I, Middle School Level II, Middle SchoolLevel III, and Middle School Level IV. In high school, the levels are High School LevelI, High School Level II, High School Level III, and High School Level IV. Proficient


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Level is attained after the equivalent of 1 Carnegie unit of study has been completed.Advanced Level is attained at the end of four years of study in an art discipline. Forstudents in grades 9 – 12, proficient and advanced levels of achievement can beattained. A general description that includes the purpose, overview, suggestedprerequisites, and courses that correspond to the program of study is found at thebeginning of each program of study. These programs of study will guide thedevelopment of specific courses at the middle and high school levels. Following eachprogram of study are suggested teaching strategies and suggested assessments foreach course that is to based upon that program of study. To enhance theimplementation of the framework, Literature Connections Technology Connections,Resources, and a Glossary are included at the end of each arts discipline section.

The programs of study for the Mississippi Visual and Performing ArtsFramework are formatted as follows:

DANCE

KINDERGARTEN

CONTENT STRANDS:

Creating/Performing (CP) Aesthetics (A)Critical Analysis (CA) Connections (C)History/Culture (HC)

COMPETENCIES and Suggested Teaching Objectives:

1. Demonstrate a basic understanding of movement skills. (CP,CA,C)

a. Practice shifting body weight.b. Practice axial movements (bend, arch, reach, twist, turn).c. Distinguish right and left with body parts and movement.

STRANDS

The Mississippi Visual and Performing Arts Framework is comprised of fivecontent strands: Creating/Performing, Critical Analysis, History/Culture,Aesthetics, and Connections. These content strands are derived from theoverarching goals of arts education that reflect the vision embodied in The NationalStandards for Arts Education: What Every Young American Should Know and Be Ableto Do in the Arts. These strands are interwoven within each discipline and among allfour arts disciplines. Comprehensive arts education requires the inclusion of all contentstrands in curriculum, instruction, and assessment.

Title ofProgramof Study

ContentStrands

RequiredCompetency

SuggestedTeachingObjectives


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VISUAL AND PERFORMING ARTSDANCE MUSIC THEATRE VISUAL ARTS

Creating/Performing

Critical Analysis

History/Culture

Aesthetics

Connections

STRANDS AND CORRESPONDING OVERARCHING GOALSOF ARTS EDUCATION

Creating/Performing Strand – Creating works of art and performing works of art inDance, Music, Theatre, and Visual Arts.Overarching Goal - Students will be able to communicate ideas and feelings bycreating and performing works of art.

Critical Analysis Strand – Taking account of what is presented, constructinginterpretations, and making judgements of the merit or significance of the work or bodyof work. (Stewart, 1997, p. 7)Overarching Goal - Students will be able to respond to, describe, analyze, interpret,and evaluate the complex characteristics of works of art.

History/Culture Strand – Understanding art in the historical and cultural context inwhich it was created.Overarching Goal – Students will understand the roles and functions of artists andworks of art in cultures, times, and places.

Aesthetics Strand – The philosophical treatment of art in general, a broad focusconcerned with art, beauty, and experiences with art and beauty in general – Beliefsabout art. (Stewart, 1997, p. 7)Overarching Goal – Students will perceive, understand, and appreciate the diversemeanings and values of art.

Connections Strand – Determining commonalties among Dance, Music, Theatre, andVisual Arts as well as among other subject areas and everyday living.Overarching Goal – Students will make valid connections among the arts, other subjectareas, and everyday life.

ContentStrands

Four ArtsDisciplines


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COMPETENCIES

Competencies describe what all students should know and be able to do in thearts. They represent the most enduring knowledge, concepts, and skills in an artsdiscipline, the “big ideas.” Competencies correlate to the content standards found inthe National Standards for Arts Education, and demonstrate sequential progression ofmastery of content. The competencies are intentionally broad in order to allow schooldistricts and teachers the flexibility to create a curriculum that meets the unique needsof their students. Competencies are required to be taught to all students. The orderand combinations in which competencies are taught may be organized toaccommodate those needs.

SUGGESTED TEACHING OBJECTIVES

Suggested teaching objectives are not required to be taught. These objectivesserve as a guide indicating how competencies can be fulfilled through a progression ofcontent and concepts at each level. Many of the objectives are interrelated rather thansequential, which means that objectives are not intended to be taught in the specificorder in which they are presented. Multiple objectives can and should be taught at thesame time. School districts may use the suggested objectives or may write their ownobjectives that meet or exceed those suggested, based upon needs of students at thelocal level.

SUGGESTED TEACHING STRATEGIES AND ASSESSMENTS

The purpose of the Suggested Teaching Strategies and Assessments chartfollowing each program of study is to assist school districts and teachers in thedevelopment of possible methods of organizing the competencies and objectives to betaught, as well as presenting ideas on the teaching of competencies and objectives.The suggested teaching strategies and assessments are offered as examples forstimulating ideas about how competencies and objectives might be addressed in theclassroom. These strategies and assessments are a set of basic methods designed tobe only a starting point for innovative teaching. Integration of concepts, competencies,and content results in maximum curricular connections, time on task, and opportunitiesfor students.

BENCHMARKS

Grade level cluster benchmarks have been established to assist educators inensuring that students receive a sequential and comprehensive arts education.Benchmark charts for each arts discipline are found in the introduction to eachdiscipline section.


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REFERENCES

Consortium of National Arts Education Associations. (1994). National Standards for

Arts Education. Reston, VA: Music Educators National Conference.

No Child Left Behind Act of 2001, Pub. L. No. 107-110, s 5551.

Stewart, Marilyn. (1997). Thinking Through Aesthetics. Worcester, MA: Davis

Publications.

DANCE “I want all of my students and all of

my dancers to be aware of the poignancy of life at that moment. I would like to feel that I had,

in some way, given them the gift of themselves.”

Martha Graham

Dance 1



Dance 2

DANCE

TABLE OF CONTENTS

Introduction…………………………………………………………………………………..3

Dance Benchmarks................................................................................................. ...4

Elementary Introduction .......................................................................................... ...9

Kindergarten ........................................................................................................... .10

First Grade.............................................................................................................. .15

Second Grade......................................................................................................... .20

Third Grade............................................................................................................. .25

Fourth Grade........................................................................................................... .29

Middle School Introduction...................................................................................... .34

Middle School Level I………………………………………………………………….…..35

Middle School Level II............................................................................................. .39

Middle School Level III............................................................................................ .43

Middle School Level IV ........................................................................................... .47

High School Introduction ........................................................................................ .52

High School Level I ................................................................................................. .56

High School Level II ................................................................................................ .61

High School Level III ............................................................................................... .66

High School Level IV............................................................................................... .72

Literature Connections............................................................................................ .78

Technology Connections ........................................................................................ .83

Resources............................................................................................................... .84

Glossary...................................................................................................................88


Dance 3

DANCE

INTRODUCTION

DANCE, the art of human movement, is a perfect educational model forlearning to be perceptive and expressing thoughts, sensations, feelings and ideas,all essential for the development of communication and a construct for learning thecreative process.

Students studying dance learn an awareness that guides the logical sensoryexecution of movement. They learn to recognize and distinguish human energythat is turned into the performance of illusions and the language of metaphors thattransform through time and space into art. The training and study of danceenhances the scope and diversity of learning about life and the human experience.

Dance creates community and is celebrated throughout the world. No matterwhere one goes, the phenomenon of dance is celebrated and its repertoires are adynamic part of every culture. Dance is a form of theatre that ranges from theecstatic and lively, to the tender and gentle telling of matters of the heart. In manycultures, dance is an expression of a life force and a description of peoples’ spiritsand beliefs. Dance communicates in ways which words cannot. It can explain theinexplicable, and can awaken our social consciousness. Dance is the expression ofthe myths, symbols, and rituals of a culture, told through stories that can be anarrative of life.

Building understanding through the dance experience requires learning tointelligently translate dance into meaning through the interpretation of the dances ofan individual choreographer or of an entire nation. As a means to self-discovery,students learn to make their own dances, created from their most beautifulthoughts. They become involved in various aspects of technical production andcome to understand others by learning dances of their ancestors and friends in thecommunity. The Dance section of the Mississippi Visual and Performing ArtsFramework offers a program of study that is developmentally and sequentiallybalanced to assist with elementary, middle school, and high school dancecurriculum development at the local and district level.


DANCE BENCHMARKS

*the equivalent of 1 Carnegie unit Dance 4

Goal 1: Students will communicate ideas and feelings by creating and performing dance.

Content Strand: Creating/Performing (CP)

BENCHMARKS

Grades K-4 Grades 5-8 Grades 9-12, Proficient Grades 9-12, Advanced

By the end of Grade 4, students will: By the end of Grade 8, students will: By the end of one year of study,*proficient students will:

By the end of four years of study,advanced students will:

Demonstrate movement through theapplication of the elements of dance

Demonstrate anatomically-correctmovement skills with increasingconcentration and focus on techniqueand terminology

Incorporate kinesthetic and sensorialunderstanding within performance ofdance technique

Know and perceive performance ofdance

Respond spontaneously throughmovement to various stimuli:sound, colors, textures, objects, andimagery

Demonstrate improvisational skillsalone and as a group

Understand improvisation as a way tooriginate dances

Know and apply improvisation toperformance and dance-making

Create movement solutions alone andwith a partner using the elements ofdance

Apply choreographic principles Understand choreographic forms andstructures in dance composition

Understand and apply choreographicforms in dance-making

Identify basic productions elements ofdance

Demonstrate a basic understanding ofdance production

Demonstrate experimental dimensionsof dance production

Apply innovative dimensions to danceproductions


DANCE BENCHMARKS


Goal 2: Students will respond to, describe, analyze, interpret, and evaluate the complex characteristics ofdance.

Content Strand: Critical Analysis (CA)

BENCHMARKS




Observe and discuss the similaritiesand differences in human movementand the elements of dance

Describe the similarities anddifferences in human movement,recognizing the elements of dance

Know and understand humanmovement, the elements of dance,and how these communicate ideas,thoughts, and feelings

Compose and evaluate dance studiesutilizing abstract movement and theelements of dance

Describe dance by respondingthrough writing, drawing, andperforming

Interpret movements by reporting onthe content of varied danceexperiences

Know and distinguish dancestructures, forms, and themes invarious dance studies

Analyze and critique the context ofdance from a variety of perspectives

Identify how personal experiencesrelate to dance

Know how personal experiencesinfluence the making of dance

Understand personal experiences as itinfluences the interpretation and themaking of dance

Understand how personalperspectives influence dance critique


DANCE BENCHMARKS


Goal 3: Students will understand the role and functions of dancers and dance in cultures, times, and places.

Content Strand: History/Culture (HC)

BENCHMARKS




Observe and identify the styles ofdance in various cultures andtraditions throughout history

Recognize and understand diversity ofdance in relation to cultural styles andtraditions

Compare and contrast various danceartists, styles, cultures, and traditionsand apply to dance studies

Critique historical and cultural dances

Perform dances from various culturesand traditions

Perform with emerging technicalproficiency dances from variouscultures and traditions

Perform with advanced technicalproficiency dances from variouscultures and traditions

Competently perform various stylesfrom a broad spectrum of cultures


DANCE BENCHMARKS


Goal 4: Students will perceive, understand, and appreciate the diverse meanings and value of dance.

Content Strand: Aesthetics (A)

BENCHMARKS




Appreciate dance movement throughwritten, visual, and verbal responses

Perceive meaning of dance movementthrough written, visual, and verbalresponses

Perceive and understand meaning ofdance movement through written,visual, and verbal responses

Know and understand meaning ofdance movement through written,visual and verbal responses

Appreciate the sensorial discovery ofhuman movement

Perceive and practice the sensorialdiscovery of human movement

Understand the sensorial discovery ofhuman movement

Know and value the sensorialdiscovery of human movement

Identify and appreciate from apersonal perspective the great danceworks, innovators and performers

Evaluate and discuss from anindividual perspective the great danceworks, innovators and performers

Know and respond from an individualperspective to great dance works,innovators and performers

Understand that values and meaningsassigned to great dance works inindividual innovators and performersis diverse and based upon individualperspectives

Practice patronage of dance and thearts

Practice and advocate the patronageof dance and the arts

Practice and advocate the patronageof dance and the arts

Exemplify the patronage of dance andthe arts


DANCE BENCHMARKS


Goal 5: Students will make valid connections among the arts, other subject areas, and everyday life.

Content Strand: Connections (C)

BENCHMARKS




Recognize the connections betweenliving and learning through dance

Understand the connections betweenliving and learning through dance

Exhibit the connections between livingand learning through dance

Promote the connections betweenliving and learning through dance

Identify practices of healthful living Practice and understand healthfulliving

Demonstrate a knowledge of familyand community dance

Network and produce a communitydance project

Identify dance careers Know and examine dance careers Practice skills leading to dancecareers

Develop skills leading to dancecareers


Dance 9

DANCE

INTRODUCTIONGrades K-4

Children in Grades K - 4 are ready and eager to learn. The creative danceexperience will trigger excitement. They will love to move! Young students are justlearning concepts of space and they often are more easily organized in “herds”when moving through the space. They are not adept at controlling their bodyenergy when moving in space. Large full movements will be quite challenging.Freezing a shape for more than a few seconds is not easy since the body’s energyis in constant flow. When children take a shape, they tend to hold it for a specifiednumber of counts, and then collapse out of it; they have accomplished a majordance concept, stillness and movement.

The safety rules for movement experiences can be organized within thelesson. These rules include reminders of personal space and consideration ofclassmates’ personal space.

Children love a structured dance experience. By playing dance problem-solving games, children can be empowered with their own movement voice: Eachchild will acquire a solid foundation in developing creativity and making dances.Children can become all of the characters of a story in “dance-a-storyexploration/improvisation.”

Children in Kindergarten through Fourth Grade are interested in their owncreativity, and enjoy the chance to share their own movement accomplishments,showing them to others.


Dance 10

DANCEKINDERGARTEN

DESCRIPTION OF PROGRAM OF STUDY:

As with all disciplines, a well-rounded education in dance includes a range ofeducational processes. The elementary school years focus on dance as a creativemovement experience that is to be incorporated into the curriculum to achieve anincreased learner outcomes by employing enriching techniques that demand theinvolved responses of multiple intelligences, especially that of the kinesthetic. Thisprogram of study is to be used by the Dance Specialist and or Classroom Teacher indeveloping dance curriculum for kindergarten students in the following:

Elementary DanceArts Integrated in the Elementary Classroom

Content strands include Creating/Performing, Critical Analysis, History/Culture,Aesthetics, and Connections. The competencies are printed in bold face type and arerequired to be taught. The competencies may relate to one or more of the contentstrands and may be combined and taught with other competencies throughout theschool year. Competencies are not listed in order of importance and may be taught inany order that is determined suitable by the school or district. Competencies provide ageneral guideline of ongoing instruction, not isolated units, activities, or skills.

The suggested teaching objectives are optional. Objectives indicate conceptsthat enable the fulfillment of competencies, describe competencies in further detail, orshow progress of concepts within benchmark grade clusters. School districts mayadopt the suggested teaching objectives or may write their own objectives that meet orexceed those suggested, based upon needs of the students at the local level.

For an explanation of the Content Strands,Competencies, and Objectives, seethe General Introduction Section of the Mississippi Visual and Performing ArtsFramework. The Framework General Introduction, Literature Connections, TechnologyConnections, Resources, and Glossary are available on line at the MississippiDepartment of Education web site: http://www.mde.k12.ms.us.


Dance 11

DANCEKINDERGARTEN

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (CA)History/Culture (HC) Aesthetics (A)Connections (C)


1. Demonstrate emerging understanding of movement skills. (CP)

a. Experience shifting body weight in various directions.b. Experience axial movements (e.g., bend, arch, reach, twist, turn) and motor

skills.c. Distinguish right and left with body parts and movement.d. Experience locomotor movements (e.g., roll, crawl, walk, gallop, hop, jump,

leap).

2. Engage in movement problem-solving dance experiences. (CP)

a. Exhibit awareness of different components of human energy (e.g., strong, weak,soft, hard, push, pull).

b. Apply positional and level concepts while executing shapes and movement(e.g., beside, in front of).

3. Respond through movement to verbal instruction and to various stimuli. (CP)

a. Create shapes in high, middle, and low levels alone and with partners.b. Maintain personal space while traveling through space and responding to

images, sounds, and color words.c. Perform simple movements in response to verbal instruction.

4. Identify diversity of movement choices. (CP, CA)

a. Recognize simple changes in a performance.b. Explain the pattern or order of various performed movement choices.

5. Know that dances vary throughout cultures, times, and places. (CP, HC)

a. Display celebration/enjoyment of dance.b. Observe traditional dances from various cultures.


Dance 12

6. Recognize factors that contribute to the creation, meaning, and beauty ofdance. (A)

a. Observe a higher level class while engaging in the compositional process.b. Explain what factors add to the beauty of a dance (e.g., technical skill of

dancers, choreographic and production elements).

7. Identify the connections between dance, other disciplines, and artful living.(A, C)

a. Students recognize some physical and social functions of dance.b. Cultivate audience skills and behaviors.c. Identify aspects of dance that relate to other subject areas.


Dance, Kindergarten

Dance 13

Comp. Obj. SuggestedTeaching Strategies

SuggestedAssessment

1

2

3

4

5

a,d

b

c

a

b

a

b

c

a

a

Students experience locomotor movement (walk,run, hop, jump) in various directions (forward,backward, sideways), such as traveling through thespace hopping backwards.

Students demonstrate a variety of non-locomotor/axial movements (bend, twist, stretch,swing) using nature as a model, such as treesswaying to and fro in the wind.

Students demonstrate right and left sides of thebody by moving to a musical beat and responding totempo changes.

Students exhibit awareness of different forces(hard/soft), such as using hard energy like soldiersmarching, and soft energy like a falling leaf.

Students create a shape in a specific level (low,middle, high) and a specific positional relationship(beside, in front of) to a real or imaginary square.

Students create connecting and disconnectingshapes, such as elbow-to-knee or head-to-shoulder,on various levels and partner relationships (e.g.,opposite levels), with straight and curved lines.

Students demonstrate the ability to define andmaintain individual space while dancing (e.g.,movements do not make contact or deliberatelyinvade other dancer’s individual space whileskipping).

Students accurately follow movement directionsfrom teacher or other students (e.g., travel sidewaysin low level in a fast tempo).

Students engage in an improvisation of bending andstretching using large and small adaptations. (e.g.,using the image of a rubber band, students exhibitlarge and small degrees of elasticity in various bodyparts). Students analyze movement choicesthrough a question/answer verbal format.

Students learn a traditional dance from the UnitedStates and another country and perform.

Teacher observation ofstudent movement choices

Teacher observation

Teacher observation

Teacher observation ofstudent processingevidenced in movement

Teacher observation

Student and teacherobservation of movementaccuracy of given criteria

Teacher observation

Teacher and studentobservation

Teacher evaluation ofanswers

Teacher observation ofdance


Dance, Kindergarten

Dance 14

6

7

b

a,b

b

a

c

Students view cultural dance videos and/or culturaldance performance groups. Students describecostumes and movements presented in the culturaldances.

A small group of higher level students perform asimple square dance for the younger students. Thehigher level students break into groups to engagethe younger students in the performance. Followingthe dance session, the upper level students engagethe younger students in a discussion about whatfactors contributed to the rhythm and beauty of theirdance. What makes the creation of the squaredance (choreography) come alive?

Students identify differences in pedestrianmovement behavior and dance. Playing follow theleader, teacher begins by leading students,alternating between pedestrian movement behaviorand dance movements. Students take turns playingleader demonstrating the alternating movements.

After attending a live dance concert, studentsdiscuss social meanings of dance and practiceaudience behaviors within a classroom.

Students identify different dance forms and describevarious features by drawing lines suggesting themovements’ characteristic of the dance form. Usingan artwork of futuristic style (e.g., paintings byGiacomo Balla) students compare the movementsin their drawings to the artwork. Students respondto the questions: What is the same? What isdifferent?

Teacher evaluation ofdescriptions

Teacher observation ofdance and discussion

Teacher observation

Teacher observation

Teacher observation


Dance 15

DANCEFIRST GRADE


As with all disciplines, a well-rounded education in dance includes a range ofeducational processes. The elementary school years focus on dance as a creativemovement experience that is to be incorporated into the curriculum to achieveincreased learner outcomes by employing enriching techniques that demand theinvolved responses of multiple intelligences, especially that of the kinesthetic. Thisprogram of study is to be used by the Dance Specialist and or Classroom Teacher indeveloping dance curriculum for first grade students in the following:

Elementary Dance Arts Integrated in the Elementary Classroom

The five major strands of study in the dance discipline are: Creating/Performing,Critical Analysis, Culture/History, Aesthetics, and Connections. The competencies areprinted in bold face type and are required to be taught. The competencies may relate toone or more of the content strands and may be combined and taught with othercompetencies throughout the school year. Competencies are not listed in order ofimportance and may be taught in any order that is determined suitable by the school ordistrict. Competencies provide a general guideline of ongoing instruction, not isolatedunits, activities, or skills.

The suggested teaching objectives are optional. Objectives indicate conceptsthat enable the fulfillment of competencies, describe competencies in further detail, orshow progress of concepts within benchmark grade clusters. School districts may adoptthe suggested teaching objectives or may write their own objectives that meet or exceedthose suggested, based upon needs of the students at the local level.

For an explanation of the Content Strands, Competencies, and Objectives, seethe General Introduction Section of the Mississippi Visual and Performing ArtsFramework. The Framework General Introduction, Literature Connections, TechnologyConnections, Resources, and Glossary are available on line at the MississippiDepartment of Education web site: http://www.mde.k12.ms.us.


Dance 16

DANCEFIRST GRADE

CONTENT STRANDS:



1. Acquire a basic understanding of movement skills. (CP)

a. Isolate parts of the body.b. Develop physical fitness components: flexibility, coordination, agility, endurance,

and strength.c. Perform basic axial and locomotor movements (e.g., walk, skip, jump, hop, roll,

crawl).

2. Engage in movement problem solving experiences while demonstratingkinesthetic awareness of movement. (CP, CA, C)

a. Recognize and manipulate large muscle groups (head and neck, abdominals,torso, shoulders and arms, back, and legs).

b. Use body alone and with partners to create geometric shapes and other forms.

3. Develop a basic understanding of the elements of dance. (CP, CA)

a. Explore changes in energy to evoke dynamics (swing, percussive, vibratory)alone and with a partner.

b. Respond to a musical beat and changes in tempo while traveling through alllevels of space.

c. React to textural and color images with movement.

4. Identify and describe diversity of movement choices. (CP, CA)

a. Perform different movement choices.b. Explain use of different movement choices by other dancers.c. Observe and discuss how dance is different from other forms of human

movement (such as sports, everyday gestures).


Dance 17

5. Identify purposes and functions of dance in cultures, times, and places. (A, C)

a. Identify meaning of cultural dance.b. Use historical literature as content for dance movement.

6. Cultivate an appreciation for the creation and beauty of dance. (A)

a. Use any available resources to learn a dance.b. Experience the beauty of dance through the use of technical skills, composition,

and production elements.c. Articulate individual reactions to a dance.

7. Identify connections between dance and other disciplines. (A,C)

a. Examine science concepts inherent in human movement and dance (e.g.,gravity, gravitational pull, Newton’s Laws).

b. Identify use of the arts in daily life.


Dance, First Grade

Dance 18


SuggestedAssessment

1

2

3

4

5

a,b,c

b,c

a

b

b

a

a

b

Students articulate various body parts anddemonstrate non-locomotor/axial movements (bend,twist, stretch, swing, freeze) showing range inspace, and isolation movements (e.g., twist upperextremities like a washing machine, with large andsmall movements).

Students demonstrate accurately a capacity ofmovement through locomotor movements (walk,run, jump, gallop, hop, crawl, roll) with intensity andincreased energy (e.g., while taking turns, studentsexecute walk, run, jump with fast and slow tempo).

Students perform short movement problemsemphasizing the elements ofshapes/lines/curves/circles using movements ofspecific large muscle groups.

Students create letters of the alphabet or geometricshapes using movements of large muscle groupsby:� creating a specific design with the body or

bodies� traveling them as floor patterns� using body parts to trace or carve a specific

design in space.

Students perform motor skills using levels in space(low, middle, and high) in straight, curved, andcircular pathways, such as crawling in middle levelin a curved, spatial pattern.

Students improvise various components of humanenergy that are opposites (e.g., soft/hard,light/strong, stiff/loose). Students may move like asoft marshmallow or like a piece of hard candy.

Students improvise movement that is expressive ofdifferent imitative behaviors (e.g., walk like a duck,slither like a snake) and name the various actionsand generated movements.

Students identify and describe imitative andexpressive movement behaviors (e.g., practicesocial expressive/imitative gestures such as“thumbs up”, “ waving hello”, “hand shake”, “trafficcontroller”, “choral director”, “referee”).

Teacher observation ofmovement accuracy andclarity of isolations andspecific articulations

Teacher observation ofmovement accuracy

Student descriptions andresponses to peer workregarding the given criteria

Teacher and studentobservations ofperformance clarity andaccuracy of a “secretletter” (audience reads thesecret letter/geometricshape)

Teacher observation ofcreative exploration ofenergy, space, and timerelated challenges

Teacher and studentobservation anddiscussion of the truelikeness to a literal source

Verbal explanations ofrepresentationalmovement choices

Teacher analysis ofstudent pictures of culturaldance regarding costume,gender, and formation


Dance, First Grade

Dance 19

6

7

a,b

a

a

b

Students name and perform a folk or traditionaldance from another culture (e.g., La Raspa, Troika,Hora).

Students observe different dance movements anddiscuss how they are similar and different in termsof one of the elements of dance (such as space) byobserving body shapes, levels, and pathways.

Students utilize movement to demonstrate conceptsfrom other subjects such as, science, health,mathematics (e.g., students will recreate the solarsystem by each student representing the planets,the sun and the moon, mimicking rotation).

Students give examples of how dance is like otherareas of study and paralleled in life (e.g., rhythm inmusic and visual art, everyday movement andgestures).

Teacher observation of thequality of the movementideas generated

Student explanations ofmeanings/curricular ties ofchosen movement


Dance 20

DANCESECOND GRADE


As with all disciplines, a well-rounded education in dance includes a range ofeducational processes. The elementary school years focus on dance as a creativemovement experience that is to be incorporated into the curriculum to achieveincreased learner outcomes by employing enriching techniques that demand theinvolved responses of multiple intelligences, especially that of the kinesthetic. Thisprogram of study is to be used by the Dance Specialist and or Classroom Teacher indeveloping dance curriculum for second grade students in the following:


The five major strands of study in the dance discipline are: Creating/Performing,Critical Analysis, Culture/History, Aesthetics, and Connections. The competencies areprinted in bold face type and are required to be taught. The competencies may relateto one or more of the content strands and may be combined and taught with othercompetencies throughout the school year. Competencies are not listed in order ofimportance and may be taught in any order that is determined suitable by the school ordistrict. Competencies provide a general guideline of ongoing instruction, not isolatedunits, activities, or skills.




Dance 21

DANCESECOND GRADE

CONTENT STRANDS:



1. Acquire a basic understanding of movement skills with increasingproficiency. (CP, C)

a. Demonstrate physical fitness components: flexibility, coordination, agility,endurance, strength, control.

b. Demonstrate the ability to vary control and direct forces of human energy usedin basic axial and motor skills.

c. Properly demonstrate and create locomotor movements with variousaccompaniment while employing spatial concepts of direction and pathways(e.g., sideways, curved, zigzagged).

2. Exhibit movement problem-solving experiences while demonstratingkinesthetic awareness of movement. (CP, CA)

a. Use improvisation to discover movements in response to texture, sound, andcolor movement problems.

b. Respond through movement to a wide range of stimuli, music, books, pictures,rhymes, and/or props.

c. Explore basic actions of the body while traveling (alone and with partners)through space in a given spatial pattern or design (e.g., circle, line, square).

3. Develop a greater understanding of the elements of dance. (CP, CA)

a. Vary the time-value given to a specific movement to discovercomposition/movement possibilities.

b. Create shapes and movements using different spatial levels and positionalconcepts (e.g., low level shape in front of an object).

c. Create visual art to represent time, space, or energy in movement.


Dance 22

4. Compose and describe movement with guided criteria. (CP, CA, A)

a. Create a phrase of shapes that demonstrate a beginning, middle, and end.b. Create a sequence of movements that demonstrates how dance is different

from other movements, such as sports or common gestures.

5. Understand the purposes of dance in relation to other cultures, times, andplaces. (CP, CA, HC, C)

a. Perform folk and traditional dances of other countries.b. Understand how dance is used as a form of storytelling in various cultures.c. Identify and relate the relationship of dance in society to celebrations and family

customs.

6. Perceive the meaning and beauty of dance. (CA, A)

a. Identify and name dance movement using correct dance terminology.b. Use dance terminology to identify and describe dance components within an

observed or performed dance.

7. Identify and distinguish valid connections between dance, other subjectareas, and everyday life. (CA, C)

a. Explain how the arts are used in daily life. b. Identify examples of how dance relates to other subject areas.


Dance, Second Grade

Dance 23


SuggestedAssessment

1

2

3

4

a,b

a,c

a

b

c

a

b

a

a

Students demonstrate accurately a combination ofaxial movement utilizing dance technique, bend,swing, twist, rotate, right and left sides, and upperand lower body halves (e.g., upper body swingdown and up, twist upper body right and left, andswing right leg side to side).

Students demonstrate accurately a combination oflocomotor movements (walk, run, gallop, jump, hop,crawl) in various pathways (forward, backward, side,diagonal, curved, and straight). Students gallopforward 4-counts, run in a circle 4-counts, jumpbackwards in a diagonal pathway 4-counts.

Students improvise translation of a variety of actions(e.g., weave, encircle, scoot, drip, melt, pounce,push, pull, resist) by drawing three word cards froma hat and choosing an order in which to improvisethem.

Students express understanding of concepts inother subject areas, such as mathematicalconcepts, by transposing ideas to movementcommunication or explanation of given stimuli.

Students combine sculpted body forms by workingwith a partner on various actions, creating opposites(e.g., tall/short, wide/thin). Students mold partnersinto shapes and connect opposite shapes.

Students recall a movement phrase (sit, jump, run)taught by the teacher and manipulate the tempo.

Students create design in the body demonstratingsymmetry and asymmetry, and understanding ofthree-dimensional shapes in space.

Students create a movement phrase with abeginning, middle, and end and identify each ofthese parts of the sequence in student’s own workand work of others. On a sheet of paper, studentsdraw or describe each of the three shapes.

Students improvise, create, and perform a dancesequence based on personal ideas of the story TheSun, The Moon, and The Silver Baboon, integratingthe following partner skills: copying, leading,following, mirroring.

Student ability to analyzemovement choices and toname specific axialmovement and involvedparts of self and others

Student analysis ofmovement choices andnaming of locomotor andchosen pathways of selfand others

Teacher observation ofaccuracy in movementrepresentation of actionwords

Student justification ofmovement studies andverbal analysis of others

Teacher observation ofmovement accuracy ofoppositional concepts

Teacher observation

Students drawings ofsymmetrical andasymmetrical shapes

Students-created chartdescribing the threeparts/sections of eachstudy

Student-created list ofpartner skills in eachpresented dance


Dance, Second Grade

Dance 24

5

6

7

b

a

b,c

a

b

a

b

b

Students observe and discuss how dance isdifferent from other forms of human movement.

Students perform folk/traditional dances fromvarious cultures with competence and confidence(e.g., Kinder Polka, Oslo Waltz).

Students accurately answer questions about dancein a particular culture and time period (e.g., Incolonial America, why and in what setting did peopledance? What did the dances look like?)

Students create a dance phrase with assignedcomponents (swing, undercurve, etc .) and identifyand describe order and method of criteria presentedby each group. Students write the order of thecomponents as they are being performed.

Students take an active role in a class discussionabout interpretations of and reactions to dance interms of content (ideas, meaning, and movementchoices) and dance style. Students read and sharetheir reactions about the dance presented.

Students explain feelings evoked by responding torhythm and sounds with movement. Students usewater colors to express feelings of happy, sad, etc.

Students examine use of art in immediatesurroundings, home, school, TV, and social settings,and reference use of movement and sound inadvertising.

Students present a movement explaining an Englishskill such as punctuation, capitalization, andindenting paragraphs. Students create a movementto specify a capital letter or punctuation mark (smallball with body to represent a period) as the teacherreads a sentence.

Student ability to recordreactions and reflections ofdiscoveries in movementcomparison discoveries

List three cultural dancesand describe the historyand meaning of each

Teacher evaluation ofstudents’ answers

Performance checklists ofspecific movement criterialisted in the order shown

Write a reaction to anotherdance describing involvedcontent

Groups developmovement and sound torelate to a given emotion

Teacher questioning andreview of factualinformation before andafter a movement-infusedlesson

Teacher observation


Dance 25

DANCETHIRD GRADE


As with all disciplines, a well-rounded education in dance includes a range ofeducational processes. The elementary school years focus on dance as a creativemovement experience that is to be incorporated into the curriculum to achieveincreased learner outcomes by employing enriching techniques that demand theinvolved responses of multiple intelligences, especially that of the kinesthetic. Thisprogram of study is to be used by the Dance Specialist and or Classroom Teacher indeveloping dance curriculum for third grade students in the following:






Dance 26

DANCETHIRD GRADE

CONTENT STRANDS:



1. Acquire a basic understanding of movement skills with increasingproficiency. (CP, CA, C)

a. Employ proper alignment in weight transfers while performing movement.b. Demonstrate anatomical knowledge of major body parts through arranging and

creating axial movements.c. Show a variety of combinations of basic motor skills and locomotor movement.

2. Exhibit movement problem-solving experiences while demonstratingkinesthetic awareness of movement. (CP, CA)

a. Use improvisational skills to problem solve through assembling movements ofcreating new movement.

b. Organize the steps to an everyday task and perform, employing elements ofdance (e.g., changing time, value, range/size of movement).

c. Discuss and justify movement choices.

3. Develop and utilize elements of dance in movement. (CP, CA)

a. Create symmetrical and asymmetrical shapes alone and with partners,emphasizing positive and negative spaces.

b. Explore movement qualities of dynamics: sustain, suspend, swing, percussive,vibratory, and collapse.

c. Collaborate with a partner (sharing weight, mirroring, leading, copying) to createand explore movement possibilities.

4. Compose and describe movement with guided criteria. (CP, CA)

a. Formulate and sequence locomotor and non-locomotor movement for levels inspace using directions and pathways.

b. Create a sequence with a beginning, middle, and end with or without rhythmicaccompaniment.


Dance 27

5. Understand the purposes and functions of dance across cultures, times, andplaces. (CP, CA, HC, C)

a. Understand how dance is used in various cultures as a celebration of lifeexperiences and community events.

b. Understand how dance has been used as a form of communication throughouthistory.

6. Perceive and understand the meaning and beauty of dance. (A)

a. Recognize components of dance forms to include costume, music, formation,movement, and gender.

b. Respond to dance by expressing an understanding of content through writing,music, drama, painting, sculpting, etc.

7. Distinguish and use valid connections between dance and other disciplines.(A, C)

a. Employ the use of the art disciplines to comment or reflect on current issues aswell as historical issues.

b. Articulate similarities of the elements of the dance in relation to elements ofother arts disciplines.


Dance, Third Grade

Dance 28


SuggestedAssessment

1

2

3

4

5

6

7

a,b

a

a,b,c

a

a

a,b

a

a

Students demonstrate movement with acombination of axial movement utilizing dancetechniques right and left side, upper-half and lower-half of the body, and combinations of bodyisolations, with emphasis on body placement,control, and some balance skills.

Students create stationary and mobile geometricdesigns (triangles, squares, rectangles) with bodiesalone and with partners.

Students present, discuss, and justify interestingsolutions for creating and presenting a movementmodel of the circulatory system.

Students create design in the body demonstratingsymmetry and asymmetry, using both straight andcurved lines.

Students improvise the happenings of each stage ofthe water cycle and properly sequence the stages.

Students discuss the design of the circle and itscommon use in dances of all countries. Learn theRussian folk dance, the Troika, a running circledance, and invite a cultural group to perform.

Students add performance components to a dancestudy (e.g., choosing costumes, music, formations).Conduct surveys of audience members of otherdancers.

Students engage in a current event movement studywith emphasis on the effects of society and itspeople.

Student evaluations of skillmastery by scale usingvideo performance oftechnique class

Audience responses andinterpretations ofmovement design

Student descriptions ofpresented work andreflections of movementrepresentation

Teacher and personalobservation (using amirror) of accuracy inmovement design

Student writings anddrawings of each part ofthe cycle with notedcharacteristics of each

Student characterizationsof a Russian danceperformer describing thehistory, meaning, andmethods of their craft

Written critique of theeffectiveness ofperformance components

Discuss new ideas andgreater emotionalunderstanding after thecompletion of the process


Dance 29

DANCEFOURTH GRADE


As with all disciplines, a well-rounded education in dance includes a range ofeducational processes. The elementary school years focus on dance as a creativemovement experience that is to be incorporated into the curriculum to achieveincreased learner outcomes by employing enriching techniques that demand theinvolved responses of multiple intelligences, especially that of the kinesthetic. Thisprogram of study is to be used by the Dance Specialist and or Classroom Teacher indeveloping dance curriculum for fourth grade students in the following:






Dance 30

DANCEFOURTH GRADE

CONTENT STRANDS:



1. Demonstrate a basic understanding of movement skills. (CP, CA)

a. Employ proper alignment in weight transfers while performing and creatingmovement.

b. Demonstrate anatomical knowledge of major body parts through arranging andcreating axial movements with and without locomotor movements in variousdirections and pathways.

2. Demonstrate a problem-solving experience integrating kinesthetic awarenessof movement. (CP, CA)

a. Use improvisational skills to problem-solve through assembling or sequencingmovement and creating new movement.

b. Discuss and justify own movement choices and evaluate movement choicespresented by others.

3. Apply elements of dance to movement studies. (CP, CA)

a. Explore one or more elements of dance simultaneously: space, time, shape andenergy through improvisation.

b. Collaborate with a partner (sharing weight, mirroring, leading, copying) to createand explore movement possibilities.

4. Compose, analyze, and compare movement with guided criteria. (CP, CA, A)

a. Formulate and sequence movement that includes various energies, shapes,and transitions.

b. Create a sequence with a beginning, middle, and end with or without partners orrhythmic accompaniment.


Dance 31

5. Understand and compare the purposes and functions of dance acrosscultures, times, and places. (CA, HC, C)

a. Relate to how dance is used in various cultures as a celebration of lifeexperiences.

b. Understand how dance has been used as a form of communication throughouthistory.

c. Understand the role of dance in Mississippi.

6. Perceive and understand the diverse meaning, creation, and beauty of dance.(A)

a. Perform dances to communicate personal meaning.b. Develop self-awareness and confidence through dance.

7. Translate the connections between dance, other disciplines, and everydaylife. (A, C)

a. Associate the use of the art disciplines to comment or reflect on current issuesas well historical issues.

b. Employ use of the arts in daily life.c. Articulate similarities of the elements of dance in relation to the elements of

other arts disciplines.


Dance, Fourth Grade

Dance 32


SuggestedAssessment

1

2

3

4

5

6

7

a

b

a

b

a,b

b

a

c

Students create an axial movement and a locomotormovement using the upper extremities. Combine thetwo, if possible, and vary the time, space, andenergy through improvisation e.g. twist arms whileskipping, and travel fast and slow with hard and softenergy. At any freeze, students name the axialmovement, locomotor movement, specific bodyparts utilized, and descriptions of the elementsutilized.

Students perform and explain personal movementchoices that represent the line from a poem (e.g.,"From now on all these planes need to be largeparachutes").

Students create movement for each syllable ofone’s name and improvise continual alteration oftwo elements at a time.

Students experience weight sharing and mirroring indepth and describe the emotions, findings, and non-verbal communication involved (e.g., students holdhands with partner and improvise push/pull andcounter-balance in order to create weight-sharingshapes). Students write reflections of learning/findings through movement sessions.

In a small group, students develop a vocabularyword with movement, adding a cause and effect toform a three-part phrase. Students complete achart showing the three parts of each phraselabeled in the correct order.

Students brainstorm three instances where dance isused as communication. Students write the threemain ideas of each presented dance study and useideas to develop a short story.

Students transpose ideas about a given subject intomovement expression (e.g., recycling, smoking).Students design a picture to be used as a posterbased on ideas generated from the research anddevelopment of thematic movement.

Students create a human solar system usingmovement and voice to share important information(dance, drama, science).

Teacher observation

Compare movement ofgroups assigned the sameline

Teacher and studentevaluation of movementclarity by syllable andcorrect number ofelements represented

Teacher evaluation ofwritten reflections

Teacher and studentevaluation of the chart

Teacher and studentevaluation of short story

Teacher and studentevaluation of poster

Pre and post quiz on thesolar system


Dance, Fourth Grade

Dance 33

d Students compare and discuss use and effects ofrhythm and form in visual art, music, and dance.

Teacher evaluation ofstudents contribute todiscussion


Dance 34

DANCE

MIDDLE SCHOOL INTRODUCTION

Through kinesthetic education, children at this age freely express themselves bydancing, and enjoy working in groups to share their ideas and dreams. The use ofkinesthetic educational experiences is a valuable way to meet the individual needs oflearners through employing techniques that involve multiple intelligences. Middleschool students typically have high energy spurts, like growth spurts, and can bemotivated through this energy to work individually on problem-solving experiences inmovement.

Because they are inventive, middle school students generally love to experimentwith new ways of doing things. They are exuberant in their desire to create, and enjoyforming gender friendships through dance with other students. They will also learn anappreciation of moving together as a large group or a small group in sharing theirdance accomplishments. This is an opportune time to experience making connectionsbetween dance and other subject areas. They will be intrigued by making connectionsto dances of various cultures. They pride themselves in increasing their sophisticationof historical knowledge relating to dance. Middle school students delight in benefitingfrom the investigation of different dance styles and sharing this learning with otherstudents.

Students will find it fun to work toward the presentation of a large-scale danceproduction. Focus and concentration will be a challenge to them while continuing togrow through their learning, discussion, research, and experimentation.


Dance 35

DANCEMIDDLE SCHOOL LEVEL I


As with all disciplines, a well-rounded education in dance includes a range ofeducational processes. The middle school years focus on dance as a creativemovement experience that is to be incorporated into the curriculum to achieveincreased learner outcomes by employing enriching techniques that demand theinvolved responses of multiple intelligences, especially that of the kinesthetic. Thisprogram of study is to be used by the Dance Specialist and or Classroom Teacher indeveloping dance curriculum for middle school level I students in the following:

Middle School Dance Arts Integrated in the Middle School Classroom

The five major strands of study in the dance discipline are: Creating/Performing,Critical Analysis, Culture/History, Aesthetics, and Connections. The competencies areprinted in bold face type and are required to be taught. The competencies may relateto one or more of the content strands and may be combined and taught with othercompetencies throughout the school year. Competencies are not listed in order ofimportance and may be taught in any order that is determined suitable by the school ordistrict. Competencies provide a general guideline of on-going instruction, not isolatedunits, activities, or skills.

The suggested teaching objectives are optional. Objectives indicate conceptsthat enable the fulfillment of competencies, describe competencies in further detail, orshow progress of concepts within benchmark grade clusters. School districts mayadopt the suggested teaching objectives or may write their own objectives that meet orexceed those suggested, based upon needs of the students in their district.



Dance 36

DANCEMIDDLE SCHOOL LEVEL I

CONTENT STRANDS:



1. Demonstrate a basic understanding of movement skills while applyinganatomical knowledge. (CP, C)

a. Exhibit balance for an increasing duration of time.b. Identify planes in space (e.g.,vertical, horizontal, sagittal).c. Recognize and name the following muscles: rectus abdominis, hamstrings,

quadriceps, pectorals, gluteus maximus.d. Recognize and name the following bones: femur, pelvic girdle, sternum, spine,

ribs, patella, clavicle, scapula.

2. Demonstrate movement problem solving experiences integrating basicmovement skills. (CA, CP)

a. Resolve composition problems through the democratic process.b. Demonstrate rearrangements of movement sequences.c. Use improvisation as a tool for problem-solving.

3. Translate elements of dance into improvisation and composition. (CP)

a. Create a rhythmic pattern from the auditory experience into the kinestheticexperience.

b. Memorize and repeat movement experiences.c. Create a dance using a given spatial design.

4. Compose, analyze, and appraise choreographic movement choices. (CA)

a. Demonstrate and explain how sound, music, spoken text, and costume affectmovement choices and the meaning of dance.

b. Design multiple solutions to a given movement problem.c. Identify ineffective movement and establish corrective measures.


Dance 37

5. Demonstrate and gain a better understanding of dance forms and styles. (CP,HC)

a. Perform traditional dances from diverse cultures.b. Understand cultural influences and the purpose and function of dance styles.

6. Perceive and practice an appreciation for the creation, meaning, and beautyof dance. (A,C)

a. Create a dance that successfully communicates a topic of personal significance.b. Attend a concert, theater, or dance presentation.c. Discuss and demonstrate audience and performing arts etiquette for the

classroom.

7. Build connections between living and learning through dance. (C)

a. To prevent injury, apply the correct usage of the body to everyday movement.b. Know how dance movements enhance healthy living.c. Create a movement study based on a literary connection.d. Create a shape composition using sculptures as a theme.


Dance 38

Middle School Dance (Level I)


SuggestedAssessment

1

2

3

4

5

6

7

c,d

a

b

c

a,b

a

b

Teachers prepare a “Bones and Muscles” packetthat students can use to draw the specified bonesand muscles. Students find those muscles andbones on their own body.

Divide the class into small groups. Each studentgroup selects their own 16-count rhythm phrase andcreates movement for the phrase (e.g., using yourfavorite Disney video character, select a rhythmphrase and perform movement using thatcharacter’s qualities).

Teacher divides the class into small groups. Eachgroup chooses a book that all students have read.They create movement phrases based on words,dialogue, and emotions displayed in the book.

Students select a partner and perform movementskills for their partner. Each partner will identifyineffective movement skills and assist the partnerwith corrections (e.g. pointed toes, posturealignment).

Working in groups, students identify the beliefs,customs, traditions, arts, and achievements of aculture. Using the cultural information, studentscreate a dance that will convey a personalperspective on a specific culture.

Students research a social issue in their communityand give a presentation in class on their personalviews.

In a large group format, students will list the physicaland mental benefits of dance training.

Verbal test where studentshave to physically engagethose muscles to verbalcommands

Teacher observation andclass discussion

Teacher observation andprepared rubric based oncriteria of the project

Student self -evaluationform

Performance rubricestablished at the time ofassignment by studentsand teacher

Student, peer, and teacherevaluation

Teacher -evaluation basedon compiled list


Dance 39

DANCEMIDDLE SCHOOL LEVEL II


As with all disciplines, a well-rounded education in dance includes a range ofeducational processes. The middle school years focus on dance as a creativemovement experience that is to be incorporated into the curriculum to achieve anincreased learner outcomes by employing enriching techniques that demand theinvolved responses of multiple intelligences, especially that of the kinesthetic. Thisprogram of study is to be used by the Dance Specialist and or Classroom Teacher indeveloping dance curriculum for middle school level II students in the following:

Middle School Dance Arts Integrated in the Middle School Classroom

Middle School Dance Performance

The five major strands of study in the dance discipline are:Creating/Performing, Critical Analysis, Culture/History, Aesthetics, and Connections.The competencies are printed in bold face type and are required to be taught. Thecompetencies may relate to one or more of the content strands and may be combinedand taught with other competencies throughout the school year. Competencies are notlisted in order of importance and may be taught in any order that is determined suitableby the school or district. Competencies provide a general guideline of on-goinginstruction, not isolated units, activities, or skills.




Dance 40

DANCEMIDDLE SCHOOL LEVEL II

CONTENT STRANDS:



1. Demonstrate a basic understanding of movement skills while applyinganatomical knowledge. (CP,C)

a. Develop an understanding of movement initiation.b. Practice falling, recovering, folding, and reaching.c. Demonstrate increasing anatomical and kinesthetic awareness, concentration,

and focus in performing movement skills.

2. Demonstrate movement problem solving experiences integrating skills. (CA,CP)

a. Review contrast, transition, and phrasing.b. Utilize the democratic process in a small group collaborative experience to

create a composition.c. Using improvisation as a tool, find a solution to a movement problem solving experience.

3. Translate elements of dance into improvisation and composition. (CP)

a. Demonstrate the ability to use a spatial pattern in a performance.b. Increase range of dynamics and movement qualities.

4. Compose, analyze, and appraise choreographic movement choices. (CP, CA)

a. Present an effective dance study demonstrating pedestrian and/or abstractedgestures.

b. Appraise the novelty and validity of movement.c. Describe the way movement choices affect a dance.

5. Demonstrate and appreciate dances from different cultures, times, andplaces. (HC)

a. Identify dance etiquette in diverse cultures.b. Examine the role and function of dance in specific cultures.


Dance 41

6. Perceive and practice an appreciation for the creation, meaning, and beautyof dance. (CA,C)

a. Know how personal perspectives influence the meaning of a dance.b. Demonstrate proper audience and performing arts etiquette.

7. Know and examine connections between living and learning through dance.(C, A)

a. Know how healthful living affects a dancer’s body.b. Examine role and function of dances in one’s family and community.


Middle School Dance (Level II)

Middle School Dance Performance (See Page 51)

Dance 42


SuggestedAssessment

1

2

3

4

5

6

7

c

b

a

b

b

a

a

Students form a circle to create a “class-choreographed circle dance.” Go around the circleto allow each student to create a movement.

Utilize photographs of sculptural forms as an aid toa lesson in the use of space. Students will create adance using positive and negative space. Have onestudent create a shape and have a second studentfill in the empty space around the first shape.Students discuss use of positive and negativespace.

Students design a spatial pattern on paper, notatingmovement qualities, timing, and level changes to beperformed. Students test the design through aphysical demonstration.

After the performance of student work, have a“peer-exchange and critiquing” session. The studentchoreographer and dancer sit down and discuss theexperience from conception to production. Studentkeeps record of work and comments in aportfolio/journal.

Students name some of the important moments intheir lives. Create a ritual based on the discussionabout this moment or rite of passage.

After students have viewed a dance, studentsformulate a personal perspective of theperformance. Students discuss personalperspectives of the performance.

Students complete an “individual healthquestionnaire” to determine their level of healthyliving.

Teacher and studentresponse to theperformance of the circledance

Teacher observation ofactivity and discussion

Teacher evaluation ofwritten design comparedto the final physicaldemonstration

Teacher/peer evaluation ofportfolio/journal

Teacher observation ofperformance

Teacher observation ofdiscussion

Teacher-evaluation of thequestionnaire at thebeginning and end of aterm


Dance 43

DANCEMIDDLE SCHOOL LEVEL III


As with all disciplines, a well-rounded education in dance includes a range ofeducational processes. The middle school years focus on dance as a creativemovement experience that is to be incorporated into the curriculum to achieveincreased learner outcomes by employing enriching techniques that demand theinvolved responses of multiple intelligences, especially that of the kinesthetic. Thisprogram of study is to be used by the Dance Specialist and or Classroom Teacher indeveloping dance curriculum for middle school level III students in the following:

Middle School DanceArts Integrated in the Middle School ClassroomMiddle School Dance Performance





Dance 44

DANCEMIDDLE SCHOOL LEVEL III

CONTENT STRANDS:



1. Demonstrate an understanding of movement skills while applying anatomicalknowledge and correct terms. (CP,C)

a. Develop and demonstrate an understanding of movement initiation.b. Practice shifting weight of the body.c. Demonstrate elevation and landing.d. Develop movement using the following muscles: rectus abdominis, hamstrings,

quadriceps, pectorals, gluteus maximus.e. Demonstrate and recognize planes in space: vertical, horizontal, sagittal.f. Demonstrate memorization and reproduction of several continuous movement

sequences.

2. Demonstrate improvisation and choreography in movement problem solvingexperiences. (CA, CP)

a. Demonstrate variations of contrast, transition, and phrasing.b. Demonstrate dance structures and forms (e.g., AB, ABA, cannon, mirroring,

narrative.)

3. Manipulate elements of dance into movement. (CP, CA)

a. Create movement using time, space, energy, and shape while using correctbody alignment.

b. Demonstrate ability to compare and contrast dance compositions in terms ofspace, time, and energy.

4. Compose and interpret choreographic movement choices. (CP, CA)

a. Effectively demonstrate the difference between pantomiming and abstracting agesture.

b. Demonstrate and explain how production elements affect movement choices.


Dance 45

5. Construct and present dances reflective of cultures, times, and places. (CP,HC)

a. Perform basic dance positions, axial and locomotor movement, and patternsfrom different dance disciplines (e.g., modern, ballet, cultural specific dances).

b. Describe and critique dance from a specific culture.c. Identify the movement aspects of ballet, modern, jazz, tap, and cultural dance.d. Understand and know the historical background of various types of dance.e. Competently identify dance disciplines from a variety of forms (e.g., modern, ballet, tap).

6. Perceive, practice, and advocate an appreciation for the creation, beauty andvalue of dance. (CA,C)

a. Discuss varying views of a dance concert.b. Identify possible aesthetic criteria for evaluating dance such as skill of

performers, originality, visual and/ or emotional impact.c. Exhibit proper audience and performing arts etiquette.

7. Translate and apply connections between living and learning through dance.(C, A)

a. Identify dance careers.b. Demonstrate knowledge of dances in one’s family and community.c. Integrate science and dance by using a specific internal function of the human

body and reproduce a movement phrase.


Middle School Dance (Level III)

Middle School Dance Performance (See Page 51)

Dance 46


SuggestedAssessment

1

2

3

4

5

6

7

f

b

a,b

b

b

c

b

Teacher demonstrates 4 to 6 movement sequences.Allow students time to memorize and reproduce thesequences given.

Students create compositions using various themes,structures, and forms. Record and watch the videoof dances created by the class. Throughdiscussion, evaluate the dancing. Notice whatstructures, themes, and forms were used.

Using everyday gestures and movements found inoccupations, students create phrases using time,space, and energy.

During the dance production process, students keepa daily journal to express the differences theyexperience in a specific dance piece/concert (e.g.,How did the music, costumes, props, lights, etc…affect the movement choices?)

Team project with history class. Choose historicaltime periods in a specific culture and practicedances that were popular during these time periods.(e.g. medieval time period with maypole and chaindance; roaring 20’s with the Charleston).

After a school assembly, identify positive andnegative audience etiquette (e.g., Did everyoneenter the performance area quietly? Did everyoneapplaud appropriately?)

Discuss family celebrations that have taken place,such as christenings, weddings, funerals, birthdays,holidays, and religious celebrations. Create amovement ceremony depicting one of thecelebrations.

Teacher observation ofperformance rubric

Video of performance andteacher evaluation

Respond to the question,“How did the manipulationof the movement changethe original form?”

Portfolio/Journal entriesand questions


Teacher-preparedquiz/test

Teacher-preparedperformance rubric


Dance 47

DANCEMIDDLE SCHOOL LEVEL IV


As with all disciplines, a well-rounded education in dance includes a range ofeducational processes. The middle school years focus on dance as a creativemovement experience that is to be incorporated into the curriculum to achieveincreased learner outcomes by employing enriching techniques that demand theinvolved responses of multiple intelligences, especially that of the kinesthetic. Thisprogram of study is to be used by the Dance Specialist and or Classroom Teacher indeveloping dance curriculum for middle school level IV students in the following:

Middle School DanceArts Integrated in the Middle School ClassroomMiddle School Dance Performance





Dance 48

DANCEMIDDLE SCHOOL LEVEL IV

CONTENT STRANDS:



1. Demonstrate movement with an increasing concentration and focus ontechnique and terminology. (CP)

a. Demonstrate alignment and awareness of center.b. Demonstrate ability to initiate movement from different or specified origins (e.g.,

head, pelvis, hand, foot).c. Demonstrate correct usage of body in elevation and landing.d. Demonstrate movement understanding of fall and recovery, folding and

reaching.e. Perform movements using the following muscles: rectus abdominis, ilio psoas,

hamstrings, quadriceps, pectorals, latissimus dorsis, gluteus maximus, rotators,muscle groups, abductors and adductors.

f. Recognize and expand vocabulary and knowledge of the skeletal system:femur, pelvic girdle, sternum, scapula, spine, ribs, patella, clavicle.

2. Recognize and demonstrate improvisation and choreographic choices in amovement problem solving experience. (CP,CA)

a. Create a compositional piece using contrast, transition, and phrasing.b. Create a composition using forms and structures (e.g., AB, ABA, cannon,

mirroring, narrative).c. Formulate and answer aesthetic questions to guide choices (e.g., How much

can one change affect the outcome of a dance?).

3. Apply elements of dance to choreographic process and principles. (CP)

a. Accurately identify and demonstrate basic dance steps, positions, and patterns.b. Increase range of dynamics, and movement qualities.c. Apply knowledge of choreographic principles to create student-choreographed

work.


Dance 49

4. Compose and critique choreographic movement choices. (CP, CA)

a. Appraise the novelty and validity of different types of movement.b. Identify and understand multiple solutions to a given movement problem.

5. Construct, present, and compare the diversity of dance in relation to cultures,times, and places. (CP, HC)

a. Competently perform traditional dances from diverse cultures.b. Competently perform basic dance positions, axial and locomotor movement,

and patterns from different disciplines (e.g. modern, ballet).c. Demonstrate ability to compare the role of dance in different cultures and

periods.d. Recreate a dance previously observed within a specific culture.e. Identify similarities and differences in dance of the past and present.

6. Perceive, practice, and advocate, an appreciation for the artistic value andbeauty of dance. (A,C)

a. Collect information on one Community Arts opportunity.b. Actively publicize information on the arts activities within your community and

school.c. Practice and promote proper audience and performing arts etiquette.d. Create, present, and evaluate a teacher-given dance study.

7. With increasing proficiency, translate and apply connections between livingand learning through dance. (C, A)

a. Design a long-range plan for improving dance skills.b. Identify and examine dance careers in Mississippi and the United States.c. Find Mississippi pioneers in dance-related fields.d. Compare art forms in other disciplines to dance.


Dance 50

Middle School Dance (Level IV)


SuggestedAssessment

1

2

3

4

5

6

7

d

a

b

a

e

b

c

Students use improvisational skills to demonstrateseveral different ways to fall and recover, fold andreach (e.g. tripping, collapsing, melting).

Students create movements using direct transitions.Create indirect transitions using the samemovements (e.g., Go from point A to B in a directpath. Then go from point A to B using an indirectpath).

Students rehearse a choreographic work to refinethe dynamics and movement qualities (e.g., Givestudent images of qualities such as vibratory,smooth, and wavy).

In small groups, students create a dance thatsuccessfully communicates a topic. Compare thedifferences in movement choices from group togroup (e.g., How did group 1’s choices change themood of the dance verses group 2’s choices?).

Teacher and students arrange themselves in agroup and compose a movement phrase based onpresent dance styles. Watch a video of a historicaldance. Write a comparison of the two dances.

With assistance from visual arts classes, studentsdevise a publicity campaign. Students createposters for their dance concert and distribute in theircommunity.

Students use the Internet to research Mississippipioneers in dance related fields. Create a multi-media presentation from the collected information.

Teacher observation

Teacher prepared rubricon transitions

Students evaluation paperwith set criteria from theteacher

Teacher observation andgraded written work

Teacher observation andrubric for posterinformation

Teacher-organized CriteriaSheet

Teacher-organized CriteriaSheet


Dance 51

Dance Performance, Middle School Level IV

(This strategy chart is given as an example of how competencies and objectives fromthe Middle School Dance Level IV program of study can be used to teach a Level IVDance Performance Class. Dance Performance Classes may be taught at Levels I, II,III, and IV using those respective programs of study.)


SuggestedAssessment

1 a,c,e,f Develop performance and musicality skills in aselected dance form (e.g., modern, ballet, jazz, tap,traditional).

Teacher observation, selfand peer evaluation ofskills

2 a,c Develop structure and/or form using a coastalenvironment as a theme (e.g., dance movementexemplifies/imitates ocean wave motion).

Teacher observation

3 b Students will memorize and repeat teacher-directedmovement sequences.

Teacher observationthrough rubric. Video andevaluate performance

4 a Create a sequence of movement ideas based onresearch of various Modern choreographers (e.g.,Merce Cunningham, Alvin Ailey, Twyla Tharpe).

Teacher observationthrough rubric. Video andevaluate performance

5 b Within a particular dance form, students discuss andcompare personal and class growth in techniqueand performance skills.

Teacher observation anddiscussion

6 d Create a complex project through an ever-changingenvironment (e.g., Group 1 changes shape/formand placement in room every 16 counts as group 2uses various locomotor skills and qualities ofmovement to move within group 1’s shape).

Journal and/or portfolioreflection

7 d Create a bank of action words used in a sportsactivity. Perform a dance study using the bank ofwords.

Journal and/or portfolioreflection


Dance 52

DANCE

HIGH SCHOOL INTRODUCTION

In high school, training in dance technique and studying dance as a performingart are of major importance. Young people rapture in living to a greater degree whenthey acquire a sense of accomplishment in developing movement skills. They alsopride themselves in studying dance as a discipline, from its academic point of view.The art and the discipline are not taught as separate entities, but are taught andpracticed as a whole.

The high school young person is able to examine aspects of self and his or hercontribution to the world. Their sense of self as sensorial beings can be developedalong with their capability to understand great things. Each of these aspects can beexpressed through dance. While having fun, there is seriousness of purpose in theirart-making and personal expression. Their thoughts can be expressed and evenvisualized in student choreography. The student is able to see the form and content ofthe dance and the dancer as one, learning a new way of viewing dance, and assomething special that they can produce and to which they can contribute. Dancetechnique-training in different forms and styles at this level is a way young peoplelearn about the larger world and learn various modes of expression.

The High School Dance Framework is divided into different programs of studythat can be used to develop curriculum for a variety of courses listed in the ApprovedCourses for the Secondary Schools of Mississippi. At the high school level, someprograms of study may be applied to curriculum development for more that onecourse. A list of the applicable courses is included in the description of each programof study. To facilitate application of the program of study to multiple courses, aSuggested Strategies and Assessments Chart for each applicable course is includedfollowing the program of study. In order to accommodate the variety of schedulingformats throughout Mississippi schools, some arts courses are available for 1 or 1/2credit. Courses offered for 1/2 credit must cover all the competencies in thedesignated program of study. Those courses earning 1 credit will cover all thecompetencies, but in greater depth and breadth than the 1/2 credit courses. A listingof these courses and the corresponding program of study to be used in developingcurriculum for those courses follows:

Dance Course: Dance Program of Study:


Dance 53

High School Dance I (Proficient) High School Level IHigh School Dance II (Proficient) High School Level IIHigh School Dance III (Advanced) High School Level IIIHigh School Dance IV (Advanced) High School Level IVDance Performance I (Proficient) High School Level IDance Performance II (Proficient) High School Level IIDance Performance III (Advanced) High School Level IIIDance Performance IV (Advanced) High School Level IV

Course Descriptions

DANCE I, Proficient(1/2 or 1 credit) Based on High School Dance Level I program of study.Districts may tailor the competencies to meet the specific focus of the course they aredesigning, but all competencies must be addressed. This course is designed todevelop proficiency in at least one dance technique (e.g., modern dance, ballet, jazzdance, tap, dances of Africa, and various styles, or periods). This course may berepeated for up to 2 credits.

DANCE II, Proficient(1/2 or 1 credit) Prerequisite course: Dance I.Based on High School Dance Level II program of study.Districts may tailor the competencies to meet the specific focus of the course they aredesigning, but all competencies must be addressed. This course is designed todevelop proficiency in at least one dance technique (e.g., modern dance, ballet, jazzdance, tap, traditional dance, and various styles, or periods). This course may berepeated for up to 2 credits.

DANCE III, Advanced(1/2 credit or 1 credit) Prerequisite course: Dance II.Based on High School Level III program of study.Districts may tailor the competencies to meet the specific focus of the course they aredesigning, but all competencies must be addressed. This course is designed todevelop competency in one technique and proficiency in another technique (e.g.,modern dance, ballet, jazz dance, tap, traditional dance, and various styles, orperiods). This course may be repeated for up to 2 credits

DANCE IV, Advanced(1/2 or 1 credit) Prerequisite course: Dance III.


Dance 54

Based on High School Level III Framework. Districts may tailor the competencies tomeet the specific focus of the course they are designing, but all competencies mustbe addressed. This course is designed to develop competency in one dancetechnique and proficiency in another technique, (e.g., modern dance, ballet, jazzdance, tap, traditional dance, and various styles, or periods). This course may berepeated for up to 2 credits.

DANCE PERFORMANCE I, Proficient(1/2 or 1 credit) Prerequisite: Dance I, Dance II, or by permission of instructor.This course accommodates districts that want to offer specialized concentratedinstruction in the theatrical or art-dance forms (e.g., modern dance, ballet, jazz dance,tap, traditional dance, and various styles, or periods). Dance Performance I must bebased on the competencies delineated in the High School Level I (Proficient)Framework. Districts may tailor the competencies to meet the specific focus of thecourse they are designing, but all competencies must be addressed.

DANCE PERFORMANCE II Proficient(One semester or a full year, 1/2 or 1 credit)Prerequisite: Dance II, Dance Performance I, or by permission of instructor.This course accommodates districts that want to offer specialized concentratedinstruction in the theatrical or dance forms (e.g., modern dance, ballet, jazz dance, tap,traditional dance, and various styles, or periods). Dance Performance II must bebased on the competencies delineated in the High School Level II (Proficient)Framework. Districts may tailor those competencies to meet the specific focus of thecourse they are designing, but all competencies must be addressed.

DANCE PERFORMANCE III Advanced(One semester or a full year, 1/2 or 1 credit)Prerequisite: Dance II, Dance Performance II, or by permission of instructor.This course accommodates districts that want to offer specialized instruction inconcentrated instruction in learning dance repertory, choreography, and presentationof dance works, from specific theatrical or dance forms (e.g., modern dance, ballet,jazz dance, tap, traditional dance, and various styles, or periods). Dance PerformanceIII must be based on the competencies delineated in the High School Level III(Advanced) Framework. Districts may tailor those competencies to meet the specificfocus of the course they are designing, but all competencies must be addressed.

DANCE PERFORMANCE IV Advanced(One semester or a full year, 1/2 or 1 credit)


Dance 55

Prerequisite: Dance III, Dance IV, Dance Performance III or by permission of instructor.This course accommodates districts that want to offer specialized instruction inlearning dance repertory, choreography, and presentation of dance works, fromspecific theatrical or dance forms. (e.g., modern dance, ballet, jazz dance, tap,traditional dance, and various styles, or periods). Dance Performance IV must bebased on the competencies delineated in the High School Level IV (Advanced)Framework. Districts may tailor those competencies to meet the specific focus of thecourse they are designing, but all competencies must be addressed.


Dance 56

DANCEHIGH SCHOOL LEVEL I

(Proficient)


As with all disciplines, a well-rounded education in dance includes a range ofeducational processes. The secondary school years focus on dance as a creativemovement experience that is to be incorporated into the curriculum to achieveincreased learner outcomes by employing enriching techniques that demand theinvolved responses of multiple intelligences, especially that of the kinesthetic. Thisprogram of study is to be used in developing dance curriculum for high school level Istudents in the following:

Dance I Dance Performance I

The five major strands of study in the dance discipline are Creating/Performing,Critical Analysis, Culture/History, Aesthetics, and Connections. The competencies areprinted in bold face type and are required to be taught. The competencies may relateto one or more of the content strands and may be combined and taught with othercompetencies throughout the school year. Competencies are not listed in order ofimportance and may be taught in any order that is determined suitable by the school ordistrict. Competencies provide a general guideline of on going instruction, not isolatedunits, activities, or skills.




Dance 57

DANCEHIGH SCHOOL LEVEL I

(Proficient)

CONTENT STRANDS:



1. Practice advancing, translating, and performing dance technique. (CP, CA)

a. Demonstrate appropriate alignment and a basic understanding of the anatomicalstructure and its function.

b. Incorporate kinesthetic understanding and beginning proficiency of one dancetechnique while developing rhythmic skill.

c. Establish a general knowledge of a second dance technique.d. Demonstrate a basic understanding of dance terminology.e. Recall extended movement phrases or sequences, using proper technique, and

forces of human energy.f. Assess and create short-term goals for technical and performance improvement

in dance skills.

2. Embellish and present movement problem-solving experiences. (CP, CA)

a. Understand and perform form and structure (theme and variation).b. Employ basic choreographic devices (repetition, staging, tempo, transposition).c. Choreograph duets and/or small group studies.

3. Utilize the elements of dance in structures, processes, and principles. (CP,CA)

a. Practice performance of improvised and choreographed movement with use ofspace, time, shape, and energy.

b. Originate movement choices utilizing space, time, and energy concepts.c. Create a dance demonstration knowledge of dance history to include traditional,

classical, and contemporary dance forms.d. Create dances that communicate meaning.


Dance 58

4. Compose and articulate dance as an art form. (CA)

a. Distinguish the difference between literal and abstract and determine how tocreate abstract movement.

b. Create a short dance study in response to a given context.c. Demonstrate usage of dance terminology to communicate dance concepts.d. Recognize that one’s personal experience influences interpretation of a dance.

5. Understand and value the role and function of dance as a reflection of life,culture, history, and individual experience. (CA, HC, C)

a. View dances representive of world cultures.b. Compare major figures of American dance and their choreographic

styles (e.g., Isadora Duncan, The German Expressionists, Ruth St. Denis, TedShawn, Martha Graham, Doris Humphrey, Charles Weidman)

c. Know how the cultural context of dance determines the differing uses of space,time, and energy.

6. Perceive, know, and advocate the artistic value of dance, articulating thecontext and criteria of the dance experience. (CA, A)

a. Perceive and practice sensorial discovery of human movement.b. Critique the aesthetic elements of dance.c. Perceive artistic content through written, visual, and verbal responses.d. View and discuss great dance works, innovators, and performers.e. Demonstrate an understanding of choreographic styles.f. Demonstrate an understanding of translating movement in literary works.g. Patronize dance performances.h. Create dances based on individual feelings, thoughts, and ideas.

7. Create and adopt connections for artful living through the dance experience.(CP, CA, C)

a. Make connections with dance to one’s life and cultural experiences.b. Practice adopting healthful living practices (e.g., diet/nutrition, exercise, sleep).c. Apply knowledge of dance to create connections to aspects of the learning

experience, and to other subject areas.d. Reflect on personal progress and personal growth in dance.e. Discuss how technology can be used to reinforce and enhance a dance.


Dance 59

High School Dance I


SuggestedAssessment

1

2

3

4

5

6

7

a,b,c,f

a,c

a,b

a,b,c,e

a

a,b,c

a,b

Students use Vocabulary Sheets to createmovement sequences as they perform technicalskills demonstrating alignment, awareness of centercore, strength, agility, balance, and studentsunderstand tempo, statis (active/passive) activity,breath, and metered time.

Students create structure or form (such aspalindrome, rondo, or round) through brief dancestudies, developing duets for demonstration.

Students use improvisation to originate movementutilizing negative and positive shape and spaceconcepts. Use photographs of sculptural forms as alesson aid (e. g., divide students into groups andhave them combine shapes created in the group tocreate a fluid whole).

Individual students practice with a communicativegesture and learn to stylize the gesture from real todance abstraction, changing the range in space,level in space, use of different body parts (e.g.,picking out a common repetitive gesture, havestudents develop 3 movement qualities such as“come, go, stop, yes, no”).

Study aesthetic qualities of unity, unison, and slow-motion in relationship to court dance in variouscultures and the relationships to other dances andlife.

Students demonstrate appropriate audiencebehavior. Compare aesthetic criteria for evaluatingdance, such as skill of performers, originality, visualand /or emotional impact, variety and contrast (e.g.,Have students pantomine an audience coming to aperformance, acknowledging the conductor, andwatching a performance).

Students record meals eaten for one week andreflect on healthy vs. unhealthy eating habits,according to articles read about good nutrition.

Teacher ObservationPortfolio _ a list of dancevocabulary and definitions(e.g., parallel, plie, tendu,C curve, drop swing).Videotape performance.Written test examiningknowledge of danceterminology

Video of performance,teacher, self and peerevaluation

Teacher observation ofprocess and peerevaluation of outcome

Teacher observation ofprocess, self and peerevaluation of videotapeoutcomes

Written studentevaluations

Teacher observation ofdiscussion. Portfolio,Journal-recording,reflecting upon movementlearning, and discoveries

Portfolio and journal-comparing life-style towritten articles


Dance 60

High School Dance Performance I


SuggestedAssessment

1

2

3

4

5

6

7

a,b,f

a,b,c

a,b

b,c,d

a,c

b,d

a,b,e,f

Develop skills in selected theatrical dance or art-dance form (e.g., modern dance, ballet, jazz dance,tap, traditional) developing musicality andperforming several extended phrases(e.g., Show students examples of various danceforms. Have them chose a form and develop a 32count phrase demonstrating the selected form usingvideo).

Develop structure and form using the Recycletheme to create a group dance. Utilizing previousdeveloped movement sequences, have studentscombine and “recycle” to form new sequences.

Students, as a group, memorize movementsequences presented by the teacher and rearrangethem in time and space.

Create a sequence of movement ideas based onmovement researched via, books, video, and liveconcerts.

Students discuss, compare, and contrast two dancecompositions in terms of spatial arrangement andtime (such as rhythm and tempo), from two differentworld cultures.

Students create an interdisciplinary project withdance, and two other subjects, examining aestheticvalues. Working with a teacher in another subjectarea, have dancers work with students from thatclass to illuminate or illustrate the given topic or text.

Students create a Bank of Action Words used invarious ways in sports movement, and comparethem to words used in dance movement.

Teacher observation andself and peer evaluation ofperformance videotapeWritten test examiningknowledge of danceterminology


Teacher observation ofprocess, self and peerevaluation of outcomesand videotape ofperformance

Teacher observation ofprocess, self and peerevaluation of outcomesand videotape ofperformance

Teacher observation ofdiscussion, writtenrecording

Portfolio, journal –recording. Reflecting onaesthetic responses anddiscoveries

Portfolio, journal -recording, reflecting uponmovement learning anddiscoveries


Dance 61

DANCEHIGH SCHOOL LEVEL II

(Proficient)


As with all disciplines, a well-rounded education in dance includes a range ofeducational processes. The secondary school years focus on dance as a creativemovement experience that is to be incorporated into the curriculum to achieveincreased learner outcomes by employing enriching techniques that demand theinvolved responses of multiple intelligences, especially that of the kinesthetic. Thisprogram of study is to be used in developing dance curriculum for high school level IIstudents in the following:

Dance II (Prerequisite: Dance I) Dance Performance II (Prerequisite: Dance II, Dance Performance I, or by

permission of instructor)

The five major strands of study in the dance discipline are Creating/Performing,Critical Analysis, Culture/History, Aesthetics, and Connections. The competencies areprinted in bold face type and are required to be taught. The competencies may relate toone or more of the content strands and may be combined and taught with othercompetencies throughout the school year. Competencies are not listed in order ofimportance and may be taught in any order that is determined suitable by the school ordistrict. Competencies provide a general guideline of ongoing instruction, not isolatedunits, activities, or skills.




Dance 62

DANCEHIGH SCHOOL LEVEL II

(Proficient)

CONTENT STRANDS:



1. Practice advancing, translating and performing dance technique. (CP, CA)

a. Demonstrate a general understanding of the anatomical structure and itsfunction, and the skeletal system as a whole.

b. Incorporate kinesthetic understanding and proficiency of one dance techniquewhile developing rhythmic skill.

c. Establish a general knowledge of a second dance technique.d. Demonstrate a basic understanding of and ability to apply dance terminology.e. Recall and demonstrate movement phrases or sequences, using proper

technique and understanding forces of human energy.f. Assess and employ short-term goals for technical and performance

improvement in dance skills.

2. Embellish and present movement problem-solving experiences. (CP, CA)

a. Demonstrate an understanding of form and structure (e.g., theme and variation,motif and development, rondo, ABACAD).

b. Demonstrate an understanding of basic choreographic devices (e.g., repetition,staging, tempo, transposition, augmentation, diminution, inversion).

c. Choreograph dance studies for working alone and in a group.d. Create and revise a dance, articulating reasons for artistic decisions.

3. Utilize elements of dance in structures, processes, and principles. (CP, CA)

a. Practice performance of improvised and choreographed movement withintelligent use of space, time, shape, and energy.

b. Originate movement choices expanding and utilizing space, time, and energyconcepts.

c. Choreograph dance studies that communicate social and/or personal meaning.


Dance 63

4. Compose, distinguish, and articulate dance as an art form. (CA, A)

a. Know the difference between literal and abstract and determine how movementchoices communicate abstract ideas in dance.

b. Create dance studies in response to a given theme or context.c. Demonstrate proficiency in using dance terminology to communicate dance

concepts.d. Determine how one’s personal experience influences interpretation of a dance.

5. Understand, demonstrate, and value the role and function of dance as areflection of life, culture, history, and individual experience. (CA, HC, C)

a. View dances representative of world cultures.b. Investigate major figures of American dance and their choreographic

styles (e.g., Katherine Dunham, George Balanchine, Merce Cunningham).c. Create a chronology for dance within a historical period.d. Understand the role and function of dance in America.e. Demonstrate understanding of different theatrical forms of dance (modern,

ballet) and how the forms developed.f. Perform dances from various cultures.

6. Know, and advocate the artistic value of dance, articulating the context andcriteria of the dance experience. (CA, A)

a. Perceive and practice sensorial discovery of human movement.b. Critique dances and discuss similarities and differences in use of the elements

of dance.c. Perceive artistic content through written, visual, and verbal responses.d. Evaluate great dance works, innovators, and performers.e. Patronize dance performances.f. Demonstrate an understanding of a favorite choreographic style.g. Demonstrate an understanding and accurate translation of movement in literary works.

7. Create and exhibit connections for artful living through the dance experience.(CP, CA, C)

a. Make valid connections to one’s life and cultural experiences.b. Adopt and utilize healthful living practices (e.g., diet/nutrition, exercise, sleep)c. Present an oral report on dance involving school, family, and community.d. Understand how dance functions as a part of everyday life and as a specialized

field (career/discipline).


Dance 64

High School Dance II


SuggestedAssessment

1

2

3

4

5

6

7

a,b,c,f

b,c

a,b

a,b,c

a,b,d

a,d,f

a,c

Develop proficiency-demonstrating technique usingcenter axial sequences, upper and lower bodycoordination, locomotor combinations, applying self-correction. Students demonstrate ability to modeldance technique.

Students chain actions in a circle creatingmovement improvisationally. Students recall andperform the movement with a certain quality (e.g.,sustained, abrupt, swing, vibratory, collapse, or withpunch, jab, and/or flow).

In pairs, students focus on mirroring one another inmovement, explore the mirroring in other parts ofthe body besides the hands. Allow the mirroring toexpand and contract the space from being veryclose together to pulling far apart.

Students play with hand gestures, dancing themwith different music stumuli. Transfer movement intoother body parts. Explore the use of gestures andspoken language to create drama.

Students analyze historical and cultural imagesused in designing costumes for dance and comparethese to images in American film (e. g., studentscompare the costumes of early ballet with thoseused on stage today).

Students reflect upon their progress and personalgrowth during the study of dance (e.g., In agrammatically correct essay have students assesstheir awareness of movement and their use of theirbodies since taking the course).

Students record the oral history of the danceexperience of a family member to use as thematicmaterial for a dance with videotape.

Teacher observation ofperformanceWritten test examiningknowledge of danceterminology

Teacher observation ofcreating and response

Teacher observation ofprocess, response anddiscussion

Teacher observation ofprocess evaluation of theoutcome


Portfolio, journal-recording and reflectingupon the experience

Portfolio, journal project,rubric


Dance 65

High School Dance Performance II


SuggestedAssessment

1

2

3

4

5

67

a,b,f,g

b,c

a,b

a,b,c

a,b,d

a,d,fa

Advance technique through learning selectedtheatrical forms or art-dance (e.g., modern dance,ballet, jazz, tap, traditional), self-monitoring ofpostural alignment, applying dance conditioning andtherapy studies (e.g., Alexander, Barteniff, Pilates,Laban).

In a circle, students create movementimprovisationally. Recall and perform themovements with a certain use of various spatiallevels, from the floor level to the air (e.g., Have eachstudent introduce him or herself using a descriptivemovement).

Students explore space between themselves andcreate various movement patterns (e.g., Chooseone student to assume a shape, call out individualstudents to add a shape to the previous one).

Students perform ceremonial gestures performed ina sequence to world music (e.g., Using music asstimulus, have students create movementsequences using ceremonial gestures).

Student analyze historical and cultural images of thehuman form/body in dance and compare these toimages of the body in contemporary media.

Students reflect upon their individual progress andpersonal growth by watching a video tape of theircomposition studies (e.g., In a grammatically correctessay, students critique their progress and growthby viewing themselves and reflecting on theirexperiences).

Teacher observation ofperformance videotapeWritten test examiningknowledge of danceterminology

Teacher observation ofcreating and response

Teacher observation ofprocess, response anddiscussion

Teacher observation ofprocess and peerevaluation of the outcome

Teacher observation ofstudent discussion

Portfolio, journal-recording and reflecting onpersonal growth throughthe experience


Dance 66

DANCEHIGH SCHOOL LEVEL III

(Advanced)


As with all disciplines, a well-rounded education in dance includes a range ofeducational processes. The secondary school years focus on dance as a creativemovement experience that is to be incorporated into the curriculum to achieveincreased learner outcomes by employing enriching techniques that demand theinvolved responses of multiple intelligences, especially that of the kinesthetic. Thisprogram of study is to be used in developing dance curriculum for high school level IIIstudents in the following:

Dance III (Prerequisite: Dance II or by permission of instructor)Dance Performance III (Prerequisite: Dance II, Dance Performance II orby permission of instructor)

The five major strands of study in the dance discipline are Creating/Performing,Critical Analysis, Culture/History, Aesthetics, and Connections. The competencies areprinted in bold face type and are required to be taught. The competencies may relateto one or more of the content strands and may be combined and taught with othercompetencies throughout the school year. Competencies are not listed in order ofimportance and may be taught in any order that is determined suitable by the school ordistrict. Competencies provide a general guideline of ongoing instruction, not isolatedunits, activities, or skills.




Dance 67

DANCEHIGH SCHOOL LEVEL III

(Advanced)

CONTENT STRANDS:



1. Practice advancing and refining technique into performance. (CP, CA)

a. Demonstrate understanding of the function of the muscles and the humananatomical structure.

b. Accurately demonstrate skills of memorization and reproduction of movementsequences.

c. Demonstrate rhythmic understanding (e.g. even intervals, uneven intervals,accent, random, rhythmic, metered: simple, duple, triple compound, and mixed).

d. Develop proficiency in a second dance technique.e. Utilize imagery to develop sensory awareness.f. Apply and perform technical skill with optimum proficiency to axial and

locomotor movement phrases.g. Practice teaching movement sequences to others.h. Recall extended movement phrases or sequences.

2. Construct and present moving problem solving experiences. (CP, CA)

a. Execute choreographic principles, devices,processes and structures(palindrome, repetition, staging, tempo, transposition, augmentation, diminution,inversion, accumulation).

b. Create extended movement phrases.c. Choreograph a small group dance with coherence and aesthetic unity.d. Effectively communicate a social, political, or personal theme in a dance.

3. Synthesize the elements of dance into composing and presenting dances.(CP, A, CA)

a. Practice performance of improvised and choreographed movement withintelligent use of space, time, shape, and energy.

b. Demonstrate ability to spatially project movement from the stage to anaudience.


Dance 68

c. Improvise original time, space, and motional images and translate into dancecomposition through problem solutions exercises.

d. Examine ways that dance is valued and conveys meaning by considering thedance from a variety of perspectives.

4. Analyze and appraise meaning communicated through dance. (CP, A, CA)

a. Demonstrate critical thinking when describing the function of the muscles inmovement studies.

b. Interpret non-literal dance studies.c. Analyze dance studies through observation, comparison, and discussion.d. Analyze and discuss the perceived intent of the choreographer.e. Analyze the influence of personal experiences on the dance experience.f. Develop clarity and proficiency in communicating concepts using dance

terminology.

5. Understand, perform, and value the role and function of dance as a reflectionof life, culture, history, and individual experience. (CA, HC, C)

a. Understand the phenomenon of dance in world cultures.b. Investigate major figures of American dance and their choreographic

styles (e.g., Agnes DeMille, Paul Taylor, Jerome Robins, Alvin Ailey, MarkMorris).

c. Create a chronology in a historical period (e.g. The Women’s SuffrageMovement).

d. Understand various roles and functions of dance in America.e. Demonstrate understanding of different theatrical forms of dance (modern, jazz,

ballet, tap) and how the forms developed.f. Analyze the style of a choreographer and create a dance in that style.

6. Perceive, present, and advocate the artistic value of dance, articulating thecontext and criteria of the dance experience. (CA, A)

a. Perceive and practice sensorial discovery of human movement.b. Critique the aesthetic elements of dance composition and performance

determining context.c. Perceive artistic content through written, visual, and verbal responses.d. Compose a dance presenting an individual perspective of a great dance work.e. Utilize aesthetic principles of illusion, expression of emotion, and imitative

qualities.f. Patronize dance performances.g. Examine and report upon arresting and aesthetic images in choreography.


Dance 69

7. Create and maintain connections for artful living through the danceexperience. (CA, C)

a. Present dance in a school and community setting.b. Demonstrate knowledge of life choices on wellness and a healthy body.c. Develop and report on practices as related to the arts.e. Patronize concerts, theatrical presentations, and dance programs in the

community.f. Investigate dance and its connections to other art disciplines and subject areas.g. Demonstrate how dance skills are applicable to a variety of careers.


Dance 70

High School Dance III


SuggestedAssessment

1

2

3

4

5

6

7

a,b,c,d,f

c,d

a,b,c,d

f,d

b,c

a,b,c

b

Students perform technical skills demonstratingalignment, awareness of center core strength,agility, control, balance, endurance in center axialsequences, and locomotor combinations applyinggood modeling ability. Students maintain portfoliowith a list of dance vocabulary and definitions (e.g.,parallel, plie, tendu, C curve, drop swing).

Students explore with a partner the energies ofpushing and pulling, soft and hard, thin and heavy,without actually touching one another.

Students, facing the others in the class,improvisationally lead the entire class in a mirroringexperience, with the limitation that the leader canmake only 1/4 turns in space, and no more.

After observing a videotape of contemporaryAmerican modern dance choreography, studentswrite about what was communicated in thechoreography using teacher-created criteria.

Students identify and demonstrate longer and morecomplex steps and patterns than those attemptedbefore from two different dance styles or traditions.

Students list and discuss the aesthetic qualities oftwo contrasting traditional dance forms. Using videoclips, teacher leads discussion, identifying variousaesthetic qualities.

Student groups discuss nutrition for dancers, topicsand recommendations by experts, then complete apresentation.

Teacher observation ofperformancePortfolioTeacher/student critiquevideotape of classperformance


Teacher observation ofprocess, self and peerevaluation of outcomesthrough observation ofvideotape

Written evaluation usingrubric

Teacher observation

Portfolio, Journal-recording and reflectingupon movementexperiences, learning, anddiscoveries

Teacher observation ofpresentationdemonstrating knowledgeand understanding


Dance 71

High School Dance Performance III


SuggestedAssessment

1

2

3

4

5

6

7

a,b,c,d,f

c

a,b,c,d

b,c,d

a,b,c

a,b,c

a,c

Students advance technique through learningselected theatrical forms or art-dance (e.g., moderndance ballet, jazz, tap, traditional) applying self-correction and performing several extended phraseswith various dynamics.

Students explore spatial element with a partner,while maintaining movement limitations, defined bya spatial pathway from upstage to downstage, usingonly the depth of stage and symmetrical movementchoices,

Students create a duet while utilizing simultanietyand reaction choices (e.g., With students in smallgroups or dyads, have students select a alphadesignation and as teacher randomly calls out letterthat person initiates movement. Rest of the classfollows).

Students abstract a series of gestural phrases, byenlarging spatial range, composed as a groupproject.

Students personify a historical dance figure in ahistorical presentation (e.g., In coordination withSocial Studies class, have history students detailhow dancer does or does not personify period andculture of person choosen by dancer).

Students attend a local college/university danceconcert to experience a live performance.

Students create, produce and perform adance concert for their peers and theirparents.

Teacher Observation ofperformance.Videotape of classperformance based uponassigned phrases


Teacher observation ofprocess, self and peerevaluation of outcomesthrough observation ofvideotape

Teacher observation ofprocess and videotapeoutcomes assessment

Teacher observation andrubric

Students reflect, respondand write a critique onaesthetic qualities of theconcert

Teacher observation ofpresentation and studentresponses toquestionnaire


Dance 72

DANCEHIGH SCHOOL LEVEL IV

(Advanced)


As with all disciplines, a well-rounded education in dance includes a range ofeducational processes. The secondary school years focus on dance as a creativemovement experience that is to be incorporated into the curriculum to achieveincreased learner outcomes by employing enriching techniques that demand theinvolved responses of multiple intelligences, especially that of the kinesthetic. Thisprogram of study is to be used in developing dance curriculum for high school level IVstudents in the following:

Dance IV (Prerequisite: Dance III or by permission of instructor) Dance Performance IV (Prerequisite: Dance III, Dance Performance III or by permission of instructor)

The five major strands of study in the dance discipline are Creating/Performing,Critical Analysis, Culture/History, Aesthetics, and Connections. The competencies areprinted in bold face type and are required to be taught. The competencies may relateto one or more of the content strands and may be combined and taught with othercompetencies throughout the school year. Competencies are not listed in order ofimportance and may be taught in any order that is determined suitable by the school ordistrict. Competencies provide a general guideline of ongoing instruction, not isolatedunits, activities, or skills.


For an explanation of the Content Strands, Competencies, and Objectives seethe General Introduction Section of the Mississippi Visual and Performing ArtsFramework. The Framework General Introduction, Literature Connections, TechnologyConnections, Resources, and Glossary are available on line at the MississippiDepartment of Education web site: http://www.mde.k12.ms.us.


Dance 73

DANCEHIGH SCHOOL LEVEL IV

(Advanced)

CONTENT STRANDS:



1. Practice advancing and refining movement skills and dance technique intoperformance. (CP, CA)

a. Demonstrate a knowledge of the function of the anatomical structure and thescience of human movement.

b. Demonstrate advanced accomplishment of one dance technique.c. Demonstrate mastery of rhythmic understanding, even intervals, uneven

intervals, accent, random, rhythmic, metered: simple, duple, triple compound,mixed, syncopation, non-metered (felt time).

d. Demonstrate proficiency in a second dance technique.e. Demonstrate sensory awareness and understanding of how to instill imagery for

heightened performance.f. Perform technical skill with optimum proficiency, applying performance skills to

more complex axial and locomotor movement phrases.g. Practice teaching dance techniques and movement sequences to others.h. Recall and demonstrate extended movement phrases or sequences applying

confidence and nuance.

2. Compose and arrange a movement problem solving experience. (CP, CA)

a. Understand choreographic principles, processes, and structures.b. Understand choreographic devices (palindrome, repetition, staging, tempo,

transposition, augmentation, diminution, inversion, accumulation, contrast, andillusion).

c. Create extended movement phrases with a wide range of movement qualities.d. Choreograph duets and/or small group dance studies for the informal setting,

the proscenium stage, and non-traditional spaces (2 – 10 dancers).e. Guide other dancers through the experience of originating movement while

improvising, and use that movement in choreography.


Dance 74

3. Synthesize the elements of dance into composing and presenting dances.(CP, CA)

a. Perform dance in the studio and on stage synthesizing the dance elements ofspace, time, shape and energy.

b. Demonstrate ability to spatially direct focus and project movement from thetraditional stage and other performance spaces to an audience.

c. Improvise and compose original movement into new images of time, space,motional content.

4. Analyze and appraise meaning communicated through dance. (CP, CA, A)

a. Understand the function of the muscles and the impact of the science ofmovement/kinesiology on dance.

b. Explore and understand non-literal dance studies.c. Analyze dance studies through observation, comparison, and discussion.d. Analyze and discuss the perceived intent of the choreographer and determine

context.e. Analyze the influence of personal experiences on the dance making experience.f. Develop fluency in communicating concepts using dance terminology.

5. Research and perform dances as a reflection of life, culture, history, andindividual experience. (CA, HC, C, A)

a. Delineate the unique characteristics of dance in various world cultures.b. Know major figures of American dance and their choreographic

styles (e.g., Agnes De Mille, Paul Taylor, Jerome Robins, Alwin Ailey, MarkMorris) and emulate their choreographic style.

c. Compare and contrast the role and significance of dance in differentsocial/historical/cultural/political contexts.

d. Understand and value the function and purpose of dance in America.e. Demonstrate understanding of different theatrical forms of dance (modern, jazz,

ballet, tap) and how the forms developed.f. Demonstrate knowledge of different styles of two contemporary theatrical dance

forms (e.g., Graham versus Lemon, Luigi versus Giordano).

6. Present and advocate the artistic value of dance, articulating the context andcriteria of the dance experience. (CA, A)

a. Perceive and practice sensorial discovery of human movement.b. Critique the aesthetic elements of dance composition and performance and

determine principles and theories of dance (e.g., illusion, expression of emotionand imitative qualities).

c. Perceive and analyze dance studies and artistic content through written, visual,and verbal responses.


Dance 75

d. Establish aesthetic criteria following defined guidelines and apply to critiquingown work and the work of others.

e. Develop an appreciation for great dance works, innovators, and performers.f. Patronize dance performances.g. Cultivate an appreciation for the creation and beauty of dance.

7. Present, promote, and utilize connections for artful living through the danceexperience. (CA, C)

a. Develop heightened sensory awareness and understanding of the body inrelation to one’s wellness and body image.

b. Demonstrate knowledge of life choices on wellness and a healthy body (e.g.,smoking, diet/nutrition, exercise, sleep, drug abuse).

c. Demonstrate self-evaluation skills of technical progress and artistic integrity.d. Present a dance involving the community.e. Explore how dance functions as a part of everyday life and also as a specialized

field.f. Articulate the connections among dance, the other arts, and other subject areas.g. Discuss the challenges facing professional performers maintaining healthy life

styles.


Dance 76

High School Dance IV


SuggestedAssessment

1

2

3

4

5

6

7

a,b,c,d,f

a,b,d

a,b,c

c,e,f

a,b,c

b

b

Perform technical skills with clarity, musicality, andvarying movement qualities using floor work, centeraxial combinations, and locomotor skill. Studentsrespond to musical cues, tempo, metered time,duration, phrasing, accent, and verbal cues.

Students repeat a movement phrase. They thencreate a derivative to that movement phrase.

Students practice creating transitions to shapes,going directly or indirectly to the next shape. Allownon-performing students to verbally comment on thetransitions.

Bring in college student or community dancers tocritique dance composition studies.Revise dance studies based on guest comments.

Students create and perform a dance using a NativeAmerican poem or prayer for their creative impetus..Students create an interdisciplinary project withmusic, theatre, and or visual arts students.

Invite a guest presenter to speak on the importanceof fitness and exercise for healthy living and aspossible occupational choices. Provide handoutson new terminology.

Teacher Observation ofperformance. Portfolio – alist of dance vocabularyand definitions. Videotapeof class performance

Teacher observation ofprocess and discussion

Teacher observation of thecreative process,discussion of self and peerevaluation

Written evaluations usingrubric. Students respond,critique, and discuss

Teacher observation

Portfolio, Journal-recording and reflectingupon movementexperiences, learning, anddiscoveries

Written Test on applicationof new terminology


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High School Dance Performance IV


SuggestedAssessment

1

2

3

4

5

6

7

a,b,c,d,f

c

a,b,c,d

b,c,d

a,b,c

a,b,c

a,c

Students refine technique of a theatrical form orart-dance, and video (i.e., modern dance, Ballet,jazz dance, tap, traditional dance).

Students demonstrate center core strength,advanced application of learning, bringingcontinuity to phrases, and nuance.

Students develop imaginary spatial obstacles, tocreate a movement phrase (e.g., a large sphere,a mud puddle, a tree).

Students create a duet, using weight sharing anddependency.

Students create a dance study, utilizingpedestrian gestural phrases. As director, outsidethe work, compose a group dance.

Students discuss different functions of dance invarious cultures (i.e., ceremonial, social).

Show dance video of contempory choreography(e.g., Mark Morris, Paul Taylor). Studentsestablish a series of comments and questions forfellow students to respond and communicatetheir ideas.

Students present dance for their peersand their parents.

Teacher observationPortfolio performanceVideotape classperformance


Teacher observation ofprocess, self and peerevaluation of videotape ofoutcomes

Teacher observation ofprocess and videotapeoutcomes assessmentUsing written test studentsrespond

Teacher observation andquestionnaireWriting responses

Journal- recording andreflecting experiences,learnings, and discoveries

Teacher observationrubric of response forcreated questions

Teacher criteria forpresentation


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LITERATURE CONNECTIONS

DANCE

The Literature Connections section is designed to serve as a guide and first-stopsource for making cross-curricular connections. The titles are not extensive and otherresources should be used in the classroom.

Kindergarten through Fourth Grade

Ackerman, Karen SONG AND DANCE MAN. New York: Random House,1988. This Caldecott winner shows a grandfather how to“let loose” to relive his “Vaudeville Days” with hisgrandchildren.

Andreae, Guy GIRAFFEES CAN’T DANCE. This tale offers keen adviceand a strong message about individuality and the powerof dancing to the tune of a different drummer.

Bussell, Darcey YOUNG DANCER. New York: Dorling Kindedrsley, 1994.Introduces students to the basic concepts and history ofdance.

Daly, Nikki PAPA LUCKY’S SHADOW. New York: AladdinPaperbacks, 1999. Seeing how much her grandfather stillloves to dance, a young girl learns to dance and plays hisshadow in his street act.

Giff, Patricia ROSIE’S BIG CITY BALLET. New York: Puffin, 1999.Being a ballet dancer means hard work and little play.This story explains the difficulty of giving up the things youlove to gain skill.

Hoff, Syd DUNCAN THE DANCING DUCK. New York: Clarion,1994. While on the farm, Duncan is discovered by hisowner to have dancing talent. He gains universal acclaimbut does his final dance for his mom in the farm’s pond.

Jonas, Ann COLOR DANCE. New York: Greenwilliow, 1999.Dancers use sheer-colored scarves to show how colorsmix. Colors are named. Good dance color-explorationexercise.

Jones, Bill T. DANCE. New York: Hyperion Books for Children, 1998.While dancing, Bill T. Jones, renowned choreographer, isphotographed by Susan Kuklin, Simple text in the firstperson exhibits Jones’s feelings and abilities.


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Komaiko, Leah AUNT ELAINE DOES THE DANCE FROM SPAIN. 1993.Eager to see her aunt perform her Spanish dance, Katywaits in the wings and finds herself in the spotlight. Acharming portrait of an ethnic dance.

Martin, Bill BARN DANCE. New York: Holt, 1988. A farm boyawakens in the middle of the night and is lured to thebarn, where the animals are holding an old-fashion hoe-down.

Moers, Hermann ANNIE’S DANCING DAY. New York: Horn Books, 1993.One day after dancing class, Annie pirouettes into thestreet and gets lost. She moves from adventure toadventure, and finally to home.

O’Conner, Jane NINA, NINA AND THE COPYCAT BALLERINA. 2000.Any little girl that experiences problems with competitionin dance class will enjoy this book. Deals with individualgrowth and development of skills.

Pavlova, Anna I DREAMED I WAS A BALLERINA: A GIRLHOODSTORY. New York: Atheneum Books for Young Readers,2001. A lovely concept, sure to appeal to youngsters whodream of dancing. Using the words of the famousballerina, Anna Pavlova, the text tells the story in firstperson, of her first visit to the theater to see the ballet.

Rosenberg, Jane DANCE ME A STORY: TWELVE TALES FROM THECLASSIC BALLET. New York: Thames & Hudson, 1993.The story of different famous classical ballets. The historyof the classical ballet is traced through these works.

Schroeder, Alan RAGTIME TUMPIE. Boston: Joy Street Books, 1989.Nine-year-old Tumpie, a young black girl, who will laterbecome famous as the dancer Josephine Baker (1906-1975), longs to find the opportunity to dance amid thepoverty and vivacious street life of St. Louis in the early1900’s.

Tallchief, Maria TALLCHIEF: AMERICA’S PRIMA BALLERINA. NewYork: Viking, 1999. Maria Tallchief recounts herupbringing on an Osage reservation and her beginnings inthe world of dance. The story is simple yet, the languageis very rich and descriptive.

Van Laan, Nancy BUFFALO DANCE: A BLACKFOOT LEGEND. Boston:Little Brown and Co., 1993. This Native American folktaleretells the story behind the beginnings of the dance ritualused before a buffalo hunt.


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Varriale, Jim KIDS DANCE: THE STUDENTS OF BALLET TECH.New York: Dutton Children’s Books, 1999. Stories andexperiences of children in ballet. Students will learn aboutexperiences of other children’s dance progression.Photo-essay book.

Wilder, Laura Ingalls DANCE AT GRANDPA’S. 1995. Family study usingdance as an enjoyable experience. A young pioneer girland her family attend a “winter time” party at hergrandparents’ house in the Big Woods of Wisconsin.

Middle School

Au, Susan BALLET AND MODERN DANCE. London: Thames andHudson, 1998. Covers 16th Century court ballet to recenttrends. Well-illustrated and informative.

Bierhorst, John CRY FROM THE EARTH: MUSIC OF THE NORTHAMERICAN INDIANS. 1979. An overview of NativeAmerican Indian music and dance which includes its usewithin Native American Indian life.

Fonteyn, Margot COPPELIA. San Diego: Hasrdcourt & Brace, 1998.Based on Leo Delibe’s Balad After the Story, by E.T.A.Hoffman. A dollmaker schemes to pass his prizsed dolloff as a real girl.

Ford, Carin LEGENDS OF AMERICAN DANCE ANDCHOREOGRAPHY. Berkeley Heights: Enslow, 2000.Collected biographies of ten dedicated dancers andchoreographers who worked in the United States.

Freedman, Russell MARTHA GRAHAM: A DANCER’S LIFE. New York:Clarion Books, 1998. Well illustrated with black and whitephotos. An excellent resource for students interested inreading a detailed biography about a dancer pursuing herown dance style.

Glover, Savion SAVION!: MY LIFE IN TAP. New York: W. Morrow, 2000.A biography about one of the best tap dancers in theworld. Motivation for an aspiring tap student.

Haskins, James BLACK DANCE IN AMERICA: A HISTORY THROUGHITS PEOPLE. 1990. Surveys the history of black dancein America from its beginnings with the ritual dances ofAfrican slaves, through tap and modern dance, to break-dancing. Includes brief biographies of influential dancersand companies.


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Jonas, Gerald DANCING: THE PLEASURE, POWER, AND ART OFMOVEMENT. New York: Harry N. Abrams, Inc., 1992.A beautifully illustrated book that explores great dancetraditions, illuminating the any roles of dance in culturesaround the world. Describes dance traditions from sixcontinents.

Kistein, Lincoln FOUR CENTURIES OF BALLET: FIFTYMASTERWORKS. New York: Dover Publications, 1984.Surveys the five components of theatrical dance:choreography, gesture and mime, music, costume,scenery and décor, and traces their development over400 years. Nearly 500 black and white illustrations.

Krista, Davida GEORGE BALANCHINE: AMERICAN BALLETMASTER. 1996. Biography of a choreographer whochanged the idea of American ballet to a style of dancing.

McLaren, Clemence DANCE FOR THE LAND. New York: Atheneum Book1999. This book shares the Hawaiian culture andlanguage. About a hapahaole (“half-white” in Hawaiian)who finds the Hawaiian dance, the Hula, as a way ofembracing her Hawaiian side.

O’Conner, Barbara KATHERINE DUNHAM: PIONEER OF BLACK DANCE.2000. A biography of Katherine Dunham, the firstchoreographer to explore her past through dance.Explores the relationship of culture to dance.

Pinkney, Andrea ALVIN AILEY. 1993. A great picture biography of adancer know for interpreting African dance movementsthrough innovative choreography.

Price, Leontyne AIDA. San Diego: Gulliver Books, 1990. A picture bookthat retells the story of Verdi’s opera in which the love ofthe enslaved Ethiopian princess has for an Egyptiangeneral brings tragedy to all involved.

High School

The selections below exemplify rhythm, connections, physicality, fluidity, dance as acommunicative art, and the role of movement in description, character growth, andenvironmental definition.

Buck Pearl THE THREE DAUGHTERS OF MADAME LIANG.Explores the balance of culture, tradition, and modern


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ideas. Topics: Religion, Eastern culture, democracy,communism, beauty and tradition.

Faulkner, William THE BEAR. Story of a young boy’s maturation. Topic:nature, growing, personal relationships.

Fitzgerald, F. Scott TENDER IS THE NIGHT. New York: Scribner, 1996. Astory of social values. Topics: the Twenties, socialvalues.

Fitzgerald, F. Scott THE GREAT GATSBY. New York: Scribner, 1995.Romantic love, violence, and class interactions set in theturbulent twenties. Topics: Twenties, politics, ambition,love.

Gaeddert, Louann B. A NEW ENGLAND LOVE STORY. Story of love andinspiration. Topics: Personal relationships, inspiration,creative work.

Hemingway, Earnest THE OLD MAN AND THE SEA. New York: Scribner,1996. Tragic story of a man and the sea he both lovedand feared. Topics: Environment, grace, courage, fate,independence, and heroism.

Hurston, Zora Neal THEIR EYES WHERE WATCHING GOD. New York:Harper Collins, 2000. Story of a young girl’s journey intoadulthood and independence. Topics: Civil rights,environment, nature, religion and music.

Jowitt, Deborah TIME ON THE DANCING IMAGE. New York: WilliamMarrow, 1989. History of classic ballet to modern dance.Looking at the cultural influences side by side. Goodhistorical view of modern dance through cultural andartistic eyes.

Whitney, Phyllis STEP TO THE MUSIC. A young woman learns of love,allegiance, and cultural expectations. Topics: War,beauty, culture, tradition, slavery, and human dignity.


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TECHNOLOGY CONNECTIONS

DANCE

The Technology Connections section is designed to serve as a starting point forinvestigation into using technology in the dance instructional program. The MississippiDepartment of Education does not endorse or recommend purchasing the followingresources. Mississippi Department of Education suggests that all resources bethoroughly reviewed to accommodate the needs of individual districts. Please notetechnology changes on a daily basis, therefore, web sites, software, etc. which may becurrent on a given day may not be the next. Keep this in mind when using this as aresource.

VIDEOS

A Tribute to Alvin Ailey KULTUR – RM Arts, 1990.Barishnikow at Wolf Trap KULTUR, 1976.Creative Movement – A Step Towards Intelligence KULTUR, 1993.Dancetime – 500 years of Social Dance, vol. I and vol. II Dancetime Publications, 1980.Four by Ailey KULTUR – RM Arts, 1990.The Nutcracker: Bolshoi Ballet KULTUR, 1982.Stomp Out Loud HBO Home Video, 1997.

Web Sites

American Dance Festivalhttp://www.americandancefestival.orgDance Educators of Americahttp://www.DEAdance.comDance Linkshttp://www.dancer.com/dance-linksKennedy Center For The Performing Artshttp://www.kennedy-center.orgNational Dance Associationhttp://www.aahperd.org


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RESOURCES

DANCE

The “Resources” section is a listing of supplemental educational materials that may behelpful to teachers. This list is not comprehensive and is only offered as a starting pointfor investigation into possible resources. The Mississippi Department of Educationdoes not endorse or recommend purchasing the following resources. MississippiDepartment of Education suggests that all resources be thoroughly reviewed toaccommodate individual districts’ needs.

BOOKS

Barlin, Anne TEACHING YOUR WINGS TO FLY: THENONSPECIALIST GUIDE TO MOVEMENT ACTIVITIES

FOR YOUNG CHILDREN. Santa Monica, CA: GoodyearPublishing Co., 1979.

Blakeslee, Michael, ed. NATIONAL STANDARDS FOR ARTS EDUCATION.Reston, VA: Music Educator National Conference, 1994.

Benzwie, Teresa A MOVING EXPERIENCE: DANCE FOR LOVERS OFCHILDREN. Zephyr Press, 1987.

Benzwie, Teresa MORE MOVING EXPERIENCES:CONNECTING ARTS,FEELINGS, AND IMAGINATION. Zephyr Press, 1996.

Boorman, Joyce CREATIVE DANCE IN THE FIRST THREE GRADES.Ontario, Canada: Longman Canada Limited, 1969.

Boorman, Joyce CREATIVE DANCE IN GRADES FOUR TO SIX. Ontario,Canada: Longman Canada Limited, 1971

Gilbert, Anne Green TEACHING THE THREE R’S THROUGH MOVEMENTEXPERIENCES. New York: Macmillan Publishing Co.,1977.

Gilbert, Anne Green TEACHING CREATIVE DANCE FOR ALL AGES. VA:The American alliance for Health, Physical Education, andDance, 1992.

Humphrey, Doris THE ART OF MAKING DANCES. Pennington, NJ:Princeton Book Co., 1962.

Joyce, Mary 1ST STEPS IN TEACHING CREATIVE DANCE.Mountainview, CA: Mayfield, 1994.


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Meade, Virginia Hoge CALCROZE EURUTHMICS IN TODAY’S MUSICCLASSROOM. New York: Schott Music Corporation,1994.

Thompson, Myra K. JUMP FOR JOY. West Nyack, NY: Parker PublishingCo., 1993.

Weikert, Phyllis S. TEACHING FOLK DANCE SUCCESSFUL STEPS.Ypsilanti, MI: High/Scope Press, 1997.

Zakki, Jennifer Donohue DANCE AS A WAY OF KNOWING. York, MD:Stenhouse Publishers, 1997.

DANCE SUPPLY RESOURCES

Audio and Video Recordings:

Hoctor Educational Records, Waldwick, NJ 07463Kingdom Tapes and Electronics, Lambs Creek Rd., P. O. Box 506, Mansfield, PA 16933, (800) 788-1122

Roper Records, Inc, 45-15 21st Street, Long Island City, NY 11101, (718) 786-2401, http://www.roperdancemusic.com (ballet CD’s)Wholesale Tape & Supply, 2841 Hickory Valley Rd., Chattanooga, TN 37421, (888) WTS TAPE

Barres, Mirrors:Alva’s ballet Barres, 1417 W. 8th St., San Pedro, Ca 90732, (310) 519-1314Ballet Barres, Inc., P. O. Box 261206, Tampa, FL 33685, (800) 767-1199Baum’s Discount Catalog of Dance, 106 S. 11th Ave., Philadelphia, PA 19107, (800) 626-9258Bounceback, http://www.mjmc.freeserve.co.uk/products.htmVictoria’s Dance Theatrical Supply, 1331 Lincoln Ave., San Jose, Ca 95125, (800) 626-9258

Costumes:Art Stone, (800) 522-8997, http://www.artstonecostumes.comAttitudes Costumes & Dancewear, (888) 777-5036, http://www.attitudes-dancewear.comA Wish Come True, (215) 781-2000, http:/www.awishcometrue.comBody Wrappers, (212) 279-3492, http://www.bodywrappers.comCicci, (724) 3487359, http://www.ciccidance.comCostume Gallery, (609) 386-6601, www.costumegallery.netCostume Wearhouse, (989) 894-0033, http://www.costumewearhouse.comCurtain Call, (888) 808-0801, http://www.tighe.comDansco, (800) 326-7365, http://www.dansco.comDesignworks, (800) 639-7805Georgie Girl, (800) 292-1902Leo’s Dancewear, (800) 736-LEOS, http://www.leosdancewear.comLiberts Dance Fashions, (800) 624-6480, http://www.liberts.comLoshin’s Dancewear, (800) 726-3009, http://www.loshins.comNaomi C. Brunson Designs, (703) 560-9534Opening Night Glitters, (919) 846-0521, http://www.openingnightglitters.com


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Satin Stitches, (800) 48-SATIN, http://www.satinstitches.comStarmaker Designs, (517) 684-STARStar Styled, (305) 885-4135, http://www.starstyled.comWeissman’s Designs, (314) 773-9000, http://www.weissmans.comWolff Fording & Company, (800) 888-8496, http://www.dancecostume.com

Flooring:Harlequin Floors, American Harlequin Corp., 3111 W. Burbank Blvd., Burbank, CA 91505 (800) 642-6440, http://www.harlequinfloors.comRosco, 36 Bush Avenue, Port Chester, NY 10573, (800) 767-2669Stagestep, 2000 Hamilton Street, Suite C200, Philadelphia, PA (800) 523-0960Victoria’s Dance Theatrical Supply, 1331 Lincoln Ave., San Jose, CA 95125, (408) 267-1446

COMPANIES AND ORGANIZATIONS

Cecchetti Council of America23393 MeadowsFlat Rock, MI 48134(734) 379-6710http://www.cecchetti.org

Chicago National Association ofDance Masters5411 E. State Street, Suite 202Rockford, IL 61608(815) 397-6799http://www.cnadm.com

Dance Educators of AmericaP. O. Box 607Pelham, NY 10803(914) 636-3200http://www.DEAdance.com

Dance Masters of AmericaP. O. Box 60533, 214-10 41st AvenueBayside, NY 11361(718) 225-4293http://www.dma-national.org

Dance Teacher Magazine250 W. 57th St., Suite 420New York, NY 10107(212) 265-8890

DanceArtfx2206 Stonecroft DriveGrafton, WI 53024http://www.DanceArtfx.com

Kennedy Center Education ProgramKennedy Center for the Performing ArtsWashington, DC 20566(202) 416-8813http://www.kennedy-center.org/education

Laban/Bartenieff Institute ofMovement Studies234 5th Avenue, Rm 201New York, NY 10001(212) 213-1162http://www.limsonline.org

Mississippi Alliance for Arts Education3008 Navajo CircleHattiesburg, MS 39402http://www.martsalliamnce.com

Mississippi Arts Commission239 N. Lamar Street, Suite 207Jackson, MS 39201(601) 924-0131http://www.arts.state.ms.us

Mississippi Dance AssociationP. O. Box 912Oxford, MS 38655

National Endowment for the Artsand Education InformationThe John F. Kennedy CenterFor the Performing ArtsWashington, DC 20566(202) 416-8871


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National Dance Association1900 Association DriveReston, VA 20191(703) 476-3436http://www.aahperd.org/nda

National Dance Institute594 Broadway, Rm 805New York, NY 10012(212) 226-0083http://www.NationalDance.org

National Registry of Dance EducatorsP. O. Box 254Northport, NY 11768(631) 757-2107

Society of Dance History Scholars291 RBN Box 22001Department of DanceBrigham Young UniversityProvo, UT 84602(801) 378-2377http://www.sdhs.org

CONTINUING EDUCATION FOR DANCE EDUCATORS

Al Gilbert Dance Seminars, 5701 West Adams Blvd., Los Angeles, Ca 90016(323) 965-5500

American Academy of Ballet, 250 West 90th St., Suite 3A, New York, NY 10024(212) 787-9500

American Dance Festival, Duke University, P. O. Box 90772, Durham, NC 27708(919) 684-6402 http://www.americandancefestival.org

Ballet Intensive From Moscow, P. O. Box 356, 47 West Division St., Chicago, IL 60610(773) 404-0417 http://www.BalletRussianTeachers.com

Bates Dance Festival, Bates College, 163 Wood St., Lewiston, ME 04240(207) 786-6381 http://www.bates.edu/dancefest

Benesh Institute, 36 Battersea Square, London SW11 3RA, England(020) 7326-8031 http://www.benesh.org

City Center, 130 West 56th Street, New Yorkl, NY 10019(212) 247-0430 http://www.citycenter.org

Creative Dance Center, 12577 Densmore Avenue North, Seattle, WA 98133(206) 525-6358 http://www.creativedance.org

Dance Education Laboratory, 1395 Lexington Avenue, New York, NY 10128(212) 415-5575 http://www.92ndsty,org

Dance Notation Bureau, 151 West 30th “St., Suite 202, New York, NY 10001(212) 564-0985 http://www.dancenotation.org

Dance Space Center, 451 Broadway, 2nd Floor, New York, NY 10013(212) 625-8369 http://www.dancespace.com

Dance Teacher Summer Conference, 250 West 57th St., Suite 420, New York, NY 10107(212) 265-8890, ext. 17 http://www.dance-teacher.com

Florida Dance Masters, Inc., 2601 Antilles Dr., Winter Park, FL 3792(407) 678-4407

Ohio State University Department of Dance, Sullivant Hall, 1813 North High St., Columbus, OH43210 (614) 261-0722 http://www.dance.ohio-state.edu

The Pilates Studio, 890 Broadway, New York, NY 10003(212) 358-7676 http://www.pilates-studio.com

Royal Academy of Dance, 15 Franklin Place, Rutherford, NY 07070(201) 438-4400 http://www.rad.org.uk


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DANCE GLOSSARY

(Dance Terminology)

abrupt – A movement which is sudden, hard, or forceful.

abstract – To remove movement from a particular or representative context andmanipulate it. Based on an idea, source or subject which was originallynaturalistic but which has been altered in some way such a simplification,exaggeration, or generalization. To take out of the ordinary. To removemovement from a particular representative text.

acculturation – Bringing things from other cultures.

action – To produce an effect. Movement.

advocacy – Building favorable support, one that defends and maintain a cause.

aesthetics – A guiding principle in matters of beauty and artistic taste. A heightenedsensitivity of beauty. The branch of philosophy of art and artistic principles.

aesthetic elements – Items considered in evaluating the value and impact of a work.

aesthetic unity – When all elements required for completeness are present.

agility – Moving with ease and smooth kinetic flow.

alliance – A bond or connection.

analysis – In art criticism, the step that investigates how the formal elements andcontent that make up a work of art are put together and how they function.

appreciation – An understanding of things for themselves.

art criticism – The analysis of art: Identifying and describing: Analysis: Interpretation:Judgment.

art form – The general classifications of art; dance art, dance, music, theatre.

art history – The cultural and historical settings of art.

articulation – Clear and precise movement of the arms, legs, torso, head, feet, hand,Fingers, toes.

artistic collaborator – Another artist who joins in the production of an artistic work.


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authentic assessment – Any performance assessment that mirrors real life, in thehistorical, present, or immediate future perspective, and represents meaningfulinstructional activities.

avant-garde – Develops a new or experimental concept.

axial movement – Motion occurring in one spot, moving around the axis of the body.

body alignment – Correct body posturing. Reference points on the body are the topof the ear, middle of the shoulder girdle, the center of the hip, back of the kneecap, and front of the anklebone. Correct alignment of the head spine, andpelvis.

call and response – A structure that is most often associated with African music anddance forms, like an antiphony in choral music.

canon – A rhythmic pattern imitated exactly. A movement echo.

chance dance – A method of choreographing a dance work through chance.

choreography – The craft of creating and making dances.

collapse – Movement characterized by passiveness, release of weight into gravity.

communication – The process of exchanging or transmitting information betweenindividuals through a common system of symbols, signs, or behavior.

composition – The art of arranging elements of dance in creating aesthetic illusion.

conception – Process of forming and understanding ideas.

content – The meaning or significance of a work of art as distinguished from its form.

context – The cultural, historical, social, philosophical, temporal ‘facts’ in the dancephenomenon.

contrast – The degree of dissimilarity between two things.

coordination – Harmonious functioning of body parts in movement.

counter-balance – To oppose with equal weight or force so that the shape will notcollapse.

create – The process of conception, or to imagine to bring into being or existence toconstruct or invent.


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culture – A way of life of a group of people. The culture of a group of people is basedon their interpretation of their world and lives, and their invented version ofreality. A culture develops through an interplay between stability and changingof a group’s behavior patterns, social organization, ideas, meanings, values,things, and events.

dance critic – A person whose job it is to describe, analyze, and interpretchoreographic works.

dance elements – The way that dance is transmitted through time, space, shape,and energy.

dance journal – A record of original entry of experiences as related to dance trainingand study.

dance literacy – An appreciation and fluency of dance knowledge as it pertains toterminology, world history, culture, and the history of dance.

dance media – A supportive component to dance productions (e.g., music, slides,video tape).

dance movement – Any human movement included in the act of dancing.

dance notation – Written, printed, or computerized representation of dance that isused to remember and preserve dance.

dance production – Concept and skills for making and producing the plan,organization, and preparation of the presentation of dance.

dance study – A compositional assignment based on certain choreographicprinciples. It satisfies the parameters of the assignment, is lengthy enough todemonstrate understanding and shows a beginning, middle, and end.

dance technique – A particular way or method of doing and understanding anidentified movement or set of movements.

dance thesis – A position, argument, or hypothesis based on dance research.

direction – A dancer can travel forwards, backwards, sideways, and on a diagonal.A dancer can face towards the audience, or away, and still travel in all of theaforementioned directions.

direct transition – Most direct route from A to B.

discuss – To engage in oral or written discourse or correspondence.


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dynamics – The expressive content of human movement, sometimes called Efforts.Dynamics also manifest the interrelationships among the elements of weight,space, time, flow and force/energy.

echoing – Repeating exactly a movement done before or previously. Also known ascanon.

elements – The use of the body moving in space and time with force/energy, andshape.

elevation – The body’s pulsation into the air.

enculturation – Being immersed in one’s own culture.

endurance – The ability to withstand increased energy, heart rate, and strenuousactivity for a period of time.

energy – Exertion of power, or work. Ranges from very light to very strong; very freeto very bound. One of the elements of dance.

flexibility – The ability to bend and stretch to meet daily needs as well go beyonddaily needs.

focus – May be the direction the dancer is looking or where the energy of themovement is directed.

folding – Allowing the limbs and body to envelope each other.

fusion – United whole, merging of diverse elements.

gravity – The quality of weight.

healthful living – Maintaining daily habits to insure a sound mind, body, and spirit.

hop – Goes into the air from one foot and lands on the same foot.

illusion – A concept of how to trick the eye, trick of vision, a misconception, using theelements of dance that go beyond their virtual realities.

imitative – To copy or mimic.

impetus – Where the movement originates, a beginning.


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improvisation – A process of moving and spontaneously originating composition.Movement that is created spontaneously, ranging from free form to highlystructured environments, but with an element of dance. Provides the dancerwith the opportunity to bring together elements quickly, requiring focus andconcentration. Improvisation is instant and simultaneous choreography andperformance.

indirect transition – To meander from A to B.

interdisciplinary – Involving two or more disciplines (e.g., dance and music).

interpretation – The step in art criticism in which the critic applies meanings to theform and content of a work of art.

jump – Goes into the air from tow feet and lands on two feet, or from two feet to onefoot.

juxtaposition – The act or process of placing two or more things side by side.

kinesphere – A movement space, or the space surrounding the body in stillness and in motion, which includes all directions and levels both close to the body andas far as the person can reach with limbs or torso.

kinesthetic – Refers to the ability of the body’s sensory organs in the muscles,tendons, and joints to respond to stimuli while dancing.

leap – Transfers the weight from one foot to the other, leaving the ground in betweensteps.

levels – The height of the dancer in relation to the floor. There are 3 main levels:high, middle, and low.

literal – Non-abstracted, verbatim, as written, following exact text.

locomotion – To travel in space. To walk, run, hop, jump, leap, skip, gallop, slide, orcrawl.

medium – Material used to create dance.

mirroring – To reflect the movements and positions of a partner(s) as if gazing into amirror.

motif – A recurring idea, shape or form that appears as a development incomposition.

movement – Physical motion.


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movement behaviors – the way in which individuals move consistently and naturallyin life and dance.

movement theme – A complete idea in movement that is manipulated and alteredinto variations.

motivation – May be emotional and movement-based. It is the “why” of the dancer’smovement.

multiple perspectives – Seeing more than one view of a subject at the same time.

narrative – Choreographic structure which follows a story line,

negative space – The space that surrounds or invades a form.

organic – A natural forming of an integral whole.

palindrome – Performing dance movement backward, then forward again.Retrograde.

pantomime – Acting without words using only body language to convey a messageor tell a story.

pedestrian – Movement as it is performed or executed by the average person, non-stylized movement.

percussive – Movement which is characterized by being hard energy, sudden andabrupt, sharp starts and stops, staccato jabs of energy.

personal space – The “space bubble” or the kinesphere that one occupies; includesall levels, planes, and directions both near and far from the body’s center.

philosophy – The study of our basic concepts and assumptions about reality, knowledge, and values. World views of individuals.

phrase – A brief sequence of related movement that has a sense of continuity,rhythmic completion, thought of as a movement sentence, with a beginning,middle, and end, and a subject, noun, and verb.

positive space – The dancer, the object, the material of the work. The occupant ofthe space.

principles of dance – Those items used to critique and distinguish dance fromrandom movement.


Dance 94

production elements – Components used in a presentation (e.g., lighting, scenery,properties, costumes, sound).

quality – What is produced by the dynamic action. Time, space qualities. Theidentifying attributes created by the release, follow-through, and termination ofenergy which are key to making movement become dance; typical termsdenoting qualities include sustained swing, percussive, collapse, and vibratory,and effort combinations such as float, dab, punch, and glide.

rearranging – A choreographic process, a movement phrase change so thebeginning, middle, and end are reordered.

repetition – To perform a single movement at least twice in a row.

retrograde – To perform a dance movement backwards.

revise – To do again, to make an improved version.

rubric – Assessment instrument used for evaluation that includes criteria and scoredlevels of performance.

sagittal – Referring to the median plane of the human body.

sequence – A movement continuum or connected movement.

skip – Step and a hop.

shape – May be circular or square, symmetrical or asymmetrical, high, middle, or low:it is the shape the body makes or how one shapes the space.

social organization – The patterning of human interdependence in a give societythrough the actions and decisions of its members.

socialization – How a person is adjusted or fits into his or her own culture.

spatial design – Sculpted design of bodies in space to accomplish an image orpicture.

spatial pattern – Direction of traveling through space. A floor plan or map of adance.

strength – Aptitude for increased energy and force exerted in movement.

style – The personal signature of the dance. The way the dance achieves anindividual identify in the world and in its genre.


Dance 95

subjective – Originating within the artist rather than a reporting of what is seen.

suspension – Movement that occurs in a movement of resistance to gravity, such asthe instant in which the dancer hangs in space at the time of a leap or jump.Temporarily hanging in space, momentarily lingering in space.

sustained – Movement that is smooth and unaccented; there is not an apparent startor stop, only continuity or equalized energy flow.

swing – Pendular movement, in a count of 3, has a rise and fall, and a suspension.

tap – The magical, principle of ordering.

time – May be natural time, as in the breath or heartbeat; clock time, as in second,minutes, or hours; or metered time as in 2/4, 3/4, 6/8, or even mixed meter.Time includes beat, tempo, duration, repetition, rhythm, and unmetered time.One of the elements of dance.

theories of dance – Guidelines and theorems used in the development andevaluation of a work.

traditional dance – The term “traditional” refers to those dances and dance formsthat have arisen out of a tradition of a people, such as the dances of bharatanatyam, noh, or the folk dances of indigenous people of Europe or other areas.

transition – Moving from one movement to the other. Change to next shape ormovement.

transpose – To render into another style or form of expression.

unison – To move in exactly the same way at the same time.

unity – Degree of oneness. One person relating to another.

value – The degree of worth.

vangaurd – A leader in the field.

vibratory – Movement characterized by rapidly repeated bursts of percussivemovements.

video dance and film dance – Collaborative art forms in which aesthetic features ofdance and video or film are integrated.

wellness – Being in good health, physically, mentally, spiritually.


Dance 96

(Compiled and created by Patricia A. McConnell. Sections of a copyrighted book arein progress.)

MUSIC “The creation of art forms requires the use of judgment, perceptivity, ingenuity, and purpose; in a word, intelligence. Art, no less than philosophy or science, issues a challenge to the intellect. The great works of music, sculpture, painting, en-graving and all other forms of artistic

expression engage the mind, teaching les-sons about order, proportion, and genius.”

William J. Bennett



Music 2

MUSIC

TABLE OF CONTENTS

Introduction.. ........................................................................................................... ..4

Music Benchmarks.................................................................................................. ..5

Elementary Introduction ..........................................................................................10

Kindergarten ........................................................................................................... .11

First Grade.............................................................................................................. .16

Second Grade......................................................................................................... .21

Third Grade............................................................................................................. .26

Fourth Grade........................................................................................................... .31

Keyboard, Beginner Level (K-4).............................................................................. .35

Strings, Beginner and Intermediate Level ………………………………………….…..40

Middle School Introduction ..................................................................................... .48

Middle School Level I.............................................................................................. .51

Middle School Level II............................................................................................. .55

Middle School Level III............................................................................................ .60

Middle School Level IV ........................................................................................... .64

Middle School Choral Performance ........................................................................ .70

Middle School Instrumental Performance ............................................................... .79

Middle School Small Group Jazz Improvisation......................................................101

Keyboard, Intermediate Level .................................................................................106

High School Introduction ........................................................................................110

High School General Music ....................................................................................114


Music 3

High School Choral Performance............................................................................122

High School Instrumental Music..............................................................................142

High School Keyboard ............................................................................................158

High School Small Group Jazz Improvisation .........................................................162

High School Music Theory and Harmony/Literature................................................170

Literature Connections............................................................................................177

Technology Connections ........................................................................................181

Resources...............................................................................................................185

Glossary..................................................................................................................191


Music 4

MUSIC

INTRODUCTION

Music is a performing art that mirrors human expression and experience. Thesounds of instruments and of songs stimulate a human response that is not only heard,but also awakens and touches emotions. Responses to musical experiences includesensory, gross motor, fine motor, cognitive, communicative, and social. As such, musicteaches about life and living, about thoughts and feelings, and about self and others.

The world is literally filled with music. Every culture throughout history hasincorporated music into the fabric of daily life. By learning about music and learning tomake music, students become a part of the sequence of history. Therefore, suchlearning must be carefully planned and nurtured in a sequential manner. Experiencingmusic through listening, composing, and performing provides students with a means toacquire knowledge and to communicate it through the language of the senses. Thisconnection with sounds, our bodies, and cognitive activity develops what educationresearcher Howard Gardner refers to as musical intelligence. It is a unique way ofknowing and is basic to human brain development. Music develops critical thinking skillsthat are applicable to all disciplines requiring creative solutions. Concepts, facts, andhigher order thinking skills are all connected through musical concepts. Consequently,music needs to occupy a central place in students’ lives and in the school curriculum.

To facilitate the teaching and learning of music for all students throughout theirschool experience, the music portion of the Mississippi Visual and Performing ArtsFramework clearly delineates what students should know and be able to do in thediscipline of music, as they become educated citizens in today’s world.


MUSIC BENCHMARKS

*the equivalent of 1 Carnegie unit Music 5

Goal 1: Students will communicate ideas and feelings by improvising, composing, arranging, and performingworks of music.


BENCHMARKS




Sing and/or play a variety of musicselections alone and in groups

Sing and/or play a varied repertoire ofmusic, alone and in large or smallensembles

Perform in choral or instrumentalensembles of varying sizes anddescriptions

Perform works of music that includecombinations of instruments andvoices as well as solo performances

Create and perform music usingsimple melodic and rhythmic patterns

Create and perform original musicwith simple melodic, rhythmic, andharmonic patterns

Create and perform arrangementsusing a variety of music elements withsimple melodic, rhythmic, andharmonic patterns andaccompaniments

Create and perform original music andarrangements in a variety of forms,styles, and genres


MUSIC BENCHMARKS


Goal 2: Students will respond to, describe, analyze, interpret, and evaluate the complex characteristics ofmusic.


BENCHMARKS




Listen to, describe, and respond toshort works of music

Listen to, analyze, and describe musicfrom varied repertoire

Listen to, analyze, and evaluate musicin a variety of forms and styles

Analyze and interpret music of varioushistoric periods, forms, and styles

Describe qualities of successful musicperformances and identify elementsand expressive qualities of music

Examine or develop criteria forevaluating the quality of musicperformances

Analyze music performances by usingcritical thinking and listening skillssupported by musical terminology

Evaluate the quality of musicperformances and compositions usingmultiple criteria and various evaluationtools

Recognize, identify, and read musicnotation and symbols

Recognize, identify, and readincreasingly complex music notationand symbols

Demonstrate an understanding ofmusic notation and symbols byreading and performing music

Demonstrate the ability to read a fullscore by describing how the elementsof music are used


MUSIC BENCHMARKS


Goal 3: Students should understand the roles and functions of music and musicians in cultures, times,traditions, and places.


BENCHMARKS




Recognize that music reflects theculture, time, and place of its origin

Demonstrate awareness of the roleand function of music and musiciansin cultures, times, and places.

Analyze forms and subject matter inmusic that recur across cultures,times, and places

Assess the impact of music andmusicians of various cultures, times,and places on society today


MUSIC BENCHMARKS


Goal 4: Students will perceive, understand, and appreciate the diverse meanings and value of music.


BENCHMARKS




Interpret a variety of moods andfeelings expressed by different musicselections

Develop awareness of aestheticqualities in works of music

Interpret the value of a musical workin terms of aesthetic qualities

Evaluate selected musical works interms of aesthetic qualities


MUSIC BENCHMARKS


Goal 5: Students should make valid connections among the arts, others subject areas, and everyday life.


BENCHMARKS




Recognize connections betweenmusic, the other arts, and othersubject areas

Recognize broad concepts that music,the other arts, and other subject areasshare in common

Analyze the relationship of content inmusic to other arts and other subjects

Integrate knowledge of music withknowledge in the other arts and othersubjects

Recognize ways that music andmusicians are encountered ineveryday life

Understand the role of music andmusicians in everyday life

Analyze contributions of musiciansand the music industry to individuals,their communities, and their cultures

Evaluate the role of music as alifelong career or avocation


Music 10

MUSIC

ELEMENTARY INTRODUCTION(Kindergarten – Fourth Grade)

All students benefit from music education. Through musical experiencesstudents discover their own musical interests and individual talents. Performingmusic provides a means of personal expression and a way to build self-confidenceand a sense of self-worth. Participation in music education enables students to buildmusic skills along with social skills that make them better citizens.

Students from pre-kindergarten through grade four eagerly listen to andrespond to music. They love to sing, to move, and to explore the world of musicalsounds. Music making is a source of joy and students are often animated andexuberant in their responses to music. Development of performance skills occursrapidly in this age group, much like their rapid acquisition of language and growth inphysical size. Students in Kindergarten through Fourth Grade are open-mindedabout music. They have not formed many preferences and they are interested in awide variety of music examples: instrumental and vocal, ancient and modern,patriotic and popular, multicultural and traditional. At this stage in music learning,exposure to a wide variety of music is very desirable.

Basic elements of music (pitch, rhythm, harmony, dynamics, timbre, texture,and form) should be introduced during pre-kindergarten and continued in successivegrade levels. These elements represent the core components of music study andserve as building blocks for music literacy. Skill development that occurssequentially and increases in complexity should match the maturation anddevelopmental level of the students. Through sequential music instruction, students’understanding of music and their performing skills increase in proportion to their ageand education level.

The Elementary Music program of study serves as a guide in developingcurriculum for students in grades K-4. Teachers are encouraged to select andimplement unit topics, repertoire, teaching strategies, performance practices, andassessments that will enable students to meet the competencies stated for eachgrade level. Sample strategies and assessments are given for each competency.The benchmark chart establishes the progression of instruction for each goal areathrough grade clusters. The K-4 programs of study are to be used by the MusicSpecialist and Classroom Teacher in designing curriculum for the following:

Elementary Music K-4Arts Integrated in the Elementary Classroom


Music 11

MUSICKINDERGARTEN


The Kindergarten music program of study serves as a guide in developingcurriculum for students in Kindergarten music classes or Kindergarten regulareducation classes. Teachers are encouraged to select and implement unit topics,repertoire, teaching strategies, performance practices, and assessments that willenable students to meet the competencies stated for each grade level. Samplestrategies and assessments are provided for each competency. The benchmark chartin the music introduction section establishes the progression of instruction for eachgoal area through grade clusters. This program of study is to be used by the MusicSpecialist and or the Classroom Teacher in developing music curriculum forkindergarten students in the following:

Elementary MusicArts Integrated in the Elementary Classroom

The competencies are printed in bold face type and are required to be taught.The competencies may relate to one or more of the content strands and may becombined and taught with other competencies throughout the school year.Competencies are not listed in order of importance and may be taught in any order thatis determined suitable by the school or district. Competencies provide a generalguideline of ongoing instruction, not isolated units, activities or skills.


For an explanation of the Content Strands, Competencies, and Objectives, seethe General Introduction Section of the Mississippi Visual and Performing ArtsFramework. The Framework General Introduction, Literature Connections, TechnologyConnections, Resources, and Glossary are available online at the MississippiDepartment of Education web site: http://www.mde.k12.ms.us.


Music 12

MUSICKINDERGARTEN

CONTENT STRANDS:



1. Sing and play a variety of short songs in limited melodic range with a steadybeat. (CP)

a. Sing from memory, alone or with others a variety of rote songs including folk,ethnic, patriotic, nonsense, and seasonal songs.

b. Sing a five-tone pentatonic melody on pitch while moving to a steady beat.c. Play a steady beat on classroom instruments.

2. Create sound effects and rhythmic accompaniment for songs, rhythms, andstories. (CP)

a. Improvise short melodies by singing or playing the pitches sol-mi-la” (5-3-6).b. Improvise rhythms and accompaniments by singing and playing instruments.

3. Listen to and respond to short works of music. (CA)

a. Distinguish between qualities of music such as low and high, soft and loud, fastand slow, and same and different.

b. Respond to the beat and tempo of various music examples with appropriatemovements and/or dramatization.

c. Recognize the sound of brass, string, woodwind, percussion, and keyboardinstrument families.

d. Respond voluntarily to a selected musical piece.

4. Explore the variety of sounds produced in a performance. (CA)

a. Explain which sounds are most pleasing following a successful performance.b. Differentiate between types of performances such as choir and solo.c. Recognize differences in the quality of a solo or choral performance.


Music 13

5. Recognize basic music icons. (CA)

a. Recognize that the written form of music is different from the written form oflanguage.

b. Recognize the difference between moments of silence (rests) and moments ofsound (notes).

c. Identify simple music terms when presented aurally.

6. Respond to an introduction to music and musicians in various cultures,times, and places. (HC)

a. Listen to and describe music from various cultures and ethnic groups.b. Explore instruments and timbres of instrumental families from various cultures.c. Perform simple songs in the languages of various cultures.

7. Relate how music affects individual emotions. (A)

a. Explain feelings that may be evoked by specific examples of music.b. Express the idea or story of a music selection through movement, dance, and

dramatization (role-play).c. Respond to music by painting, drawing a picture, or dictating a story.

8. Identify ways in which music and other disciplines taught in school aresimilar (C)

a. Recognize ideas and stories contained in the language of songs and relate themto the appropriate subject area (i.e. counting-math; colors-art).

b. Identify word patterns and rhymes within a song text.c. Recognize the sequential arrangement of sections in a work of music.

9. Know that music is part of everyday life. (C)

a. Identify various ways people make music.b. Identify various uses of music in daily experience.c. Know there are different styles of music.d. Identify musical careers encountered in everyday life.


Music, Kindergarten

Music 14


SuggestedAssessment

1

2

3

4

5

b

b

b

b

a

Students sing Johnny Works With One Hammer.Add the body movements using the following: Onehammer-one fist; Two- two fists; Three-add a foot;Four-add the other foot; Five-add head. After beat isinternalized and performed correctly, addinstruments instead of using body percussion.Students sing alone (or divide the class into fivegroups) and add one person (or group) to thesinging and playing each time. ART CONNECTION:Builder by Jacob Lawrence.

Students learn a train song such as Little RedCaboose or Down at the Station. Listen to theinstrumental selection, The Little Train of theCaipira, by Villa Lobos. Discuss ideas about soundsthat the train makes as it moves on the track. Useeither body percussion and sounds or rhythminstruments to improvise (create) train soundaccompaniment for your selection. Students decidewhich sounds should be heard throughout andwhich should come only at the beginning and theend. Perform the accompaniment while the song isplayed. Then class is divided using half for singingand half for playing the accompaniment.

Students listen to “Ballet of the Unhatched Chicks”from Pictures at an Exhibition by Mussorgsky. Askchildren to imagine what it would be like to be ababy chick inside an egg. Talk about how the chicksget out of the egg (Science connection). Childrenrespond to the music by beginning with their bodyfolded as small as possible, then moving as theythink the chicks would move to get out of the shell.

Using teacher-selected examples, students identifyor distinguish between the following performances:a cappella choir or accompanied choir;adults/children, man/woman. Discuss thedifferences.

Teacher makes a rhythm chart using symbolsrepresenting sound and silence. The teacher asksstudents to respond to sounds by tapping hands onlegs. Observe rests with silence. Children maycreate different rhythm patterns to perform usingsticks to create rhythm patterns on the floor.

Teacher observation ofsinging voice, accuratepitch, and steadybeat.

Teacher observation andchart of individual studentprogress with the steadybeat, documentingmastery in duple, triple,and quadruple divisions ofsimple and compoundmeters

Teacher observation ofchildren’s creativedramatization

Play two differentselections and ask thestudents to identify onpaper or by raising theirhand to indicate example1, or keep hands on kneesif it is example 2

Observe the rhythmpattern created asstudents clap their rhythmsindividually, record results,indicating “success” or“needs help”


Music, Kindergarten

Music 15

6

7

8

9

c

a,b

a

b

When students perform a simple patternconsistently, add the pattern to be played oninstruments to a song of your choice, such as amarch.

Students listen and describe the purpose of theCounting Song, a Mexican folk song. Afteridentifying the language and what the song is about,students listen again and hold up fingers for theSpanish numbers as they are sung. On the refrain(la-la), keep the steady beat. Students learn thesong in Spanish. When they have learned the song,they improvise dance movements on the refrain anduse maracas to accent the beat. (Alternate song:Days of the Week)

Students contrast Jump That Jody withKabalevsky’s A Sad Story. Children describe bothsongs, telling how each song makes them feel, andhow it makes them want to move. Children createmovements that go with each song. Use scarves orribbons to create movement for A Sad Story.

Students read a book about "Teddy Bears" andlearn the song, Teddy Bear. Children explain thesong, then perform appropriate movement to thesong. After viewing pictures of Teddy bears,students compare the pictures with their Teddybears at home. Students describe and draw theirTeddy bear. On another day students bring theirTeddy bears and group them together by color.Count the number in each group. Determine whichis the largest/smallest. Sing the colors such as,“Yellow bear, yellow bear, turn around, Blue bears,blue bears, touch the ground, etc.” Decorate thebears with a different shape on each. Students thengroup bears by shapes. Count. Sing again withshapes substituted in the song. SCIENCECONNECTION: talk about where bears live,hibernation, etc.

Teacher selects several music examples that areheard in different places. Students identify wherethey are most likely to hear the music. Make surethe selections are obvious, such as church organ,circus music, parade music, etc. Prepare a picturechart for the children to respond to by circling theimage on the chart that matches the musicselection.

Listen and observe

Teacher observation

Teacher observation.Note students who knowcolors, can count, andfollow instructions

Teacher observation


Music 16

MUSICFIRST GRADE


The First Grade Music program of study serves as a guide to develop curriculumfor students in First Grade music classes or First Grade regular classes. Teachers areencouraged to select and implement unit topics, repertoire, teaching strategies,performance practices, and assessments that will enable students to meet thecompetencies stated for each grade level. Sample strategies and assessments aregiven for each competency. A benchmark chart establishes the progression ofinstruction for each goal area through grade clusters. This program of study is to beused by the Music Specialist and or the Classroom Teacher in developing musiccurriculum for first grade students in the following:






Music 17

MUSICFIRST GRADE

CONTENT STRANDS:



1. Sing complete songs within an octave range and play simple rhythmicaccompaniment. (CP)

a. Sing and play alone and with others a variety of songs using appropriatetechniques and dynamics.

b. Sing with accurate pitch and rhythm.c. Sing music from a variety of sources.d. Sing and chant ostinatos, and call and responses.e. Play a steady beat.

2. Using a variety of melodic and rhythmic instruments, create dramatizations ofsongs, poems, and stories. (CP)

a. Improvise short melodies by using set rhythmic patterns on pitched instruments.b. Improvise rhythms and accompaniments by playing instruments.

3. Listen and respond to a variety of musical styles. (CA)

a. Distinguish between qualities of music such as soft and loud, low and high, fastand slow, same and different, and tone colors.

b. Improvise a response to the beat and tempo of various music examples withappropriate movements or dramatization.

c. Identify the sound of brass, string, woodwind, percussion, and keyboardinstrument families.

4. Using simple vocabulary, describe the elements present in a high-qualityperformance. (CA)

a. Identify musical elements that relate to a successful performance.b. Recognize differences in the quality of a vocal or choral performance.c. Discriminate between different types of performances such as vocal, choir,

band, and solo instruments.


Music 18

5. Recognize and identify basic music notation and symbols. (CA)

a. Recognize music symbols and traditional terms that demonstrate rhythmnotation (i.e., quarter note, quarter rest, and eighth note).

b. Identify basic dynamic notation such as p and f.c. Recognize the staff.

6. Know that factors influence musical compositions. (HC)

a. Listen to music from various cultures and ethnic groups.b. Describe music performances from various cultures.c. Identify and describe roles of musicians in daily life.d. Experience instruments and timbres of instrument families from various cultures.e. Perform songs in the languages of various cultures.

7. Respond to music through expression of moods, ideas, and feelings. (A)

a. Explain feelings expressed by specific examples of music.b. Express the idea or story of a music selection through movement, dance and

dramatization (role-play).c. Respond to music by painting, drawing a picture, or dictating a story.

8. Recognize the message of the music in relation to other subject areas. (C)

a. Interpret ideas and stories contained in the language of songs and relate themto the appropriate subject area (e.g., reading, math, science).

b. Identify word patterns and rhymes within a song text.c. Recognize the sequential arrangement of sections in a work of music.

9. Identify and discuss the various places that music is heard. (C)

a. Describe and illustrate various ways that people make music.b. Identify the presence and uses of music in everyday life.c. Recognize differences that exist in various styles/genre of music.d. Identify a variety of musical careers.


Music, First Grade

Music 19


SuggestedAssessment

1

2

3

4

5

b,e

a

c

a

a

Song: Lucy Lockett, based on sol-mi-la. Studentslearn the song using solfege syllables, then singwith the words. Instruments are added (Orff,keyboard, resonator bells) and played with thesteady beat. Students sing with instrumentalaccompaniment. Make a small paper purse and tiea ribbon around it. Students stand in a circle,shoulder to shoulder. “Lucy” stands in the center.Students pass the purse behind their back. Whenthe music stops, “Lucy” tries to identify who has thepurse. If the student who has it succeeds in fooling“Lucy,” that child takes his/her place in the center ofthe circle. The game begins again.

Use the song Lucy Lockett that was previouslylearned. Teacher sets the instrument for thepentatonic scale (1-2-3-5-6 or black notes on thekeyboard). Students create a melody using therhythmic pattern of the words. Play the improvisedmelody accompanied with a steady beat bourdon(1-5). (Expand the lesson by talking about form asyou sing one verse and improvise the next).

Teacher displays pictures of various instrumentsand how they are played. Play recorded example ofinstrumental music. Students listen to an example,identifying the instruments. Stop the recordingoccasionally to ask for identification of instrumentsheard. Listen again, asking students to pretend toplay an instrument featured. Expand the lessonfurther by adding rhythm instruments to the steadybeat while students march around the room.

While preparing for a performance, teacher tape-records the children singing in class. Studentsevaluate their sound, answering leading questionsabout vocal quality, beginning sounds, endings,diction, etc.

Students create a four-measure rhythm patternusing quarter notes, quarter rests, and eighth notes.When students can perform their composition usingbody percussion or instruments, they read andperform their rhythm pattern to a song such as TheStars and Stripes Forever.

Teacher observation ofcorrect mallet technique,steady beat, singing onpitch, following instructions

Teacher observation

Teacher observation; or awritten test with pictures ofinstruments to identify; orcircle the instrument beingplayed

Teacher observation;Evaluate their commentsand assess your teachingtechniques

Teacher observation; Usea lap-size marker board forstudents to hold it up asthey finish creating theirline for you to check


Music, First Grade

Music 20

6

7

8

9

a,b

a,b,c

a

a

Teacher plays “Andante” from Haydn’s Symphonyno. 94 in G major, telling the students about theculture in which Haydn was living. Describe the waypeople dressed, food, etc., and how he came towork and live at the palace of Prince Esterhazy aschief musician. Tell why he decided to write theSurprise Symphony. Students then listen for thesurprise while the recording is played. Studentspretend to be the prim, proper guests that were atthe party, who fell asleep, only to be awakened bythe “surprise” in the music.

Students listen to a song such as You’re a GrandOld Flag, then answer questions about the mood ofthe song. Students listen again and add movementto accompany the words. Students can march tothe beat. Students discuss the word “emblem” anddraw a flag.

Students learn the song, Open A Book, by MargaretJones and Carmino Ravosa. Teacher plays thesong for the children to hear. Students determinethe message of the song. (Note the long vowelsounds of “e” and “o.” Note the worlds that wediscover through books). Create a storybook paradewith the characters mentioned: Cinderella, Alice inWonderland, Old King Cole. When students knowthe stories, divide them into groups to make a bookcover for one of the characters mentioned. As yousing the song, assign the characters to studentswho come on stage with their book cover in front oftheir face until you sing the chorus. They will foldtheir book closed and become that character. Taketurns.

Students find something at home that makes amusical sound (pot lids, spoons, comb, etc.) andbring it to class. Students could also make aninstrument such as a shaker (beans, rice, orpopcorn in a can) or a rain stick (wrapping paper rollwith rocks or bean inside to slide up and down withends taped closed) or jingles (coke top rings strungon a wire). Students play their instrument to the beataccompanied by a selected soundtrack.

Teacher observation oflistening skills and abilityto relate to musicalselections

Teacher observation

Teacher observation

Teacher observation


Music 21

MUSICSECOND GRADE


The Second Grade Music program of study serves as a guide to developcurriculum for students in Second Grade music classes or Second Grade regularclasses. Teachers are encouraged to select and implement unit topics, repertoire,teaching strategies, performance practices, and assessments that will enable studentsto meet the competencies stated for each grade level. Sample strategies andassessments are given for each competency. The benchmark chart establishes theprogression of instruction for each goal area through grade clusters. This program ofstudy is to be used by the Music Specialist and or the Classroom Teacher indeveloping music curriculum for second grade students in the following:




For an explanation of the Content Strands, Competencies, and Objectives, see theGeneral Introduction Section of the Mississippi Visual and Performing Arts Framework.

The Framework General Introduction, Literature Connections, TechnologyConnections, Resources, and Glossary are available online at the Mississippi

Department of Education web site: http://www.mde.k12.ms.us.


Music 22

MUSICSECOND GRADE

CONTENT STRANDS:



1. Sing using appropriate tone quality, posture, diction, and breathing and playaccompaniment using correct mallet technique. (CP)

a. Sing and play alone and with others a variety of songs using appropriatetechniques and dynamics.

b. Sing expressively with appropriate dynamics, phrasing, and interpretation.c. Sing and chant ostinatos and call and responses.d. Students will be able to play simple ostinato patterns.

2. Improvise melodies and rhythms using the pentatonic scale. (CP)

a. Improvise short melodies by singing or playing on pitched and un-pitchedinstruments.

b. Improvise rhythms and accompaniments by playing instruments.c. Create a song by using rhyming words and improvising "answers" in the same

style.

3. Listen to music of diverse cultures and styles and identify distinguishingcharacteristics. (CA)

a. Demonstrate perceptual skill by moving to, answering questions about, ordescribing aural examples of music from diverse cultures.

b. Interpret a music selection with appropriate movements or dramatization.c. Compare the sounds of different instruments of orchestras, bands, and other

cultures.d. Identify AB and ABA form.

4. Using simple music vocabulary, describe the musical elements thatcontribute to performance excellence. (CA)

a. Explain musical elements that relate to a successful performance.b. Recognize excellence in the quality of a vocal or choral performance.c. Perform and evaluate individual and/or group performance.


Music 23

5. Relate music/notation symbols to a written melodic line. (CA)

a. Recognize increasingly difficult music symbols that demonstrate rhythm notation(i.e., eighth rest, half note, half rest, whole note, whole rest).

b. Read and respond to simple notated melodies, rhythms, and dynamic.c. Compose a short song within specified guidelines.

6. Compare and contrast music examples from different cultures, times, andplaces. (HC)

a. Listen to music from various cultures and ethnic groups and compare andcontrast performance styles.

b. Perform music from various cultures and create musical instruments fromvarious cultures.

c. Discuss the role and function of music and musicians.d. Perform using instruments and timbres of instrumental families from various

cultures.

7. Describe the musical characteristics that affect moods, responses, andfeelings. (A)

a. Compare the feelings expressed by specific examples of music.b. Interpret the idea or story of a music selection through movement, dance, and

dramatization (role-play).c. Respond to and describe music by painting or drawing a picture, or writing a

story.

8. Identify musical expression as it relates to other subject areas. (C)

a. Identify ideas and stories contained in the language of songs and relate them tothe appropriate subject area.

b. Understand word patterns and rhymes within a song text.c. Recognize the sequential arrangement of sections in a work of music.

9. Describe the ways that music affects everyday life. (C)

a. Describe various ways that people make music.b. Understand the presence and uses of music in everyday life.c. Describe different music styles and genres.d. Identify careers in music.e. Demonstrate audience behavior appropriate for a musical performance.


Music, Second Grade

Music 24


SuggestedAssessment

1

2

3

4

5

a,b

a,b

d

a,b

a,b

Song: Hawaiian Rainbows (phrase, pitch, rhythm).Sing Hawaiian Rainbows. Students identify theshape of rainbow, drawing a rainbow in the air toindicate each phrase. Students identify the singingvoice, and the correct rhythm. After students cansing and make curves for the phrases, they aredivided into groups to create smooth and flowingmovements for each phrase. Students discuss thedynamics of the piece. Are there crescendos anddecrescendos?

Using a rhyme such as “2,4,6,8, meet me at thegarden gate. If I’m late, don’t wait. 2,4,6,8,” studentsdetermine the rhythm of the chant and write it out(on paper, on the floor with sticks). Play the rhythmwith unpitched percussion instruments and play therhythm of the words using the pentatonic scale on amelody instrument. Teacher plays a bourdon on theBass Xylophone. Students say the rhyme withrhythmic accompaniment. Students play animprovised melody on a tuned instrument, thencreate a melody for singing the words instead ofplaying them. Develop an ABACA performance byusing the improvisation for A, the vocal rhythmicrhyme for B, and sung melody of the rhyme for C.Teacher divides the class so that each group has atask for which they are responsible.

Students listen to a recorded example of a minuet,The teacher identifies the form. The students createmovements for the sections of the minuet tobecome more aware of the dance form.

Students are divided into several small groups.Each group designs a rubric, discussing theelements that could be used to evaluate a singingperformance (beginnings, endings, dynamics, etc.).Make a list. Each group performs an example to beevaluated by the other students using the rubric.You may want students to give a bad example first,then correct their performance to make sure thatthey grasp the evaluation process.

Teacher writes a song such as Pease Porridge Hoton a poster board. Students pat legs to the rhythm.Using what they learned about notes on the staff,they name the notes. If instruments are available,students play the notes (if there are no instruments

Teacher observation

Observe rhythm writingand instrument playing fortechnique

Teacher observation ofstudent body movements


Teacher observation


Music, Second Grade

Music 25

6

7

8

9

a,b,d

a,b,c

a

d

available, make and copy a paper keyboard),students create other rhythmic accompanimentsand improvise other melodies on the rhythm. (Useblack keys on the piano if you have no barredinstruments.)

Students learn the song, Chee Chee Koolay, a folksong from Ghana. Students echo-sing the song anddiscuss patterns in the song from Ghana, and otherAfrican countries. Note that people communicatewith drums. After students know the song, they play"Follow the Leader" with African instruments (ordrums). Discuss that children are sung to frominfancy in Africa and this song is probably a mixtureof different dialects and has no meaning but is aplay song. First phrase-hands on head (imitate);Second phrase-hands on shoulders (imitate); Thirdphrase-hands on hips (imitate); fourth phrase-graspankles (imitate); and fifth phrase-fall to the ground(imitate). Students create their own movements asthey think children might do in Ghana.

Materials needed: Book, What a Wonderful World,and Louis Armstrong’s recording of What AWonderful World (available on RCA VictorBeginner’s Guide to Jazz-CD-ROM). Teacher playsthe recording, turning the pages with the singer ashe performs the text. Students create a movementthat will identify the word that you speak (“trees,”“red roses,” “bloom,” etc.). Students move with themusic using movements that they have just created.(This lesson could be expanded in many directions.Use your creativity.)

Students learn the song, Recycle Rap, or othersong about recycling. Students discuss theimportance of recycling. Students discuss rap, listento the rap, discuss the text, pointing out the rhymingwords to help with memorization. Students createmovement. (If this is not available, let the studentsmake their own rap about recycling and add theirown rhythmic accompaniment.)

Students find and bring pictures of variousperforming artists. They may also bring a recordedexample to play by that artist (specify importance ofchoosing examples that are appropriate for theclassroom). Students tell what they know about theartist. After playing a short example, discuss thejobs of all the people it took to create the recording.

Teacher observation

Teacher observation

Teacher observation

Teacher observation


Music 26

MUSICTHIRD GRADE


The Third Grade Music program of study serves as a guide to developcurriculum for students in Third Grade music classes and Third Grade regular classes.Teachers are encouraged to select and implement unit topics, repertoire, teachingstrategies, performance practices, and assessments that will enable students to meetthe competencies stated for each grade level. Sample strategies and assessments aregiven for each competency. The benchmark chart establishes the progression ofinstruction for each goal area through grade clusters. This program of study is to beused by the Music Specialist and or the Classroom Teacher in developing musiccurriculum for third grade students in the following:






Music 27

MUSICTHIRD GRADE

CONTENT STRANDS:



1. Sing partner songs and two-part rounds with expressive voice control andplay accompaniments using crossover mallet techniques. (CP)

a. Sing and/or play partner songs and simple rounds using appropriate vocaltechniques and dynamics.

b. Sing with accurate pitch and rhythm.c. Recognize and sing music of different styles.d. Play pitched instruments using crossover patterns.

2. Compose short melodies and rhythmic patterns. (CP)

a. Create short melodies by singing or playing on pitched instruments.b. Create rhythms and accompaniments on various instruments.c. Create and perform an original melodic and/or rhythmic song.

3. Listen to and identify simple forms, orchestral instrument families, andmelodic movement. (CA)

a. Identify the melodic movement used in a composition.b. Identify the sounds of various instrumental families of the orchestra and band in

selected works of musicc. Perform appropriate movements or dramatization to selected works of music.d. Identify AB, ABA, AABB, and rondo form.

4. Using music vocabulary, describe the characteristics of a musicalperformance. (CA)

a. Explain musical characteristics that relate to performance excellence.b. Compare the quality of various vocal or choral performances.c. Describe and evaluate individual and/or group performance and compositions.


Music 28

5. Identify note values in a written melodic line. (CA)

a. Recognize increasingly difficult music symbols that demonstrate rhythm notation(i.e., whole note, whole rest, key, and meter signature).

b. Identify the treble clef and bass cleft line and space note names.c. Read and play rhythm notation.

6. Demonstrate an understanding of various styles or cultures throughinterpretive movement. (HC)

a. Dramatize/perform music from various cultures and ethnic groups.b. Describe the role and function of music and musicians from various cultures.c. Perform music and dance using instruments from various cultures.

7. Understanding that musical characteristics affect moods, responses, andfeelings. (A)

a. Compare and contrast feelings expressed by specific examples of music.b. Dramatize the idea or story of a music selection.c. Interpret music through painting, drawing a picture, movement, or writing.

8. Describe ways in which other subject areas are interrelated with music.

a. Identify ideas and stories contained in the language of songs and relate them tothe appropriate subject area.

b. Explain the sequential arrangement (sequencing of thoughts, numbers, etc.) ofsections in a work of music.

c. Identify ways in which the principles and subject matter of music are related toother disciplines.

9. Distinguish various musical styles heard in everyday life. (C)

a. Describe the presence and use of music in everyday life.b. Compare and contrast different music styles.c. Compare and contrast various ways that people make music.


Music, Third Grade

Music 29


SuggestedAssessment

1

2

3

4

5

d

a

c,d

c

c

c

b

Teacher defines and introduces partner songs.Students echo the definition. After learning thesongs Sandy Land and Bow, Belinda, students aredivided into two groups. One group sings SandyLand. The other group sings Bow Belinda. Groupone and two now sing Sandy Land and Bow Belindatogether.

Students learn the song, I Got a Letter, and tap therhythm to the words, I got a letter this morning, oh,yes. Students are grouped in pairs and createmelody patterns for the rhythm of the words usingnotes E, G, A, B on resonator bells, xylophones, orglockenspiels. The first student will end on G or (do)and the second student will end on E (la).

Students listen to Springfield Mountain. Whilelistening, the students sway when the repeatingsection is heard and pat knees when the newsection is heard. Students name the sections heardin the song. After the sections have been identified,instruct the students about AB form. Students arethen placed in four groups to dramatize the text.Three of the groups act out two verses and thefourth group acts out the refrain. The students mayuse butcher paper, scarves, and blankets as props.

While listening to Tideo, students read and playrhythm notation, including quarter notes, quarterrests, eighth notes, eighth rests, half notes, halfrests, dotted half rests, whole notes and whole restsusing lummi sticks.

Students will sing a well-known round in 2-4 partsand describe and evaluate the singing quality,blend, diction, and overall expressiveness of theperformance.

Students will work in groups to create an 8 measurepattern using known note values, and melodicpitches on barred and percussion instruments.Each group will perform for the class with the classevaluating according to the use of the appropriatenote values, melodic pitches, dynamics, and senseof ensemble.

On a worksheet, students will name the line andspace notes of the treble clef and bass clef.

Teacher observation

Teacher observation.Checklist: Correct mallettechnique

Teacher observationof oral responseactivity

Teacher observation oforal response activity

Teacher observation ofwritten activity

Student responses to eachperformance

Teacher observation ofwritten activity


Music, Third Grade

Music 30

6

7

8

9

a,d

a,c

b

c

Students listen to La Raspa, a Mexican song, andBob Marley’s, The Sun is Shining, a Reggae song.After listening, students list the various instrumentsthat are heard in each song and discuss instrumentfamilies from the two different cultures.

Students listen to recordings of Rimsky-Korsakov’sFlight of the Bumblebee, and Bobby McFerrin andYo Yo Ma’s Flight of the Bumblebee. After listening,the students make a list of similarities anddifferences. They then discuss the mood or theirfeelings about each piece. Students listen to thepieces again. On art paper they draw how themusic makes them feel when the music is heard.

Teacher introduces the Mexican chant Bate, Bate,translating the Spanish words and discussing themeaning. Students think of new words that fit therhythm of piece, write new verses and read them tothe class.

Students imagine that they are a conductor orsinger, research each career, and write a paper.They will then compare and contrast the careers inappreciation. After comparing and contrasting thecareers, students name conductors and/or singersthey know.

Teacher observation ofstudent responses anddiscussion followinglistening activity

Teacher observation ofstudent listening, studentself-evaluation ofdiscussion and visualartworks

Teacher observation andverbal feedback ofstudent-created verses

Teacher assessment ofeach student’s writtenwork; teacher and peerevaluation of studentdiscussion


Music 31

MUSICFOURTH GRADE


The Fourth Grade Music program of study serves as a guide to developcurriculum for students in Fourth Grade music classes and Fourth Grade regularclasses. Teachers are encouraged to select and implement unit topics, repertoire,teaching strategies, performance practices, and assessments that will enable studentsto meet the competencies stated for each grade level. Sample strategies andassessments are given for each competency. The benchmark chart establishes theprogression of instruction for each goal area through grade clusters. This program ofstudy is to be used by the Music Specialist and or the Classroom Teacher indeveloping music curriculum for fourth grade students in the following:






Music 32

MUSICFOURTH GRADE

CONTENT STRANDS:



1. Sing two and three-part rounds, echo songs, and countermelodies with awider range, and play accompaniments using syncopated rhythm patterns onpitched and un-pitched instruments. (CP)

a. Sing and/or play two and three part rounds, echo songs, and countermelodiesusing appropriate vocal techniques, dynamics, and phrasing.

b. Sing with appropriate tone quality while increasing vocal range.c. Sing music from a variety of places, including Mississippi.d. Sing from memory a repertoire that incorporates simple harmonies.e. Play syncopated accompaniments using pitched and un-pitched instruments.f. Sing in groups, focusing on blending, matching dynamics, and responding to the

conductor.

2. Compose short melodies using steps, leaps, and repeats. (CP)

a. Create increasingly complex melodies by singing or playing on pitchedinstruments.

b. Create and correctly echo simple rhythms and melodic ostinatoaccompaniments by playing instruments.

c. Create an original song and accompaniment using a variety of sound sources.d. Improvise simple variation on familiar melodies.

3. Listen and respond to music and instruments of diverse cultures and styles.(CA)

a. Describe the instrumentation of a music composition.b. Dramatize characteristics identified in a music composition with appropriate

movement.c. Analyze increasingly complex forms (i.e., theme and variations, suite, overture,

call-response).


Music 33

4. Describe qualities of successful musical performances. (CA)

a. Describe musical elements that relate to a successful performance.b. Dramatize and interpret musical performances.c. Analyze recorded music examples as a model for performance.d. Devise criteria for evaluating performance or compositions.

5. Develop music reading skills for treble clef. (CA)

a. Perform basic rhythmic, melodic, and dynamic symbols and notation whilereading and performing music.

b. Read lines and spaces of treble clef and bass clef notation.

6. Recognize that music reflects the culture, time, and place of its origin. (HC)

a. Recognize and discuss by genre or style music examples from various historicalcultures and ethnic groups.

b. Identify instruments and timbres of instrument families from various cultures.

7. Interpret a variety of moods and feelings communicated through variousmusic selections. (A)

a. Illustrate the feelings expressed in music performances by painting, drawing apicture, moving, or writing a story/poem.

b. Interpret the idea or story of a music selection by performing on instrumentsappropriate to the piece.

8. Compare and contrast the meaning of common terms used in the arts andother subject areas (i.e., line, form, rhythm, texture, contrast, and color). (C)

a. Identify similarities and differences in the meanings of common terminology ofart forms such as music, drama, and dance, with literature and poetry.

b. Analyze sequential arrangement (sequencing of thoughts, numbers, etc.) withinvarious art forms.

c. Identify ways in which the principles of music are related to other disciplines.

9. Recognize ways that music and musicians are encountered in everyday life.(C)

a. Compare and contrast the qualifications for various musical careers.b. Identify and describe roles of musicians in various musical settings, cultures,

and careers.


Music, Fourth Grade

Music 34


SuggestedAssessment

1

2

3

4

5

6

7

8

9

a

a

a

b

b

b

b

b

a,b

Teacher introduces a three part round and gives thedefinition. Students echo the definition. Use a songsuch as Hey, Ho! Nobody Home, and divide studentsinto three groups. The teacher brings in each groupappropriately while performing the song.

While singing Hambone, students take turns creatingmelodies on the quarter rests on pitches E, G. A, B-flat, and D, using resonator bells, xylophones, orglockenspiels.

Students listen to a recording of a song from anotherculture, such as, Kye, Kye, Kule, from AfricanFolksongs: Children’s Songs from Ghana. Afterlistening, students discuss the instruments heard inthe composition.

Students discuss and sing a song that tells a story,such as Clementine. After singing, students areplaced in two groups to dramatize the text. Group Iacts out the verses, group II acts out the refrain.Students use feathers, boxes, buckets and paper“rocks.”

Given a barred instrument and mallets, the studentplays a song such as Mary Had a Little Lamb, withattention to mallet technique.

After listening to a song such as Cielito Lindo,students will identify instruments and timbre heardwithin the recording.

After listening to a symphony selection such asSymphony no. 94, by Haydn, “The SurpriseSymphony,” the students will illustrate their musicalfeelings by drawing a picture or writing a story/poem.

Students sing a song about time such as, Take Timein Life. After singing, they work in pairs to find outhow many months it will take from the present date tocomplete elementary school, middle school, and highschool. Students may also think of other ways tospend time in life: “How many months until I finishcollege?” or “How many months until the last day ofschool?”

After identifying various musical careers, students listthe qualifications of each, then compare and contrasteach career.

Teacher observation ofstudents’ singingaccuracy

Teacher observation andchecklist recorddocumenting whichstudents have performed

Teacher observation ofstudents’ oral responsesfollowing the listeningactivity

Teacher observation ofdramatization and singing

Teacher observation ofmallet technique

Teacher observation ofstudent listening andresponses

Teacher observation ofstudent listening anddrawing

Teacher observation ofstudent singing andlistening; read and/orrespond to students’written work

Teacher observation ofstudent responses.


Music 35

MUSICKEYBOARD, BEGINNER LEVEL

(Kindergarten through Fourth Grade)


The beginning level keyboard framework is designed to guide teachers indeveloping a keyboard music curriculum for students in the early grades. Keyboardstudy may take place using an acoustic piano, portable electronic keyboards, or in alaboratory setting with multiple keyboards connected to a computer. The competenciesand strategies are closely related to the K-4 general music framework. Individualschools or school districts make decisions about when students begin keyboard study.Teachers are encouraged to consider the age of the child and his/her prior musicexperiences when designing the keyboard curriculum. Competencies in this frameworkapply to beginners, and are not designed for specific grade levels. This program ofstudy is to be used in developing music curriculum for kindergarten through fourth gradestudents in the following:

Elementary Keyboard

Students in these grades follow a yearlong program of study. Teachers areencouraged to select repertoire and implement performance practices and assessmentsthat will enable students to meet the competencies stated. Sample strategies andassessments are given for each competency. The benchmark chart in the generalmusic introduction establishes the progressions of instruction for each goal areagrouped by grade cluster.





Music 36

MUSICKEYBOARD, BEGINNER LEVEL (K-4)

CONTENT STRANDS:



1. Play a variety of music selections alone or in groups. (CP)

a. Use proper posture and hand position while sitting at the keyboard.b. Demonstrate understanding of high, medium, and low pitch ranges in selected

keyboard repertoire.

2. Create and perform music using simple melodies and rhythms. (CP)

a. Create melodic motives on the keyboard to illustrate up and down.b. Improvise a composition using staccato and legato melodies.

3. Listen to, describe, and respond to short works of music. (CA)

a. Describe characteristics of a melody or rhythm used in a keyboard composition.b. Describe basic elements of form in music.

4. Describe qualities of successful keyboard performances. (CA)

a. Identify expressive qualities of a keyboard performance: soft, loud, fast, slow, etc.b. Evaluate accuracy of rhythm, melody, and style in keyboard performances.

5. Recognize and identify music notation and symbols. (CP, CA)

a. Recognize music symbols that demonstrate rhythmic notation and values (i.e.,quarter note, quarter rest, eighth note bar lines, and measures).

b. Know the letter names of line and space notes on treble and bass clefs.c. Demonstrate knowledge of music symbols/icons by playing on the keyboard.

6. Recognize that music reflects the culture, time, and place of its origin. (CP, HC)

a. Listen to and perform music from various cultures, and ethnic groups.b. Understand the role of music and musicians in selected cultures, times, and

places.


Music 37

7. Experience a variety of moods and feelings expressed by different keyboard selections. (CP, A)

a. Compare and contrast emotions or moods expressed when listening to orperforming specific examples of music.

b. Know that keyboard selections can convey various ideas or stories.

8. Recognize connections between music, the other arts, and other subject areas.(CA, C)

a. Compare ways a composer uses dynamics to tell a musical story with the way anauthor, a painter, a mime, or a dancer tells a story.

b. Analyze the sequential arrangement of phrases or sections in a work of musiccompared to the order of events in a story.

9. Recognize ways that music and musicians are encountered in everyday life. (C)

a. Know various ways that people make music.b. Analyze the presence, use, and effect of music in everyday life.c. Demonstrate beginning knowledge of a variety of music styles.d. Compare and contrast the qualifications for various musical careers.


Music, Beginner Keyboard

Music 38


SuggestedAssessment

1

1

1

2

3

4

5

5

6

7

a

a

b

a

b

a

a

c

b

a

Use teacher-made charts to demonstrate posture atthe piano. Students select correct posture and handposition from the charts.

Students hold an imaginary ball in each hand andmove individual fingers on keys as teacher calls outfinger numbers.

The teacher will play a short keyboard motive.Students will identify the pitch range of the exampleplayed by answering high, medium, or low.

While using a cloth mallet, the student will play aglissando on the keyboard to illustrate the up anddown sounds in the song Hickory, Dickory, Dock.

Students listen to the teacher or a classmateperform a short piece, then they identify the form ofthe piece (e.g. AB, ABA, etc.).

Students will use terms such as soft/loud,smooth/jerky, fast/slow, and short/long to describeand evaluate keyboard performances.

Students play five-note scale patterns from a chartthat shows quarter note, half note, and eighth noteexamples.

Students will play the correct bass or treble clefpitch on the keyboard when the teacher points to anote on a staff notation chart.

Students listen to dance pieces from different timeperiods (e.g., minuet, waltz, boogie-woogie).Discuss or demonstrate the different types ofmovement that would accompany each danceselection.

Students listen to two brief keyboard performancesof a lullaby and a march. After hearing theexamples, they choose from a teacher-made chartthat shows 4-6 pictures of people doing differentthings, including resting and marching. Studentsselect a picture from the chart and explain why theymade the choice.

Teacher observation ofstudent's ability to selectproper image

Teacher observation ofstudent’s hand positionand fingers

Teacher observation ofaccuracy of studentresponses

Teacher and/or peerobservation

Teacher observation ofstudent responses

Teacher observation ofstudent's ability to applyaccurate terms

Teacher observation ofstudent reading

Teacher/peer observation

Teacher assessment ofstudent’s oral ordemonstrated responses

Teacher and/or peerevaluation of studentresponse and rationale


Music, Beginner Keyboard

Music 39

8

9

a

b

Listen to or perform a short keyboard piece such asCountry Gardens, by Schumann. Students comparethe beginning, middle, and end of the music to astory such as Little Red Riding Hood.

Discuss the different types of keyboards that havebeen used throughout history. Create a list ofkeyboards used today, and where/how they mightbe used in music making.

Teacher observation ofstudent's ability to connectsequence in music tosequence in stories

Teacher made chart ofstudent responses andevaluation of student’sknowledge of keyboardsbased on their discussion


Music 40

MUSICStrings, Beginner and Intermediate Level

(Kindergarten through Fourth Grade)


The beginning level strings framework is designed to guide teachers indeveloping a strings music curriculum for students in the early grades. Classes meetonly once or twice per week. Teachers are encouraged to select and implement unittopics, repertoire, teaching strategies, performance practices, and assessments that willenable students to meet the competencies stated. Sample strategies and assessmentsare given for each competency. There is also a benchmark chart that establishes theprogression of instruction for each goal through grade clusters. The competencies andstrategies are closely related to the MS-beginner music framework. Individual schools orschool districts make decisions about when students begin strings class. Teachers areencouraged to consider the age of the child and his/her prior music experiences whendesigning the strings curriculum. Competencies in this framework apply to beginners,and are not designed for specific grade levels. This program of study is to be indeveloping music curriculum for kindergarten through fourth grade students in thefollowing:

Elementary Strings

Students in these grades follow a yearlong program of study. Teachers areencouraged to select repertoire and implement performance practices and assessmentsthat will enable students to meet the competencies stated. Sample strategies andassessments are given for each competency; there is also a benchmark chart in theinstrumental music introduction that establishes the progression of instruction for eachgoal area grouped by grade cluster.

The competencies are printed in bold face type and are required to be taught.For an explanation of the content strands, see the general introduction section of theMississippi Visual and Performing Arts Framework. The competencies may relate toone or more of the content strands and may be combined and taught with othercompetencies throughout the school year. Competencies are not listed in order ofimportance and may be taught in any order that is determined suitable by the school ordistrict. Competencies provide a general guideline of ongoing instruction, not isolatedunits, activities or skills.



Music 41



Music 42

MUSIC

Strings, Beginner and Intermediate Level (K-4)

CONTENT STRANDS:



1. Sing and play a variety of music selections alone or in groups. (CP)

a. Use proper posture and hand position while holding stringed instrument.b. Demonstrate understanding of high, medium and low pitch ranges in selected

stringed repertoire.

2. Create and perform music using simple melodies and rhythms. (CP)

a. Identify and play scales.b. Create melodic motives on the instrument to illustrate up and down.c. Improvise a composition using staccato and legato melodies.

3. Listen to, describe, or respond to short works of music. (CA)

a. Describe characteristics of a melody or rhythm used in a string composition.b. Describe basic elements of form in music.

4. Describe qualities of successful string performances. (CA)

a. Identify expressive qualities of a string performance: soft, loud, fast, slow, etc.b. Evaluate accuracy of rhythm, melody, and style in stringed performances.

5. Recognize and identify music notation and symbols. (CP, CA)

a. Recognize music symbols that demonstrate rhythmic notation (i.e., quarter note,quarter rest, eighth note).

b. Know the letter names of line and space notes on treble and bass clefs.c. Identify note/rest values, bar lines and measures.d. Demonstrate knowledge of music symbols/icons by playing on respective

stringed instrument.


Music 43

6. Recognize that music reflects the culture, time, and place of its origin. (CP, HC)

a. Listen to and perform music from various cultures, and ethnic groups.b. Understand the role of music and musicians in selected cultures, times, and

places.

7. Experience a variety of moods and feelings expressed by different string repertoire. (CP, A)

a. Compare and contrast emotions or moods expressed when listening to orperforming specific examples of music.

b. Know that stringed selections can convey various ideas or stories.

8. Recognize connections between music, the other arts, and other subject areas.(CA, C)

a. Compare ways a composer uses musical elements to tell a musical story like theway an author, a painter, a mime, or a dancer tells a story.

b. Compare ways music and other subjects are related.

9. Recognize ways that music and musicians are encountered in everyday life. (C)

a. Know various ways that people make music.b. Analyze the presence, use, and effect of music in everyday life.c. Demonstrate beginning knowledge of a variety of music styles.d. Compare and contrast the qualifications for various musical careers.


Music 44

Elementary Strings, Beginner


SuggestedAssessment

1 a Students discuss beforehand the finger position to beused, what strings to be played.


a Students learn correct left and right hand positions, andpractice bowing long, slow bows on open strings.

Teacher observation

2 a Students practice easy scales such as D, G, and C byplacing their fingers on colored tape guides on thefingerboard to insure proper note placement.

Playing test, teacherobservation

b Students will improvise simple melodies whichdemonstrate the ability to move up and down within asimple scale.

Teacher observation

c Students will improvise a simple melody whichdemonstrates the ability to utilize both staccato andlegato bowings.


3 a Students listen to related works of composers whosepieces they are playing and discuss differences andsimilarities of rhythm, style, tempo, and melody.

Teacher observation

b Students listen to a work of a well-known composer inthe Classical period and demonstrate ability to identifybasic formal elements.

Written assessment

4 a Students will identify and define the simple expressivequalities (fast/slow, simple meters, forte/piano, etc.)contained within a recording of an orchestralperformance.

Teacher evaluation ofstudent response orwritten work

b Students will evaluate recorded examples of theinstrumental sounds (based on a grading scale of 1-5) ofthe entire class in the categories of accuracy of rhythm(whole to eighth notes) and style.

Student evaluationusing scale

5 a Students use flashcards to review different types ofnotes and rests. Then they write music staff, notes, andcorresponding rests to create measures of music on aworksheet.

Teacher evaluation ofworksheet

b Students memorize names of lines and spaces of theirclef, then make flashcards to review with each other.

Written test

c Students label a rhythm worksheet with appropriatecounts and symbols denoting its expressive quality.

Teacher evaluation ofrhythm worksheets


Music 45

Elementary Strings, Beginner

c,d Students identify and play music from a lesson book thatdemonstrates different types of bowing (dynamicmarkings and tempo).

Visual and auralobservation by teacher

6 a Students will listen to and discuss stringed instrumentsincorporated into various styles of music.


b Students will listen as their teacher reads a story abouta composer and will then answer questions about thestory.


7 a Students describe the feeling or mood expressed in apiece of music, and explain those conclusions.


b While listening to a musical selection, students willillustrate a story evolved by the music.

Teacher observation

8 a Students listen to a variety of styles of music and viewexamples of a variety of styles of visual art, describinghow music and visual art evoke involuntary responses.

Teacher-led discussionof aestheticexperiences

b Students will discuss how historical events influence acomposer’s writings.

Teacher observation

9 a Students will complete a chart of all the music heard forfive straight days. Included in this chart should be adescription of who was making the music, the purposeof the music, and how it affected their mood andattitude.

Student-created chart

b Students discuss the places they hear music, such asadvertising, CD’s, cartoons, cell phones, videos, andradio, and determine what the music communicates andhow it delivers a message in each application.

Teacher observation

c Each student will demonstrate the ability to alter a givenmelody (nursery song or other simplistic melody) ontheir instrument to exhibit at least 2 different styles ofmusic.

Teacher and studentobservation andfeedback

d Students will examine several musical careers anddescribe the different qualifications for each.

Written assessment


Music 46

Elementary School Strings, Intermediate


SuggestedAssessment

1 b Students will play chorales to develop a more maturesound. Students play in smaller, chamber groups,listening to each other.

Peer evaluationthrough small studentcritique groups

2 a Students learn 1 and 2 octave scales, andcorresponding minor scales.

Teacher observationand evaluation ofperformance.

b,c Students improvise, alone and in small groups.Students create and perform a four-measure melody.

Evaluation of creativityand resolution of themelody

3 a Students play Classical, Baroque, and pop music, thenidentify composer and discuss different structures ofeach through written work or class discussion.

Teacher evaluation ofwritten work ordiscussion

b Students identify time signature, key signature, tempo,and dynamic markings of a piece before it is played.

Teacher observation

4 a Students listen to a CD and watch a music video anddiscuss the music elements in each piece.

Observation ofteacher-led discussion

b Students take a playing test. Evaluation of playingtest

5 a Students play scales using different rhythms, thencomplete a worksheet.

Evaluation ofworksheet

6 a Students listen to CD’s of various genres and styles ofstring music and participate in class discussion.

Teacher observation

b Students research cultures in which variouscompositions studied originated identifying culturalinfluences that affected the composer and the music,and sharing findings in creative presentations.

Teacher evaluation ofpresentations

7 a Students listen to live and recorded music, discuss thefeelings and emotions inspired by the music, anddetermine how the elements of music are used to createthose feelings.

Evaluation of teacher-led discussion

b Students will listen to exemplary recordings of concertmaterial and analyze how the music elicits variousresponses. Students then compose an essaydescribing their reactions to the nuances of the music.

Teacher evaluation ofwritten essays


Music 47

Elementary School Strings, Intermediate

8 a Discuss arts programs in their school such as drama,choir, art, and how these groups interact.


b Students identify similarities between music and math,such as how note values are like fractions, crescendoand decrescendo are like greater than/less than signs,and patterns in music phrases are similar to numberpatterns.

Worksheets

9 b Students discuss the importance of music in their livesand the impact of music on others.

Evaluation ofdiscussion


Music 48

MUSICMIDDLE SCHOOL INTRODUCTION

Students studying music at the middle school level continue to build on skillsacquired during earlier grades. In grades 5-8 students are still very eager to create,perform, and respond to music. At the same time, they are beginning to form opinionsabout music that influence their personal choices. As knowledge about music increases,students begin to make choices about their music participation and preferences. Interestin peers and popular culture also affects student decision-making.

The middle school years provide an excellent time for students to reap benefits ofmusic study. In the early grades students are introduced to basic elements of music:rhythm, melody, harmony, form, and expression. These elements represent the corecomponents of music study and serve as building blocks for music literacy. Increasingmusic literacy and performing skills enables middle school students to undertake morechallenging repertoire. In addition, performing music provides a means of personalexpression and a way to build self-confidence and a sense of self-worth. In this time ofrapid physical growth, music study offers an outlet for expanding thoughts and ideasthat helps students to know themselves better. Students who have identified specialinterests or talents may want to consider options for more serious study or to examinethe possibility of a career in music.

Middle School General Music

The goal of this program of study is to continue sequential music instruction thatleads to music literacy, educated music consumers, and lifelong learning in music. Withthat goal in mind, during the middle school years, students are expected to increaseskills in performing, creating, and responding to music. Courses may be prescribed orelected, depending upon decisions made at the school district level.

The Middle School Music programs of study, Levels I, II, III, and IV, serve as aguide in developing curriculum for students in grades 5-8. Students in these grades mayreceive music instruction in a yearlong program of study, in a semester course, or in a9-week term. Nine-week and semester courses will introduce all the competencies inthe designated program of study. Yearlong courses will cover all the competencies, butin greater depth and breadth than semester or 9-week courses.

Curriculum may encompass a general music approach and/or choral musicperformance. Teachers are encouraged to select and implement unit topics, repertoire,teaching strategies, performance practices, and assessments that will enable studentsto meet the competencies stated for each grade level. Sample strategies andassessments are given for each competency. The benchmark chart establishes theprogression of instruction for each goal area grouped by grade clusters. This program ofstudy is to be used by the Music Specialist and or the Classroom Teacher in developingmusic curriculum for Levels I, II, III, and IV students in the following:

Middle School General Music (9 week, semester, or yearlong course)Arts Integrated in the Middle School Classroom


Music 49

Middle School Choral Performance

Students at the middle school level who choose to pursue choral performanceidentify with the sounds of singing and its expressive qualities. The idea of singing foran audience stimulates them to work hard for performance goals. By this time, studentsare able to sing in two and three parts. Vocal maturation results in an entirely differentsinging sound from the earlier grades. The middle school years are an excellent time todevelop vocal technique, increase music literacy skills, and learn basic elements ofmusic theory.

The Middle School Choral Performance program of study serves as a guide todevelop curriculum for choral performance classes that include students in grades 5-8.Students in these grades may receive music instruction in a yearlong program of study,in a semester course, or in a 9-week term. Nine-week and semester courses willintroduce all the competencies in the designated program of study. Yearlong courseswill cover all the competencies but in greater depth and breadth than semester or 9-week courses.

Teachers are encouraged to select choral repertoire and implement performancepractices and assessments that will enable students to meet the competencies statedfor each grade level. Sample strategies and assessments are given for eachcompetency; the benchmark chart establishes the progression of instruction for eachgoal area grouped by grade clusters. This program of study is to be in developing musiccurriculum for Levels I, II, III, and IV students in the following:

Middle School Choral Performance (9 week, semester, or yearlong Course)Middle School Musical Performance (Choral) (9 week, semester, or yearlong course)

Middle School Instrumental Performance

The idea of learning to play an instrument is very attractive to middle schoolstudents. Many students at this level have spent years thinking about playing oneparticular instrument or being a member of a band or orchestra. Previous music studyyields rapid progress when students begin to play an instrument. Yet instruments offerchallenges that inspire a new commitment to the discipline of music study and practice.

Support of peers and interest from parents is particularly helpful as studentsbegin to learn an instrument. Once past the initial challenges of learning an instrument,students begin to understand the benefits of playing together in an ensemble. Listeningskills, critical thinking, and problem solving become very important to the performinggroup. The middle school level is an excellent time for students to expand theirknowledge of music literature and their appreciation for many kinds of music.

The Middle School Instrumental Performance program of study serves as a guidefor developing curriculum for instrumental performance classes that include students ingrades 5-8. Students in these grades follow a yearlong program of study. Teachers areencouraged to select instrumental repertoire and implement performance practices andassessments that will enable students to meet the competencies stated for each gradelevel. Sample strategies and assessments are given for each competency; the


Music 50

benchmark chart establishes the progression of instruction for each goal area groupedby grade clusters. This program of study is to be used in developing music curriculumfor Levels I, II, III, and IV students in the following:

Middle School BandMiddle School Instrumental EnsembleMiddle School StringsMiddle School Musical Performance (Instrumental)


Music 51

MUSICMIDDLE SCHOOL LEVEL I


The Middle School Level I program of study serves as a guide in developingmusic curriculum for students in Fifth Grade or at the beginning middle school level.Teachers are encouraged to select and implement unit topics, repertoire, teachingstrategies, performance practices, and assessments that will enable students to meetthe competencies stated for each level. Sample strategies and assessments are givenfor each competency. The benchmark chart in the Music Introduction sectionestablishes the progression of instruction for each goal area through grade clusters.This program of study is to be used by the Music Specialist and or the ClassroomTeacher in developing music curriculum for level I students in the following:

Middle School General MusicArts Integrated in the Middle School Classroom

The competencies are printed in bold face type and are required to be taught.The competencies may relate to one or more of the content strands and may becombined and taught with other competencies throughout the school year.Competencies are not listed in order of importance and may be taught in any order thatis determined suitable by the school or district. Competencies provide a generalguideline of ongoing instruction, not isolated units, activities, or skills.


For an explanation of the Content Strands, Competencies, and Objectives seethe General Introduction Section of the Mississippi Visual and Performing ArtsFramework. The Framework General Introduction, Literature Connections, andGlossary are available online at the Mississippi Department of Education web site:http://www.mde.k12.ms.us.


Music 52

MUSICMIDDLE SCHOOL LEVEL I

CONTENT STRANDS:



1. Sing and/or play, alone and in groups, a variety of music, by imitation andfrom short notated patterns, using basic performance techniques, includingattention to pitch, meter, tempo, and dynamics. (CP)

a. Sing and/or play alone and with others a variety of songs using appropriatetechniques and dynamics.

b. Sing with accurate pitch and rhythm while incorporating beginning breath controltechniques.

c. Sing music from a variety of cultures, times, and traditions.d. Sing music written in two parts.

2. Compose and/or improvise short vocal and/or instrumental phrases inpentatonic and major scales, using simple meters, basic rhythm, and melodicpatterns. (CP)

a. Improvise increasingly difficult melodies by singing or playing instruments in twopart harmonies.

b. Improvise rhythms and accompaniments by playing instruments.c. Create and notate an original musical composition.

3. Listen to and describe a varied repertoire of short music examples. (CA)

a. Analyze instrumentation of a music selection.b. Identify the characteristics of a music composition.c. Analyze increasingly difficult musical forms.

4. Differentiate between performances of higher and lower quality. (CA)

a. Evaluate music performances.b. Analyze musical elements of a successful performance.


Music 53

5. Read from music notation that includes treble clef pitches, basic rhythmnotation (including sixteenth, eighth, quarter, half, and whole notes withcorresponding rests), basic meter signatures, and basic dynamic markings.(CA)

a. Understand counting, playing, or singing from increasingly difficult musicalnotation such as syncopation.

b. Demonstrate knowledge of melodic, rhythmic, and dynamic notation.

6. Demonstrate awareness of music and musicians in various cultures, times,and places. (HC)

a. Listen to and identify music from various cultures and ethnic groups.b. Perform music from various cultures.c. Investigate the role and function of music and musicians.d. Understand how various cultures use different musical instruments and vocal

techniques to create culturally unique music.

7. Develop and use a vocabulary to describe the mood and feelings expressedin different music selections. (A)

a. Interpret feelings expressed by specific examples of music.b. Develop a musical idea or story that will express moods or feelings.

8. Describe connections between music, the other arts, and other subject areas.(C)

a. Identify poetic characteristics of song lyrics.b. Recognize the sequential order of musical events.c. Describe the ways in which the principles and subject matter of other disciplines

are related to music.

9. Describe the role of music and musicians in everyday life. (C)

a. Demonstrate various ways that people make music.b. Evaluate the use and effect of music in everyday life.c. Identify careers associated with music.


Middle School Music, Level I

Music 54


SuggestedAssessment

1

2

3

4

5

6

7

8

9

a

c

c

a

a

a, b, d

a, b

b

b

Students sing traditional songs such as Down by theRiverside, and Fais Dodo, a French folk song.

Students create and notate an eight-measurerhythm pattern that includes at least one sixteenthnote, dotted half note, triplet, and tie.

Students listen to works such as “Fossils” fromSaint-Saens, Carnival of the Animals. When therepeated section is heard, the students tap the beat.When the new sections are heard, they snapfingers, pat shoulders, or nod heads to determinethe form of AABCADA.

After listening to a musical selection, studentsdevelop a rubric to determine the quality of theperformance.

While singing songs, students read tap beats tosyncopated ostinato accompaniments.

After listening to a work such as Ragupati RagavaRaja Ram several times, students discuss theinstruments heard in the piece. They plan aperformance of the song and create rhythm patternsto be played on various sized hand drums.

Students listen to works such as Copland’sHoedown from Rodeo, and Gershwin’s“Summertime” from Porgy and Bess. After listening,they develop a musical story for each piece basedon the moods or feelings portrayed in the music.Students may use movement with props such asscarves, skimmers, streamers, and hats.

After singing songs such as Erie Canal, studentsidentify rhyming words in the song text. They writethe words on the chalkboard and think of otherwords that would fit the rhythm.

After listening to examples of classical and jazzmusic, students discuss the differences heard inrelation to instruments, feelings, or mood. Thestudents then discuss and evaluate how these typesof music are used, and the way their use affectspeople in today’s society.

Teacher observation andfeedback about vocalperformance

Teacher assessment ofwritten student responses.Record student progresson mastery of rhythmnotation

Teacher observation ofstudent movement whilelistening

Teacher evaluation ofstudent-made rubric

Teacher observation ofstudent participation

Teacher observation ofstudent listening andstudent-planned rhythmpatterns

Teacher observation andfeedback related tostudent participation andstory-telling

Teacher observation ofstudents’ oral and writtenresponses

Teacher observation ofstudent listening anddiscussion


Music 55

MUSICMIDDLE SCHOOL LEVEL II


The Middle School Level II program of study serves as a guide to develop musiccurriculum for students in sixth grade or those who have completed Middle SchoolMusic Level I. Teachers are encouraged to select and implement unit topics, repertoire,teaching strategies, performance practices, and assessments that will enable studentsto meet the competencies stated for each level. Sample strategies and assessmentsare given for each competency. The benchmark chart in the Music Introduction sectionestablishes the progression of instruction for each goal area through grade clusters.This program of study is to be used by the Music Specialist and or the ClassroomTeacher in developing music curriculum for level II students in the following:




For an explanation of the Content Strands, Competencies, and Objectives, seethe General Introduction Section of the Mississippi Visual and Performing ArtsFramework. The Framework General Introduction, Literature Connections, andGlossary are available online at the Mississippi Department of Education web site:http://www.mde.k12.ms.us.


Music 56

MUSICMIDDLE SCHOOL LEVEL II

CONTENT STRANDS:



1. Sing and/or play, alone and in groups, a variety of music expressively andwith rhythmic accuracy, by imitation and from notated patterns of increasingdifficulty. (CP)

a. Sing or play a varied repertoire alone and in groups.b. Sing or play using appropriate performance techniques, expression, and

accuracy from a broad literature of music.c. Sing or play music in unison and in two and three part harmonies.d. Sing or play music in a variety of meters, tonalities and styles.

2. Compose and/or improvise short vocal and/or instrumental musical examplesusing a variety of rhythm patterns, pentatonic or major and minor scales,various vocal and/or instrumental timbres, and basic written music notation.(CP)

a. Improvise melodies and rhythms employing the voice, body percussion, and avariety of instruments using pentatonic scales or major and minor scales.

b. Create simple accompaniments to songs and speech using a variety of soundsources.

c. Compose original pentatonic or major melodies and rhythms using notation orinstruments.

3. Listen to and describe a varied repertoire of compositions and performances,including American popular music. (CA)

a. Identify elements of music heard in a varied repertoire of music selections.b. Analyze music compositions for musical forms representing diverse genres.c. Identify and describe characteristics of musical styles.

4. Identify and describe characteristics of quality performances. (CA)

a. Develop criteria for evaluating quality music performances.b. Analyze and evaluate classroom and public performances for quality.


Music 57

5. Recognize and identify notation that includes: treble clef and bass clefpitches, sharps and flats, basic rhythmic notation, complex rhythms, basicmeter signatures, and basic Italian dynamic terms and correspondingsymbols. (CA)

a. Read and interpret music notation in treble clef and bass clef.b. Demonstrate knowledge of how to read a grand staff in musical scores.c. Recognize, identify and describe tempo, dynamic, and expression markings in

written music.d. Use appropriate terminology to describe components of a musical score.

6. Determine the role and function of music and musicians in different cultures,times, and places. (HC)

a. Recognize and discuss music and musicians from the United States.b. Recognize and discuss music and musicians from outside the United States.c. Discuss the role and function of music in various cultures, times, and places.

7. Analyze a wide variety of music for expressive qualities, using both musicaland aesthetic vocabulary. (A)

a. Demonstrate understanding of mood or feelings expressed while performing orlistening to music.

b. Analyze the elements of music that evoke or represent a certain mood or feelingin specific examples of music.

c. Identify and compare musical qualities that express artistic meaning and value.

8. Analyze connections between music, the other arts, and other subject areas.(C)

a. Compare and contrast shared artistic elements (e.g., flow, line, texture,color/tone, mood, contrast) among music, visual arts, dance, and theatre.

b. Analyze connections between music, language, and literature.c. Identify the relationship of musical rhythm to mathematical properties.

9. Know the importance of music and musicians in everyday life. (C)

a. Analyze ways music and other arts are integrated into the experience of dailylife.

b. Discover ways the arts are incorporated into various communications media andtechnology.


Middle School Music, Level II

Music 58


SuggestedAssessment

1

2

3

4

5

6

7

a,b,c,d

b

c

a,b

a

a,b

a

a, b, c

c

Students sing “Siyahamba,” using good diction andtone, with several rhythmic or melodic ostinatos asaccompaniment, played on percussion instruments.

Students improvise a rhythmic accompaniment to asong with hand clapping, keeping an appropriatesense of beat and tempo.

Students compose a pentatonic melody of 16 beatsin 4/4 meter for original or selected lyrics/poetry, orwithout lyrics, using barred percussion instrumentsor keyboards.

Students listen for rondo form in “New HampshireHornpipe” from On Golden Pond movie soundtrackand create a listening graph to show the continuityof design and sections of the form, based on thecontrast of elements, themes, and style.

Videotape a classroom performance of a song. Afterviewing the video, each student makes a list ofsuggestions to improve the performance in order tocompile a set of classroom guidelines for singing orplaying instruments in the future. Combine ideas tocompile a checklist.

Students re-write short examples of treble clef notestransposed into the bass clef staff keeping the sameletter names.

Students sing patterns from notated familiar songs,using solfege syllables and letter names.

Students watch video programs of traditional music-making from various countries or cultures, thendiscuss and write descriptions of the differencesbetween American/European music-making andthose on the video(s).

Students listen to two or more recorded versions ofthe same musical selection and list different musicalcharacteristics, moods, and meaning.

Teacher and peerobservation, discussion ofproper performancetechnique, rhythm, andpitch accuracy

Observation of stability ofclapping in relation to beatand rhythm

Observation ofcompositional process andoriginal melody (product)

Evaluation of order ofcontrasting section of formon student graphs

Evaluation of guidelinesand checklist

Teacher evaluation ofstudent-made rubric

Teacher/peer observationof rhythm and beat stability

Evaluation and discussionof student observationsand statements

Evaluation of student lists


Middle School Music, Level II

Music 59

8

9

a

a,b

Students listen to excerpts from Pictures at anExhibition by Mussorgsky while viewingrepresentative paintings to describe the way thatsounds symbolize the visual content of thepaintings. Choose a work of visual art to connect toa personal favorite musical selection.

Students listen for music outside of the classroomand compile a list of musical selections and wherethey were heard, stating their opinion on thefunction and purpose of these selections.

Student oral and writtenresponsesEvaluation of studentchoices

Evaluation of student listsand statements.


Music 60

MUSICMIDDLE SCHOOL LEVEL III


The Middle School Level III program of study serves as a guide to developingmusic curriculum for students in Seventh Grade or those who have completed MiddleSchool Music Level II. Teachers are encouraged to select and implement unit topics,repertoire, teaching strategies, performance practices, and assessments that willenable students to meet the competencies stated for each level. Sample strategies andassessments are given for each competency. The benchmark chart in the MusicIntroduction section establishes the progression of instruction for each goal areathrough grade clusters. This program of study is to be used by the Music Specialist andor the Classroom Teacher in developing music curriculum for level III students in thefollowing:






Music 61

MUSICMIDDLE SCHOOL LEVEL III

CONTENT STRANDS:



1. Sing and play, alone or in groups, a varied repertoire learned by imitation andfrom printed music scores, employing an increasing level of technicalproficiency.

a. Sing and/or play, alone and in groups, a varied repertoire, from memory ormusical scores.

b. Sing and/or play using appropriate performance techniques, accuracy, andexpression from a wide repertoire.

c. Sing and/or play music in unison and in two and three parts, from memory ormusical scores.

d. Sing and/or play music in a variety of meters, tonalities, textures, and styles fromvarious genres and cultures.

2. Compose and/or improvise vocal and/or instrumental musical examples usingmajor and minor scales, standard and syncopated rhythms, and written musicnotation. (CP)

a. Improvise melodies and rhythms by singing, body percussion, and playing avariety of instruments.

b. Improvise accompaniments by singing or playing instruments.c. Compose short original music selections employing melodies and rhythms using

manuscript, instruments, or technology (e.g., MIDI, notation software, orsequencing software).

3. Listen to and describe a varied repertoire of compositions and performances,including global and American music. (CA)

a. Distinguish among various music elements within selected repertoire.b. Compare a variety of music styles within selected repertoire.


Music 62

4. Recognize the technical proficiency and expressive nature of successfulperformers and performances. (CA)

a. Identify characteristics that produce quality music performance.b. Recognize the impact of musical elements on the expressive nature of musical

works.

5. Recognize treble and bass clef pitches, rhythmic notation, basic meters,basic Italian expressive markings (e.g., crescendo, fermata) and tempomarkings (e.g., andante, allegro). (CA)

a. Read and perform music notation in treble clef and bass clef including tripletsand tied notes.

b. Recognize and describe dynamic and expression markings in written music.c. Use appropriate terminology to describe and analyze components of a music

score.d. Sight-read short vocal or instrumental passages from music selections.

6. Compare and contrast the role and function of music and musicians invarious cultures, times, and places. (HC)

a. Identify and compare music and musicians from inside and outside the UnitedStates.

b. Discuss the role and function of music throughout history as it relates to theculture of its origin.

7. Describe aesthetic qualities in music from various cultures, times, andplaces. (A)

a. Describe and/or demonstrate the way elements of music evoke or representmoods or feelings.

b. Analyze musical qualities that express artistic meaning and value.

8. Describe common elements shared among music, the other arts, and othersubjects. (C)

a. Describe ways that similar ideas are communicated through various artsdisciplines.

b. Recognize common conceptual elements among the arts disciplines.c. Recognize mathematical properties of music and music business.d. Acknowledge the connection of language, literature, and science to music.

9. Analyze the role of music and musicians in everyday life. (C)

a. Compare and contrast careers in music and the arts to other careers.b. Compare different ways in which musicians perform.


Middle School Music, Level III

Music 63


SuggestedAssessment

1

2

3

4

5

6

7

8

9

b

a

a

a

c,d

a,b,

a,b

c

a

Students perform a song with expression by usingchanges in dynamics to emphasize text or mood.

In two groups, students improvise contrastingrhythmic and/or melodic ostinatos using a variety ofinstruments and/or body percussion to create arondo form out of a familiar folk song,

Students list the types of sound or families ofinstruments heard in a recorded musical selectionand discuss which instruments play the melody ormain theme comparing the contrast amonginstrument families.

Students record, discuss, and modify classroomsinging or playing of a musical selection incomparison to an established set of performanceguidelines in order to develop awareness of qualityin performance.

Students circle, label, and define music symbolsand markings from the score of a song used inclass.

Using a map worksheet, students match folk songtitles to areas and states of the United Statesaccording to regional and ethnic concentration,history, and traditions.

Following class discussion of the mood of a songtext, students perform the selection making changesin tone, dynamics, and facial expression to expressa variety of interpretations. Students then chooseone interpretation that they feel expresses the mostappropriate interpretation and discuss and/or writean explanation.

Students compile total costs of classroominstruments and resources from vendor catalogsand/or from Internet web sites, then rank the itemsin order of expense or importance to a classroomsetting.

Students review university catalogs and list commonand differing course requirements for music degreesand other degree programs in order to understandthe way people are educated for various careers.

Teacher observation ofchanges in performance

Teacher observation ofgroup creative processand performance of entiresong

Checklist of instrumentsand/or sounds and reviewof student statements

Teacher evaluation ofstudent comments andperformance compared toestablished guidelines

Teacher examination ofworksheet responses

Teacher examination ofmap and responses

Student musical, oraland/or written responses

Teacher and peerevaluation of studentfigures and ranking

Teacher and peerevaluation of studentresponses and lists


Music 64

MUSICMIDDLE SCHOOL LEVEL IV


The Middle School Level IV program of study serves as a guide to developmusic curriculum for students in Eighth Grade or those who have completed MiddleSchool Music Level III. Teachers are encouraged to select and implement unit topics,repertoire, teaching strategies, performance practices, and assessments that willenable students to meet the competencies stated for each level. Sample strategies andassessments are given for each competency. The benchmark chart in the MusicInduction section establishes the progression of instruction for each goal area throughgrade clusters. This program of study is to be used by the Music Specialist and or theClassroom Teacher in developing music curriculum for level IV students in thefollowing:






Music 65

MUSICMIDDLE SCHOOL LEVEL IV

CONTENT STRANDS:



1. Sing and play a variety of music for small and large groups, expressively, andwith rhythmic accuracy, and with proficient performance technique. (CP)

a. Sing and/or play, alone and in groups, a varied repertoire from memory ormusical scores.

b. Sing and/or play using appropriate performance techniques, expression, andaccuracy in a variety of musical groupings from a range of musical literature..

c. Sing and/or play music in unison and with more than one part from memory ormusical scores from diverse genres and cultures.

d. Sing and/or play music in a variety of meters, tonalities, textures, styles, andinterpretations.

2. Compose and improvise original music, selecting from a variety ofperformance media (vocal, instrumental, technological), using major andminor scales or chords, written in standard music notation. (CP)

a. Improvise or compose melodies and rhythms by singing, body percussion, andplaying a variety of instruments to create unity and variety, tension and release,and balance.

b. Improvise accompaniments or contrasting sections to songs by singing, usingbody percussion, or playing instruments.

c. Compose original music selections employing melodies, rhythms, and/or varioussound sources (manuscript, instruments, technology, MIDI, notation software,and sequencing software).

d. Arrange simple pieces for voices or instruments.

3. Listen to, analyze, and describe compositions and performances, includingselected global and American music. (CA)

a. Develop the uses of elements of music as the basis for analysis of musical styleand structure.

b. Use common elements of music to analyze and describe selected repertoireusing appropriate terminology.


Music 66

4. Develop criteria for evaluating and analyzing the quality of musicalperformances. (CA)

a. Identify and define characteristics that produce quality music performance.b. Analyze personal and classroom performances for quality.c. Develop constructive criticism techniques.

5. Recognize and identify increasingly complex music notation and symbolsincluding treble and bass clef, key signatures and accidentals, changingmeters, various Italian terms or symbols (e.g., de capo al coda, caesura).(CA)

a. Read music notation in treble clef and bass clef.b. Read and compare scores that include multiple parts.c. Interpret dynamic and expression markings in written music.d. Use appropriate terminology to analyze and compare components among music

scores.e. Sight-read simple melodies.f. Use standard notation to record musical ideas.

6. Demonstrate awareness of distinguishing characteristics of music andmusicians in various cultures, times, and places. (HC)

a. Identify and compare various music practices within the United States.b. Identify and compare music and musicians from outside the United States.c. Analyze the role and function of music throughout history.

7. Develop awareness of aesthetic qualities in works of music. (A)

a. Analyze the way elements of music evoke or represent moods or feelings whileperforming and/or listening to music.

b. Evaluate differences of opinion about musical qualities that express artisticmeaning and value.

c. Analyze the perceived purpose of a music composition.

8. Recognize the broad concepts that music, the other arts, and other subjectareas share in common. (C)

a. Identify ways that similar ideas are communicated through various artsdisciplines.

b. Compare common conceptual elements among the arts disciplines.c. Analyze mathematical properties of music and music business.d. Interpret the connection of language and literature to music.e. Compare the scientific properties of acoustic and digital sound.


Music 67

f. Compare how the processes and media of various art disciplines (sound tomusic, movement to dance) can be used to interpret ideas, emotions, events, orscenes through art.

9. Evaluate the role of music and musicians in everyday life. (C)

a. Evaluate the role of music in a variety of places and events in society.b. Evaluate the way music and arts careers relate to other career areas.c. Compare cultures of the world through the functions music serves, roles of

musicians, and conditions under which music is performed.d. Describe distinguishing characteristics of music genres and styles from various

cultures.


Middle School Music, Level IV

Music 68


SuggestedAssessment

1

2

3

4

5

a,b,c,d

a,b

a,b

a

a,b,c,d

Students sing two part (SA or SB) song accompaniedby chords on guitar and electronic keyboards, bassline on bass xylophones, recorder descant andunpitched percussion ostinatos. Work for balance,blend, intonation, expression, and interpretation.Adjust for dynamic balance and contrast amongparts, proper tempo, correct notes, and propertechnique.

Students listen to recordings of standard 12-barblues songs. Perform the bass line of the standardblues chord progression by singing and/or playing onbarred percussion or keyboards, or using sequencingsoftware. Students explore vocal improvisations, ingroups and/or alone, in relation to the blues chordprogression. Write blues songs with lyrics andsections of improvisation. Record and make classCD’s or record through MIDI hardware/software thatwill notate MIDI files. Review accuracy of composedmelodies in blues songs and balance betweenmelodies and improvisations in songs on CD orsoftware.

Students listen to examples of disco and hip hopsongs that have lyrics appropriate to the schoolsetting. Identify instruments/sounds used, meter,key, and stylistic musical qualities common to eachgenre. Make lists of instruments; using instruments,discover tonic and mode of key; feel strong and weakbeats to identify meter; identify rhythmic, expressive,and texture qualities for style. Compare and contrastthe two genres writing paragraphs on findings. Listento examples and identify genre from criteria.

Students identify songs they prefer to hear on radio,watch on television music programs, or purchase.Given guidelines, students explain what they valueand like about their choices. Compile list of variousstudent music choices.

After viewing transparencies of a page from fullscores for both band and chorus, students compare,contrast, and discuss differences and similaritiessuch as clefs, key signatures, number of parts,layout). Use technical music terms about scores.Students discuss similar and different characteristicsof scores. Students perform and/or conduct a songfrom a written full score. Label parts of new scoreexample on a worksheet with proper terms.

Teacher and peerevaluation recording,discussing and rehearsalof modifications

Teacher and peerobservation anddiscussion of validity ofimprovisations to thechords

Teacher and peerdiscussion ofobservations.Teacher evaluation ofwritten work

Review statements inrelation to criteria.Observation of studentdiscussion

Teacher observation andevaluation of discussionTeacher observation ofstudents performing orconductingWorksheet


Middle School Music, Level IV

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6

7

8

9

b

a,b,c

a,b,d

e

a

Teacher prepares a list of classical and/or popularmusic performers from around the world. Studentschoose a performer and research information aboutthem through library and/or internet sources.Students produce biographical essays and discussperformers.

Discuss the value of patriotic songs and the way thesongs may make people feel about themselves andtheir country. Compare America, America theBeautiful, Star Spangled Banner, and Battle Hymn ofthe Republic for stylistic and expressive qualities.Listen to national songs from other countries forsimilarities. Students choose one song and thinkabout how it makes them feel and identify or analyzewhat qualities in the music cause these feelings.Discuss the value of patriotic songs and individualreactions to them.

Students listen to or watch videos of scenes fromAmerican musical theatre works (Broadway shows)such as Sound of Music, Annie, and Lion King.Examine certain familiar songs and/or scenes fromthe show for musical and plot connections, staging,characters and actions, and musical style. Studentsshare reactions to performances. Students useteacher created criteria or suggestions about how toconnect the music to the stage or media. Studentswatch a performance of musical theater outside ofclass on video or live performance, then writeobservations based on classroom guidelines.

Students examine the way sound is made on apiano, electronic keyboard, and computer MIDIsoundcard. Find additional examples of instrumentsthat have acoustic, electronic, and digital forms ofsound production. Classify instruments and look forcommon instruments among the types of production.

Students examine the way music is sold andmarketed to students and society, including media,education, entertainment, and religion. Studentscreate list of ways they consume music in acommercial way. Discuss the issues of musicalchoices and advertising. Students identify instanceswhere music has influenced their ideas, the purchaseof an item, or ways that music has been introducedto them.

Teacher evaluation ofessay and studentdiscussion


Teacher evaluation ofwritten work

Teacher and peerevaluation of discussion

Teacher evaluation of list


Music 70

MUSICMIDDLE SCHOOL CHORAL PERFORMANCE


The Middle School Choral Performance program of study serves as a guide todevelop curriculum for choral performance classes that include students in grades 5-8.Students at the middle level who choose to pursue choral performance identify with thesounds of singing and its expressive qualities. The idea of singing for an audiencestimulates them to work hard for performance goals. By this time, students are able tosing in two and three parts. Vocal maturation results in an entirely different singingsound from the earlier grades. This is an excellent time to develop vocal technique,increase music literacy skills, and learn basic elements of music theory.

This program of study is to be used in developing music curriculum for middleschool students, levels I-IV in the following:

Middle School Choral Music (Beginner/Intermediate)Middle School Musical Performance (Choral – Advanced)

The Middle School Choral Music Course applies to choral group or choralensemble classes. The Middle School Musical Performance Course applies to classesin specialized or advanced choral music instruction in a particular musical form, orclasses made possible by artist’s residency programs. Teachers are encouraged toselect choral repertoire and implement performance practices and assessments thatwill enable students to meet the competencies stated. Sample strategies andassessments are given for each competency. The benchmark chart in the MusicIntroduction establishes the progression of instruction for each goal area grouped bygrade cluster. The competencies in this program of study can be applied to curriculumdevelopment in these applications with the focus of the course guiding thedevelopment.

Content strands include Creating/Performing, Critical Analysis, History/Culture,Aesthetics, and Connections. The competencies may relate to one or more of thecontent strands and may be combined and taught with other competencies throughoutthe school year. Competencies are not listed in order of importance and may be taughtin any order that is determined suitable by the school or district. Competencies providea general guideline of ongoing instruction, not isolated units, activities or skills.


For an explanation of the Content Strands, Competencies, and Objectives, seethe General Introduction Section of the Mississippi Visual and Performing Arts


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Framework. The Framework General Introduction, Literature Connections, TechnologyConnections, Resources, and Glossary are available online at the MississippiDepartment of Education web site: http://www.mde.k12.ms.us.


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MUSICMIDDLE SCHOOL CHORAL PERFORMANCE

CONTENT STRANDS:



1. Sing a varied repertoire of choral music selections alone and in groups usingcorrect vocal technique. (CP)

a. Perform music that includes a variety of textures.b. Sing correctly using appropriate breath support and control throughout the vocal

range.c. Sing, with expression and technical accuracy, a varied repertoire of vocal

literature including some songs from memory.

2. Create and perform original choral music within specified guidelines. (CP)

a. Improvise rhythmic and melodic variations on specific melodies.b. Improvise original melodies in a given chord progression.c. Create compositions using traditional and non-traditional sound sources.

3. Listen to, analyze, and describe a varied repertoire of choral music. (CA)

a. Make critical judgements about musical works from a varied repertoire.b. Respond to a varied repertoire of music with expression appropriate to the work

being performed.c. Discuss and demonstrate appropriate audience behavior.

4. Develop and apply criteria for evaluating choral performances. (CA, CP)

a. Evaluate the quality and effectiveness of performances by self and others,applying specific criteria appropriate for the style of music.

b. Apply proposed criteria in personal listening and performing.


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5. Recognize and identify increasingly complex music notation and symbols.(CA, HC, A, C)

a. Demonstrate the ability to sight-read simple melodies.b. Identify and define the standard symbols of music notation.c. Sight read simple melodies and harmonies.

6. Demonstrate awareness of the role and function of music and musicians incultures, times, and places. (HC)

a. Identify and describe choral music from a variety of cultures and places,including Mississippi.

b. Identify and describe choral music and musicians from historic to contemporarytime.

c. Recognize the role of music in people’s lives in various cultures and places.d. Explain the characteristics of a particular work that cause it to be considered

exemplary within the context of its cultural origin.

7. Recognize and appreciate individual perceptions of the diverse meanings andvalue of music. (A, CA, C)

a. Understand how choral music experiences produce a variety of responses.b. Offer constructive criticism of the quality and effectiveness of specific musical

works by applying specific artistic criteria.c. Compare and discuss individual feelings and emotions evoked from listening to

a specified work.

8. Compare and contrast choral music to the other arts and other subject areas.(C)

a. Compare the expressive qualities in choral music with other artistic endeavors.b. Describe ways in which the principles and subject matter of other disciplines are

interwoven with those of music.c. Identify through cultural, historical, and societal perspectives the unity in thought

and structure inherent in all disciplines.d. Define ways in which technology impacts vocal music in a global culture.

9. Understand the role of choral music in everyday life. (C)

a. Identify ways choral music, incorporated with other arts, is experienced in dailylife.

b. Describe ways the arts are incorporated into various communications media andtechnology.

c. Identify careers in music and the arts.


Middle School Choral Music (Beginner/Intermediate)

Music 74


SuggestedAssessment

1

2

3

4

5

a

b

c

a

a

b

a

a

b

c

c

a

b

a

Students sing a cappella and accompanied musicwritten in two or more parts.

Students sight-sing simple melodies.

Students sing selected choral pieces with correctpitches and with moderate dynamics from memory.

Students will improvise the rhythm and melody ofsimple songs (e.g., “Mary’s Little Lamb” and“Twinkle, Twinkle Little Star”).

Students will select a song of their choice andimprovise the existing rhythm.

Students will create 8- and 16- measurecompositions for 1-2 voice parts over a givenharmonic accompaniment using I, ii, IV, V, and VIchords.

Students judge musical performances andcompositions according to prescribed criteria.

Students identify the styles of and recall notablecharacteristics of the composers and arrangersof the music literature being studied.

Students move in response to the characteristics ofvarious music examples.

Students compare and discuss appropriate behaviorduring various types of musical performances.

Students attend various types of performances andrespond to each performance using appropriatebehavior.

Students listen to musical performances anddiscuss qualities inherent in each work.

Students will develop a list of criteria for evaluatingthe expressive qualities of a performance, watch ataped or live performance, and adjudicate theperformance based on the developed criteria.

Students sight-read a simple melodic line.

Teacher observation

Audio evaluation

Teacher observation

Cooperative evaluation

Audio evaluation

Rubric of prescribedcriteria


Written evaluation

Teacher observationVideo

Teacher observation ofcharts

Teacher observation ofstudent behavior

Small group evaluation


Teacher observation,Chart, aural evaluation


Middle School Choral Music (Beginner/Intermediate)

Music 75

5

6

7

8

9

b

a

b

c

a

b,c

b,c

a

b

c

d

a

b

c

Students discuss the standard symbols of notationthat are present in a given work for pitch, rhythm,dynamics, tempo, articulation, and expression.

Students listen to and discuss performances ofMississippi artists (e.g., Blues, rhythm and blues,country, gospel).

Students listen to and discuss musicalperformances from antiquity to contemporary.

Students sing music from a variety of cultures andplaces (e.g., Africa, Latin America, Canada,American Indian).

Students explain the meaning of the text in variousmusical works from an individual perspective.

Students discuss the elements of music that createexpressive qualities in a specified music selection.

Students discuss feelings and emotions evokedafter listening to a recording of their performance.

Students demonstrate and compare legato andstaccato technique in both music and dance.

Students discover the mathematical conceptsinvolved in musical notation through drill andpractice.

Students recognize nationalism by examining thecultural elements in a specified work (e.g., folk song,anthem, drum cadence).

Students contrast the musical notational devicesused by Beethoven and Danny Elfman.

Students track music exposure in one day bykeeping a log of daily activities that include music.

Students play “Name that Jingle” and discuss theimpact of music in various media.

Students invite various performers to share theircareer experiences with the class (e.g., churchmusicians, band members, composers, musictechnologists).

Written evaluation

Teacher observation oforal presentations

Teacher generated rubric

Teacher observation ofstudent performance


Written evaluation

Small group discussion


Drill and practiceworksheets

Teacher observation ofwritten and oralpresentations

Chart

Teacher evaluation ofstudent logs

Teacher observation ofstudent participation

Interview sheetsReports


Middle School Musical Performance (Choral - Advanced)

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SuggestedAssessment

1 a Students sing 3-6 part canons with good blend andvocal technique.

Teacher observation

b Students sing in small ensembles with one studenton a part demonstrating good breath support andcontrol throughout the range.

Audio evaluation

c Students sing selections from the RenaissancePeriod by memory focusing on legato vocal line,good breath support, and moderate dynamics.

Teacher and StudentObservation

2 a Students improvise rhythmic and melodic variationson “Heart & Soul” using the sung syllable ‘bah’.

Audio evaluation

b Students create 8 and 16 measure compositions for2-4 voice parts over a given harmonicaccompaniment using the I, ii, IV, V, and VI chores.

Audio evaluation

c Students create a composition to accompany apoem of their choice using only non-traditional vocalaccompaniment.

Video observation

3 a Students analyze and make critical judgments abouttheir choral performances.

Rubric or prescribedcriteria

b Students describe the use of unity, repetition, andvariety and of tension and release in compositionalstructure and how these techniques evoke variousindividual responses.


c Students attend choral festivals, competitions, andperformances and demonstrate appropriateaudience behavior.

Teacher observation ofstudent behavior

4 a Students develop a list of at least five componentsof a quality musical composition that will be used byjudges at festivals/competitions and apply them asthey listen critically to themselves.

Student discussion andstudent notebook

b Students develop criteria for evaluating andchoosing music and help select appropriateliterature for their own performances.

Teacher observationstudent notebook

5 a Students sight-read a melody and transpose it fromtreble to bass clef.

Aural evaluation

b Students identify, name, and define the function ofvarious music symbols in a choral selection beingstudied.

Student worksheet quiz



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5 c Students sight-read, in unison, 4 and 8 measuresimple melodic lines one after the other and thencombine them for harmony with students switchingparts and clefs.

Aural evaluation

6 a Students listen to, describe, discuss, and performmusic of Mississippi artists.

Teacher evaluation

b Students sing and perform choral music from theRenaissance to and including the 20th century.

Aural evaluation

c Students describe the role of the master musician intraditional African performance practice and performa similar role using an African song.

Teacher and studentevaluation of theperformance

d Students define the term “style” in music andidentify the style period of selected choral musicexcerpts.

Student worksheet quiz

7 a Students compare and discuss their individualresponses to the various choral selections theyhave performed.

Teacher observation

b Students write a critical review of a new musicselection explaining how the music evokes feelingsand emotions.

Student notebook

c Students compare and discuss their responses tovocal style, melodic form, and accompaniment uponhearing aural examples of various Native Americansongs.


8 a Students identify and relate the musical ABA forwith ABA for in visual art and architecture.

Student notebooksworksheet

b Students compare the relationship between operaand literature and are able to explain theseinterrelationships.

Student notebookworksheet or quiz

c Students compare examples of music and visualarts from the Baroque Period and identify similarcharacteristics in their style.

Student notebookworksheet or quiz

d Students listen to and then identify authentic CDrecordings of music from various Non-Westerncultures that students are exposed to daily throughthe media.

Aural evaluation

9 a Students reflect on and discuss the impact of musicat important times in their lives such as familycelebrations, holidays, and specific religiousservices.

Student notebook



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b Students identify, describe, and contrast the variousjobs necessary to bring a musical theater productionto the stage vs. a musical television production.


c Students describe the role of a composer andidentify how the background of a composer mayinfluence his or her work.

Graded notebook


Music 79

MUSICMIDDLE SCHOOL INSTRUMENTAL PERFORMANCE

(Beginner and Intermediate)


The Middle School Instrumental Performance program of study serves as aguide for developing curriculum for instrumental performance classes that includebeginning and intermediate students in grades 5-8. The idea of learning to play aninstrument is very attractive to middle level students. Many students at this level havespent years thinking about playing one particular instrument or being a member of aband or orchestra. Previous music study yields rapid progress when students begin toplay an instrument. Yet, instruments offer challenges that inspire new commitment tothe discipline of music study and practice.

Support of peers and interest from parents is particularly helpful as studentsbegin to learn an instrument. The new wears off quickly when hard work is the onlymeans to make progress. Once past the initial challenges of learning an instrument,students begin to understand the benefits of playing together in an ensemble. Listeningskills, critical thinking, and problem solving become very important to the performinggroup. This is an excellent time for students to expand their knowledge of musicliterature and appreciation for many kinds of music.

This program of study is to be used in developing dance curriculum forbeginning and intermediate middle school students, levels I – IV, in the following:

Middle School Band Beginner/IntermediateMiddle School Instrumental Ensemble Beginner/IntermediateMiddle School Musical Performance (Instrumental)Middle School Strings (Proficient and Advanced)

The Middle School Band course applies to band classes in which beginning andintermediate students are enrolled. The Middle School Instrumental EnsembleBeginner/ Intermediate course applies to instrumental ensemble classes comprised ofwind, percussion, strings, or keyboard instruments in distinct groups or combinations.The Middle School Strings course applies to middle school strings classes of beginnerand intermediate students. The Middle School Musical Performance course applies toclasses in specialized or advanced instrumental music instruction in a particularmusical form, or classes made possible by artist’s residency programs. Teachers areencouraged to select instrumental repertoire and implement performance practices andassessments that will enable students to meet the competencies stated. Samplestrategies and assessments are given for each competency. The benchmark chart inthe general music introduction establishes the progression of instruction for each goalarea grouped by grade cluster. The competencies in this program of study can beapplied to curriculum development in these applications with the focus of the courseguiding the development.


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Content strands include Creating/Performing, Critical Analysis, History/Culture,Aesthetics, and Connections. For an explanation of the Content Strands,Competencies, and Objectives, see the General Introduction Section of the MississippiVisual and Performing Arts Framework. The competencies may relate to one or moreof the content strands and may be combined and taught with other competenciesthroughout the school year. Competencies are not listed in order of importance andmay be taught in any order that is determined suitable by the school or district.Competencies provide a general guideline of ongoing instruction, not isolated units,activities or skills.




Music 81

MUSICMIDDLE SCHOOL INSTRUMENTAL PERFORMANCE

(Beginner and Intermediate)

CONTENT STRANDS:



1. Perform a variety of instrumental selections alone and/or in groups. (CP)

Beginner:a. Perform with acceptable tone quality using proper instrumental techniques.b. Perform easy scales on wind, strings, and brass instruments and play easy

rudiments on percussion instruments.c. Perform instrumental music that includes some variety of textures.

Intermediate:a. Perform with characteristic tone quality.b. Perform scales of increasing range and tempo on wind, strings, and brass

instruments and play more complex rudiments on percussion instruments.c. Perform instrumental music that includes a greater variety of textures.

2. Create original instrumental music within specified guidelines. (CP)

Beginner:a. Complete the composition of an unfinished line of music using easy keys.b. Create and perform music using a variety of easy scales, rhythms, tempi, and

styles.

Intermediate:a. Complete the composition of an unfinished line of music using more complex

keys.b. Create and perform music using a greater and more complex variety of scales,

rhythms, tempi, and styles.


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3. Listen to, analyze, and describe a varied repertoire of instrumental music.(CA)

Beginner:a. Analyze elementary rhythm patterns and their corresponding rests.b. Define, identify, demonstrate, and apply simple musical terms and symbols in

selected works of instrumental music.

Intermediate:a. Analyze more complex rhythm patterns and their corresponding rests.b. Define, identify, demonstrate, and apply more complex musical terms and

symbols in selected works of instrumental music.

4. Evaluate instrumental music performances. (CA)

Beginner:a. Evaluate simple musical elements within each individual performance.b. Evaluate simple musical elements within the group performance.c. Evaluate simple musical elements in performances of different groups, styles,

and genres.

Intermediate:a. Evaluate more complex musical elements within each individual performance.b. Evaluate more complex musical elements within the group performance.c. Evaluate more complex musical elements in performances of different groups,

styles, and genres.

5. Recognize and identify increasingly complex music notation and symbols.(CA)

Beginner:a. Demonstrate ability to read and notate simple musical symbols.b. Demonstrate the performance of simple interpretive markings for all music

being studied.

Intermediate:a. Demonstrate ability to read and notate more complex musical symbols.b. Demonstrate the performance of more complex interpretive markings for all

music being studied.

6. Understand music in relation to diverse cultures, times, and places. (HC)

Beginner:a. Demonstrate elementary knowledge of music history and cultural heritage

related to instrumental music.b. Identify music and musicians in various cultures, times, and places.


Music 83

Intermediate:a. Demonstrate a greater knowledge of music history and cultural heritage related

to instrumental music.b. Identify music and musicians in various cultures, times, and places.

7. Recognize and appreciate individual perceptions of the diverse meanings andvalue of music. (A, CA, C)

Beginner:a. Demonstrate a basic understanding of how music can communicate a variety of

moods and feelings.b. Demonstrate a basic understanding of how music elements interact to produce

a variety of responses from performers and audience.

Intermediate:a. Demonstrate a higher understanding of how music can communicate a variety of

moods and feelings.b. Demonstrate a higher understanding of how music elements interact to produce

a variety of responses from performers and audience.

8. Understand relationships between instrumental music, the other arts, andsubject areas outside the arts. (C)

Beginner:a. Compare instrumental music to the other arts and other disciplines.b. Describe ways in which music relates to subject matter from other disciplines

and life experiences.

Intermediate:a. Compare and contrast instrumental music to the other arts and other disciplines.b. Relate principles from other subject areas to those of music in meter, note

values, music form, and music history.

9. Understand how music affects one’s quality of life. (C)

Beginner:a. Participate in cultural/musical life of the community through involvement in local

and regional instrumental music and arts opportunities.b. Describe the affect of instrumental music in everyday life and how others’ lives

can be improved through this music.

Intermediate:a. Participate more fully in cultural/musical life of the community through

involvement in local and regional instrumental music and arts opportunities.b. Describe the affect of instrumental music in everyday life and how others’ lives

can be improved through this music.


Music 84

Middle School Band (Beginner and Intermediate)

The strategies for Middle School Band and Middle School Instrumental Ensemble aresimilar since they both apply to teaching beginner and intermediate wind andpercussion instrumentalists. Teachers with combined woodwind brass, and percussiongroups should use these strategies for Middle School Band, while those withhomogeneous or smaller heterogeneous groups (such as woodwinds, brass, orpercussion alone) should use the strategies for Middle School Instrumental Ensemble.


SuggestedAssessment

1 aBeginnerSkilled instrumentalists (i.e. older students, otherteachers) will demonstrate characteristic tone qualityand students will imitate homogeneously prior togroup playing.

Teacher observation

b Students will demonstrate the ability to perform theBb concert scale (clarinets may make octave jump toavoid the break) or 4 rudiments.

Teacher and peerobservation

c Students will perform multiple pieces with a difficultyof Grade 1 individually and as a part of the largeensemble, demonstrating ability to count rests andlisten to others while playing.


1 aIntermediateStudents will perform long tones throughout the Bbconcert scale (preferably along with an advancedmodel for comparison), demonstrating characteristictone quality.

Teacher observation/peercomparison

b Students will demonstrate the ability to perform theBb, Eb, F, and Ab concert scales or 9 rudiments byperforming them all with the ensemble at a tempo ofeighth notes @ quarter note = 90 beats per minute.

Teacher evaluation ofperformance

c Students will perform multiple pieces with a difficultyof Grade 1.5 or 2 individually and as a part of thelarge ensemble, demonstrating ability to count restsand listen to others while playing.

Teacher observation

2 aBeginnerTeacher will begin a well-known melody with limitedrange in concert Bb and students will completemelody.

Teacher observation

b Students will individually improvise a simple melodicline using the Bb concert scale and rhythmsconsisting of whole, half, quarter, and eight notesand their respective rests. Other students in

Peer observation


Music 85


ensemble will give feedback as to the creative use ofthe musical elements of pitch, rhythm, dynamic,tempi and style.

2 aIntermediateTeacher or student will play beginning of well-knownmelody utilizing an octave or more range in concertF, Eb, or Ab while another student completes thetune.


b Students will individually improvise a simple melodicline using F, Eb, or Ab concert scales and rhythmswhich include simple dotted rhythms and sixteenth-note groups. Other students in ensemble will givefeedback as to the creative use of the musicalelements of pitch, rhythm, dynamic, tempi and style.

Peerobservation/feedback

3 aBeginnerStudents will analyze and dictate rhythm patterns ofsimple recorded or performed examples that utilizewhole, quarter, half, and eighth note rhythms byusing the appropriate numbers or syllables.


b Students will identify and define the simple musicalelements (fast/slow, simple meters, forte/piano, etc.)contained within a recording of a band, orchestral, orchoral performance.


3 aIntermediateStudents will analyze and dictate rhythm patterns ofrecorded or performed examples that utilize sixteenthnotes and dotted rhythms by using the appropriatenumbers or syllables.


b Students will identify and define the musicalelements contained within a recording of a band,orchestral, or choral performance. Elements shouldinclude varying levels of dynamics (mf, ff, pp, etc.),crescendo/decrescendo, triple and duple meter, andvarying degrees of tempi (allegro vs allegretto, forexample).


4 aBeginnerStudents will evaluate recorded examples of theirown individual instrumental sounds (based on agrading scale of 1-5) in the categories of tone andrhythm (whole to eighth notes). Examples of correctinstrumental sounds may then be played forcomparison.

Student evaluation usingscale


Music 86


4 b Students will evaluate recorded examples of theinstrumental sounds (based on a grading scale of 1-5) of entire ensemble in the categories of tone andrhythm (whole to eighth notes).

Students evaluation usingscale

c Students will apply knowledge and awareness ofproper instrumental sounds by evaluating a simplerecording of a different instrumental ensemble in thecategories of tone and rhythm (based on a gradingscale of 1-5).


4 aIntermediateStudents will evaluate recorded examples of theirown individual instrumental sounds (based on agrading scale of 1-5) in the categories of tone(throughout the known range), rhythm (includingdotted rhythms and sixteenths), and articulation.Examples of correct instrumental sounds will then beplayed for comparison.


b Students will evaluate recorded examples of theinstrumental sounds (based on a grading scale of 1-5) of the entire ensemble in the categories of tone(throughout the known range), rhythm (includingdotted rhythms and sixteenths), and articulation.


c Students will apply knowledge and awareness ofproper instrumental sounds by evaluating a recordingof a different ensemble (band, chorus, or strings) inthe categories of tone, rhythm, and articulation(based on a grading scale of 1-5).


5 aBeginnerStudents will identify and copy notation of whole,half, quarter, and eight notes and their respectiverests.

Written assessment ofmusic notation

b Students will understand and be able to performnotes with the duration of whole, half, quarter, andeight notes and their respective rests, as well as forteand forte and piano and mezzo forte.

Teacher observation

5 aIntermediateStudents will demonstrate knowledge of basic rhythmpatterns and rests by using standard notation andmanuscript paper to write simple pieces dictated bythe teacher which included dotted quarter/eighthrhythms and sixteenths.


b Students will be able to sight-read musical exampleswith a level of difficulty of 1.5 on a scale of 1 to 6 withvery few mistakes or stops.

Teacher-created scoresheet


Music 87


6 aBeginnerStudents will be able to identity one composer andone general characteristic from each of the fiveperiods of Western Music (Renaissance, Baroque,Classical, Romantic, 20th Century) after listening toan excerpt of a significant musical work from eachperiod.

Written assessment

b Students will be able to describe several similaritiesand differences between Western and several Non-Western musical examples.

Written assessment orteacher observation

6 aIntermediateStudents will be able to identify several composersand general characteristics from each of the fiveperiods of Western Music (Renaissance, Baroque,Classical, Romantic, 20th Century) after listening toexcerpts of significant musical works from eachperiod.

Written assessment

b Students will be able to identify music from severaldifferent Non-Western cultures and/or countries.

Written assessment

7 aBeginnerStudents will be able to list the musical elements thataffect the mood of the music that they areperforming. Ways of increasing or decreasing theemotional content should also be identified.

Teacher-led discussionand observation ofresponses

b After listening to a simple recorded example, thestudents will list the musical elements that dominateda given performance and what made thatcomposition unique.

Written assessment

7 aIntermediateEach student will demonstrate the ability to alter agiven melody (nursery song or other simplisticmelody) on their instrument to exhibit at least 3different emotional states (happy, sad, angry,indifferent, etc.).

Teacher and studentobservation and feedback

b After listening to a recorded example (more complexthan Beginner), the students will list the musicalelements that dominated a given performance andwhat made it unique.

Written assessment

8 aBeginnerStudents will be able to describe the relationshipbetween instrumental music and both dance anddrama utilizing terms which are in common to allthree art forms (meter/pacing, dynamic/projection,etc.).

Teacher observation


Music 88


8 b Students will demonstrate how basic rhythm patternscan be formulated mathematical sentences and eachstudent will clap the correlating rhythm.

Teacher observation

8 aIntermediateStudents will be able to identify the similarities ofmeter and phrases in music with that of poetry andliterature.

Written assessment

b Students will identify how a particular event or objectcould be represented in terms of music, visual art,and dance.

Written assessment

9 aBeginnerStudents will attend several musical performancesnot associated with the school.

Teacher-createdfrequency chart

b Students will provide written examples of communityevents that are enhanced by music.

Written responses

9 aIntermediateStudents will participate in musical performances notassociated with the school.


b Students will complete a chart of all the music heardfor five straight days. Included in this chart should bea description of how often music was heard, at whatlocation, and how it affected their mood and attitude.



Middle School Instrumental Ensemble (Beginner and Intermediate)

Music 89

The strategies for Middle School Instrumental Ensemble and Middle School Band are similar since theyboth apply to teaching beginner and intermediate wind and percussion instrumentalists. Teachers withhomogeneous or smaller heterogeneous groups (such as woodwinds, brass, or percussion alone) shoulduse these strategies for Middle School Instrumental Ensemble, while those with combined woodwind,brass, and percussion groups should use those strategies for Middle School Band.


SuggestedAssessment

1 aBeginnerTeacher (or other chosen demonstrator) will performbeginning notes with characteristic tone quality andstudents will imitate.

Teacher observation

b Students will demonstrate the ability to perform theBb concert scale (clarinets may make octave jumpto avoid the break) or 4 rudiments.


c Students will perform multiple pieces with a difficultyof Grade 1 individually and as a part of different-sized groups (duets, trios, etc.).


1 aIntermediateStudents will perform long tones throughout theknow range (preferably along with an advancedmodel for comparison), demonstrating characteristictone quality.

Teacher observation/peercomparison

b Students will demonstrate the ability to individuallyperform the Bb, Eb, F, and Ab concert scales or 9rudiments by performing them all with a maximum of3 mistakes or stops in eighth notes @ quarter note= 90 beats per minute.


2 aBeginnerTeacher will begin a well-known melody with limitedrange in concert Bb and students will completemelody.

Teacher observation

b Each student will improvise a simple melodic lineusing the Bb concert scale and rhythms consistingof whole, half, quarter, and eight notes and theirrespective rests. Other students in class will givefeedback as to the creative use of the musicalelements of pitch, rhythm, dynamic, tempi and style.

Peer observation

2 aIntermediateTeacher or student will play beginning of well-knownmelody utilizing an octave or more range in concertF, Eb, or Ab while another student completes thetune.




Music 90

2 b Students will improvise a simple melodic line usingF, Eb, or Ab concert scales and rhythms whichinclude simple dotted rhythms and sixteenth-notegroups. Other students in class will give feedbackas to the creative use of the musical elements ofpitch, rhythm, dynamic, tempi and style.

Peer observation/feedback

3 aBeginnerStudents will analyze and dictate rhythm patterns ofsimple recorded or performed examples that utilizewhole, quarter, half, and eighth note rhythms byusing the appropriate numbers or syllables.


b Students will identify and define the simple musicalelements (fast/slow, simple meters, forte/piano, etc.)contained within a recording of a band, orchestral,or choral performance.


3 aIntermediateStudents will analyze and dictate rhythm patterns ofrecorded or performed examples that utilizesixteenth notes and dotted rhythms by using theappropriate numbers or syllables.


b Students will identify and define the musicalelements contained within a recording of a band,orchestral, or choral performance. Elements shouldinclude varying levels of dynamics (mf, ff, pp, etc.),crescendo/decrescendo, triple and duple meter, andvarying degrees of tempi (allegro vs. allegretto, forexample).


4 aBeginnerStudents will evaluate recorded examples of theirown individual instrumental sounds (based on agrading scale of 1-5) in the categories of tone andrhythm (whole to eighth notes). Examples of correctinstrumental sounds will then be played forcomparison.


b Students will evaluate recorded example of theinstrumental sounds (based on a grading scale of 1-5) of the entire class in the categories of tone andrhythm (whole to eighth notes).


c Students will apply knowledge and awareness ofproper instrumental sounds by evaluating a simplerecording of a different instrumental ensemble in thecategories of tone and rhythm (based on a gradingscale of 1-5).




Music 91

4 aIntermediateStudents will evaluate recorded examples of theirown individual instrumental sounds (based on agrading scale of 1-5) in the categories of tone(throughout the known range), rhythm (includingdotted rhythms and sixteenths), and articulation.Examples of correct instrumental sounds will thenbe played for comparison.


b Students will evaluate recorded examples of theinstrumental sounds (based on a grading scale of 1-5) of the entire class in the categories of tone(throughout the known range), rhythm (includingdotted rhythms and sixteenths), and articulation.


c Student will apply knowledge and awareness ofproper instrumental sounds by evaluating arecording of a different ensemble (band, chorus, orstrings) in the categories of tone, rhythm, andarticulation (based on a grading scale of 1-5).


5 aBeginnerStudents will identify and copy notation of whole,half, quarter, and eighth notes and their respectiverests.


b Students will understand and be able to performnotes with the duration of whole, half, quarter, andeight notes and their respective rests, as well asforte and piano and mezzo forte.

Teacher observation

5 aIntermediateStudents will demonstrate knowledge of basicrhythm patterns and rests by using standardnotation and manuscript paper to write simplepieces dictated by the teacher which includes dottedquarter/eighth rhythms and sixteenths.


b Students will be able to sight-read musicalexamples with a level of difficulty of 1.5 on a scaleof 1 to 6 with very few mistakes or stops.


6 aBeginnerStudents will be able to identify one composer andone general characteristic from each of the fiveperiods of Western Music (Renaissance, Baroque,Classical, Romantic, 20th Century) after listening toan excerpt of a significant musical work from eachperiod.

Written assessment



Music 92

6 b Students will be able to describe several similaritiesand differences between Western and several Non-Western musical examples.

Written assessment orteacher observation

6 aIntermediateStudents will be able to identify several composersand general characteristics from each of the fiveperiods of Western Music (Renaissance, Baroque,Classical, Romantic, 20th Century) after listening toexcerpts of significant musical works from eachperiod.

Written assessment

b Students will be able to identify music from severaldifferent Non-Western cultures and/or countries.

Written assessment

7 aBeginnerStudents will be able to list the musical elementsthat affect the mood of the music that they areperforming. Ways of increasing or decreasing theemotional content should also be identified.

Teacher-led discussionand observation ofresponses

b After listening to a simple recorded example, thestudents will list the musical elements thatdominated a given performance and what made itunique.

Written assessment

7 aIntermediateEach student will demonstrate the ability to alter agiven melody (nursery song or other simplisticmelody) on their instrument to exhibit at least 3different emotional states (happy, sad, angry,indifferent, etc.).

Teacher and studentobservation and feedback

b After listening to a recorded example (more complexthan Beginner), the students will list the musicalelements that dominated a given performance andwhat made that composition unique.

Written assessment

8 aBeginnerStudents will be able to describe the relationshipbetween instrumental music and both dance anddrama utilizing terms which are in common to allthree art forms (meter/pacing, dynamic/projection,etc.).

Teacher observation

b Students will demonstrate how basic rhythmpatterns can be formulated mathematically.Teacher will write simple mathematical sentencesand each student will clap the correlating rhythm.

Teacher observation



Music 93

8 aIntermediateStudents will be able to identify the similarities ofmeter and phrase in music with that of poetry andliterature.

Written assessment

b Students will identify how a particular event orobject could be represented in terms of music,visual art, and dance.

Written assessment

9 aBeginnerStudents will attend several musical performancesnot associated with the school.


b Students will provide written examples of communityevents that are enhanced by music.

Written responses

9 aIntermediateStudents will participate in musical performancesnot associated with the school.


b Students will complete a chart of all the music heardfor five straight days. Included in this chart shouldbe a description of how often music was heard, atwhat location, and how it affected their mood andattitude.



Middle School Musical Performance, Instrumental

Music 94

These strategies should be utilized by those ensembles formed for specialized or advanced instrumentalmusic instruction (3rd year or top group in school with multiple ensembles) or ensembles made possibleby artist’s residency programs.


SuggestedAssessment

1 a Students will demonstrate an increasingly maturetone quality throughout the dynamic range coupledwith vibrato (where applicable).

Teacher observation

b Students will demonstrate the ability to individuallyperform all concert scales up to 5 flats (Db) and 1sharp (G) or 15 rudiments b performing them all witha maximum of 2 mistakes or stops in eighth notes@ quarter note = 120 beats per minute.


c Students will achievable proficiency on multiplepieces with a difficulty of Grade 2.5 or 3 within theensemble.


2 a Each student will be able to successfully completethe final 2 measures of a recognizable 4-measuremelody in duple or triple meter in the keys of Db, C,or G.

Teacher observation

b Students will improvise a melody over a simpleI/ii/IV/V pattern in the keys of Bb, F, G, Eb, Ab, andDb in duple meter. Other students in ensemble willgive feedback as to the creative use of the musicalelements of form, rhythmic development, use ofdynamic contrast, and style.


3 a Students will analyze and dictate rhythm patterns ofrecorded or performed examples that utilize eighthnot triplets and the combination of dottedeighth/sixteenth by using the appropriate numbersor syllables.

Written assessment

b Students will identify and define the musicalelements contained within a recording of a band,orchestral, or choral performance. Elements shouldinclude both changing tempi and changing meters(i.e. from duple to triple meter).


4 a Students will develop an adjudication sheetdesigned to judge individual instrumentalperformances which incorporates those musicalelements determined by the student to be importantto a quality individual performance. The sheet willthen be used to judge an individual performance ofa peer.




Music 95

4 b Students will develop an adjudication sheetdesigned to judge instrumental ensembleperformances which incorporates those musicalelements determined by the student to be importantto a quality group performance. The sheet will thenbe used to judge the ensemble through the use of arecording.


c Students will utilize the adjudication sheetsdeveloped in 4b to evaluate recordings of higher-skilled orchestras or bands.

Teacher observation orevaluation of written work

5 a Students will demonstrate knowledge of rhythmpatterns and rests by using standard notation andmanuscript paper to write melodies dictated by theteacher which includes dotted eighth/sixteenthrhythms and triplets.


b Students will be able to sight-read musicalexamples with a level of difficulty of 2 on a scale of1 to 6 with very few mistakes or stops.


6 a Students will be able to sight-read musicalexamples with a level of difficulty of 2 on a scale of1 to 6 with very few mistakes or stops.

Teacher assessment ofwritten work orpresentation

b Students will present indepth information aboutmusic from a Non-Western culture, includinginstruments utilized, notation used, and ways inwhich music is used in that particular culture.

Teacher assessment ofwritten work orpresentation

7 a After listening to the first movement of Beethoven’sSymphony no. 6 (“Pathetique”), students will identifythose musical elements used by Beethoven toachieve the emotional content of the piece.

Teacher evaluation ofstudent responses

b After listening to Carnival of the Animals, studentswill describe the ways in which Saint-Saens utilizedmusical elements to represent the different animals.


8 a Students will provide a comparison between theform and elements of a musical composition and theform and elements of a dramatic play.

Teacher assessment ofstudent responses orwritten work

b Students will describe the way in which musicinfluences the enjoyment of a movie. Specificsshould include such factors as how differentensembles and genres are effectively used and howmusic can portray what is apparently happeninginside a person’s mind.


9 a Students will organize a community musical event inhonor of a person or community happening.

Teacher observation



Music 96

9 b Students will describe how the musical eventorganized in 9a affected the community and/or theperson being honored and how musical events canimprove life in any community.

Written assessment


Middle School Strings (Beginner and Intermediate)

Music 97

Comp. Obj. Suggested Teaching Strategies

SuggestedAssessment

1 aBeginnerStudents learn correct left and right hand positions, andpractice bowing long, slow bows on open strings.

Teacher observation

b Students practice easy scales such as D, G, and C byplacing their fingers on colored tape guides on thefingerboard to insure proper note placement.


b Students discuss before hand what finger position to beused, what strings to be played, and what timesignatures are used in playing a certain piece.


c Students identify and play music from a lesson book thatdemonstrates different types of bowing, dynamicmarkings, and tempos.

Visual and auralobservation by teacher

1 aIntermediateStudents will play chorales to develop a more maturesound.


b Students learn 1 and 2 octave scales, andcorresponding minor scales using different rhythms,then complete a worksheet.

Teacher observationand evaluation ofperformance andevaluation ofworksheet

c Students play in smaller, chamber groups, listening toeach other.


2 aBeginnerTeacher will begin a well-known melody with limitedrange in and easy key and students will completemelody.

Teacher observation

b Each student will improvise a simple melodic line usinga simple scale and rhythms consisting of whole, half,quarter, and eighth notes and their respective rests.Other students in class will give feedback as to thecreative use of the musical elements of pitch, rhythm,dynamic, tempi, and style.

Peer observation

2 aIntermediateStudents improvise, alone and in small groups. Studentscreate and perform a four-measure melody.

Evaluation of creativityand resolution of themelody



Music 98

3 aBeginnerStudents use flashcards to review different types ofnotes and rests. Then they write music staff, notes, andcorresponding rests to create measures of music on aworksheet.

Teacher evaluation ofworksheet

a Students identify time signature, key signature, tempo,and dynamic markings of a piece before it is played.

Teacher observation

a Students label a rhythm worksheet with appropriatecounts and symbols under each measure and/or rhythm.

Teacher evaluation ofrhythm worksheets

b Students listen to related works of composers whosepieces they are playing and discuss differences andsimilarities of rhythm, style, tempo, and melody.

Teacher observation

b Students will differentiate among trill, tremolo, andvibrato.

Evaluation of student ‘sability to recognizetechnique played byteacher

3 bIntermediateStudents play Classical, Baroque, and pop music, thenidentify composer and discuss different structures ofeach through written work or class discussion.

Teacher evaluation ofwritten work ordiscussion

4 aBeginnerStudents will evaluate recorded examples of their ownindividual instrumental sounds (based on a gradingscale of 1-5) in the categories of tone and rhythm (wholeto eighth notes). Examples of correct instrumentalsounds will then be played for comparison.

Student evaluationusing scale

b Students discuss recent performances, how they feltbefore, during, and after, and the difference betweenbeing an observer and a participant.

Teacher observation

4 aIntermediateStudents take a playing test. Evaluation of playing

test

c Students listen to a CD and watch a music video anddiscuss the music elements in each piece.

Observation ofteacher-led discussion

5 aBeginnerStudents memorize names of lines and spaces of theirclef, then make flashcards to review with each other.

Written test

5 bIntermediateStudents will be able to sight-read musical exampleswith a level of difficulty of 1.5 on a scale of 1 to 6 withvery few mistakes or stops.




Music 99

6 aBeginnerStudents read about a major composer and prepare acreative presentation to report findings to the class.

Rubric

b Students make a timeline including main events in acomposer’s life and the historical events that occurredduring the same time period.

Rubric

6 aIntermediateStudents listen to CD’s of various genres and styles ofstring music and participate in class discussion.

Teacher observation

b Students research cultures in which variouscompositions studied originated identifying culturalinfluences that affected the composer and the music,and sharing findings in creative presentations.


7 aBeginnerStudents describe the feeling or mood expressed in apiece of music, and explain those conclusions.


b After listening to a simple recorded example, thestudents will list the musical elements that dominated agiven performance and what made it unique.

Written assessment

7 a IntermediateStudents will listen to exemplary recordings of concertmaterial and analyze how the music elicits variousresponses. Students then compose an essaydescribing their reactions to the nuances of the music.

Teacher evaluation ofwritten essays

a Students listen to live and recorded music, discuss thefeelings and emotions inspired by the music, anddetermine how the elements of music are used to createthose feelings.


8 aBeginnerStudents listen to a variety of styles of music and viewexamples of a variety of styles of visual art, describinghow music and visual art evoke involuntary responses.

Teacher-led discussionof aestheticexperiences

b Students read and discuss an historical event,geographical location, or idea inspiring the composer towrite the music that the students are playing.

Teacher observation

8 aIntermediateStudents discuss arts programs in their school such asdrama, choir, art, and how these groups interact.


b Students identify similarities between music and math,such as how note values are like fractions, crescendoand decrescendo are like greater than/less than signs,and patterns in music phrases are similar to numberpatterns.

Worksheets



Music 100

9 aBeginnerStudents perform at school, a local library, nursinghome, mall, parent meeting, or other community site.

Teacher observationand student evaluationof performance

b Students discuss the places they hear music, such asadvertising, CD’s, cartoons, cell phones, videos, andradio, and determine what the music communicates andhow it delivers a message in each application. Studentsprepare a written description of the selected use ofmusic.


9 aIntermediateStudents discuss the importance of music in their livesand the impact of music on others.

Evaluation ofdiscussion


Music 101

MUSICMIDDLE SCHOOL

SMALL GROUP JAZZ IMPROVISATION


This program of study is intended for Middle Level I-IV music students who electto study improvisation through the medium of jazz. The small group ensemble mayinclude instrumental, keyboard, and/or vocal performers. The framework for this coursefosters developing knowledge of jazz improvisation as a performance skill. This programof study is to be used in developing music curriculum for middle school students in thefollowing:

Middle School Small Group Jazz Improvisation

The Middle School Small Group Jazz Improvisation course is designed forstudents who have completed at least one year of instrumental music, keyboard, and/orchoral music instruction. Teachers are encouraged to select repertoire and implementperformance practices and assessments that will enable students to meet thecompetencies stated. Sample strategies and assessments are given for eachcompetency. There is also a benchmark chart in the general music introduction thatestablishes the progression of instruction for each goal area grouped by grade cluster.



For an explanation of the Content Strands, Competencies, and Objectives seethe General Introduction Section of the Mississippi Visual and Performing ArtsFramework. The Framework General Introduction, Literature Connections, TechnologyConnections, Resources, and Glossary are available online at the MississippiDepartment of Education web site: http://www.mde.k12.ms.us.


Music 102

MUSICMIDDLE SCHOOL

SMALL GROUP JAZZ IMPROVISATION

CONTENT STRANDS:



1. Sing and/or play a varied repertoire of music, alone and in large or smallensembles. (CP)

a. Imitate melodic patterns or motives in a variety of keys.b. Improvise selected jazz melodies in major and minor keys.c. Practice playing and/or singing original jazz melodies in major and minor keys.d. Improvise melodies based on the standard harmonic progression of blues.

2. Create and perform original jazz music within specified guidelines. (CP)

a. Practice scales and/or melodies utilizing jazz rhythms.b. Create jazz rhythmic interpretation of selected melodies.c. Perform improvised solos in standard meters.

3. Listen to, analyze, and describe a varied repertoire of jazz music. (CA, HC)

a. Listen to bass lines and chord harmonies from various jazz selections.b. Distinguish between blues style and 32 bar (AABA) jazz forms.c. Listen to and analyze harmonic relationships in jazz repertoire.d. Listen to and describe recordings of significant jazz soloists and ensembles.e. Distinguish differences in performance practices within various jazz styles (e.g.,

ragtime, swing, bebop, jazz-rock, Latin).

4. Develop criteria for evaluating the quality of jazz music performances. (CA,HC)

a. Establish guidelines to assess jazz improvisation based on the elements ofrhythm, melody, and harmony.

b. Determine the characteristics of high-quality improvised jazz solos.


Music 103

5. Recognize and identify increasingly complex music notation and symbols.(CP, CA)

a. Read and improvise solos from melodies printed in treble or bass clef.b. Interpret chord symbols by performing an improvised solo within a given

harmonic sequence.

6. Demonstrate awareness of the role and function of music and musicians invarious cultures, times, and places. (HC, CA)

a. Examine the influence of jazz on music of the past and present centuries.b. Evaluate the cultural impact of the music of various jazz periods (e.g., ragtime,

swing, bebop, jazz-rock, Latin).c. Recognize historical milestones and significant individual performers who

influenced the development of jazz.

7. Develop awareness of aesthetic qualities of works of jazz music. (A)

a. Determine the value of jazz in the music-learning environment.b. Explore the role of jazz as a significant music development in 20th Century

American music.

8. Recognize broad concepts that music, the other arts, and other disciplinesshare in common. (HC, C)

a. Compare and analyze events in jazz history with significant events in Americanhistory.

b. Relate the concept of jazz improvisation to concepts of American democracy.c. Relate knowledge of American history and culture to the development of jazz as

an American art form.

9. Understand the role of jazz music and musicians in everyday life. (HC, CA, C)

a. Acknowledge the impact of jazz and jazz musicians on the music, recording, andentertainment industries in America and elsewhere.

b. Research opportunities in the local and regional community for musicians torecord and/or perform jazz music.



Music 104


SuggestedAssessment

1

2

3

4

5

6

7

8

b

a

a

c

b

b

a

a

Play the melody of a familiar song such as I’ve BeenWorking on the Railroad. After playing the tune as itis written, vary notes in the tune to improvise a newversion by altering the rhythm, pitches or tonality.

Create a set of teaching cards demonstrating jazzrhythm patterns such as swinging eighth notes, ortriplets. The ensemble will play scales in theselected rhythm as a warm-up exercise.

The teacher will play a slow tempo jazz selection(keyboard or recording). Ask students to hum thechord roots of the harmony as they listen. As thestudents improve in their hearing and singing skill,invite them to play the chord roots on theirinstruments (singers imitate the bass line bysinging).

Students and teacher develop a rubric or create achecklist with a score range of 1-10 to assessperformances in the basic elements of rhythm,melody, and harmony. Two or three students playimprovised solos in a teacher-selected example.Other students evaluate the performances.

The teacher will play a CD (music minus one type)or a keyboard instrument to provide a harmonicaccompaniment. Individual students will take turnsimprovising a solo by interpreting a writtensequence of chord symbols.

Students develop a time line to trace the evolutionof jazz through various periods, including the namesof performers who helped establish the style.

Download a midi file version of Thelonius Monk’ssong, Round Midnight. Students listen to the musicand describe what they think the composer is tryingto say in the words and the tune. They answer thequestion, “What can we learn from this composerand text that will help us in school?”

Students view selected portions of a video on thehistory of jazz, such as Ken Burns’ film, Jazz.Discuss developments in jazz as they relate toevents of history reviewed in the film.

Teacher/peer observationand feedback

Teacher observation andstudent self-evaluation

Teacher observation andstudent self-evaluation

Teacher and studentcreated rubric or checklist

Teacher, peer, and self-evaluation of performance

Teacher observation

Teacher-led discussion(Are students making theconnection between whatthey are learning and howit teaches lessons in life?)

Teacher observation ofstudent discussion andparticipation



Music 105

9 a Obtain recordings of American orchestras such asBoston Pops or Cincinnati Pops. Listen to tracks onthe recordings to determine if elements of jazz arepresent. Determine how many selections on a singleCD incorporate elements of jazz such asimprovisation, syncopation, rhythmic comping inguitar or keyboard parts, etc.

Teacher assessment ofstudent responses


Music 106

MUSICKEYBOARD, INTERMEDIATE LEVEL

(Middle School)

DESCRIPTION OF PROGRAM OF STUDY:The intermediate keyboard framework is designed to assist teachers in

developing a keyboard music curriculum for students at the intermediate level. Thecompetencies and strategies are closely related to the middle level general musicframework. Individual schools or school districts make decisions about when studentsbegin keyboard study. Teachers are encouraged to consider the age of the student andhis/her prior music experiences when designing the keyboard curriculum. Competenciesin this framework apply to students who have had some exposure to playing keyboardinstruments, and are not designed for specific grade levels.

This program of study is to be used in developing music curriculum for middleschool students, levels I – IV, in the following:

Middle School Keyboard

Teachers are encouraged to select repertoire and implement performancepractices and assessments that will enable students to meet the competencies stated.Sample strategies and assessments are given for each competency. The benchmarkchart in the general music introduction establishes the progressions of instruction foreach goal area grouped by grade cluster.





Music 107

MUSICKEYBOARD, INTERMEDIATE LEVEL

(Middle School)

CONTENT STRANDS:



1. Play a varied repertoire of keyboard music alone or in small groups. (CP)

a. Perform keyboard selections in a variety of tempos, styles, and keys.b. Learn proper finger numbers and placement on the keys.

2. Create and perform original music within specified guidelines. (CP)

a. Create short, original compositions using left and right hands.b. Improvise a composition based on a given bass line.

3. Listen to, analyze, and describe a varied repertoire of music. (CA)

a. Describe ways the elements of music are used in a composition.b. Compare and contrast a variety of music styles within selected repertoire.c. Recognize various types of keyboards by appearance and sound.d. Discriminate between use of black/white keys, up and down melodic direction,

and high and low sounds on the keyboard.

4. Develop criteria for evaluating the quality of keyboard performances. (CA, CP)

a. Analyze characteristics that produce quality performances in solo keyboardrepertoire.

b. Establish guidelines for assessing the quality of individual and groupperformances.

5. Recognize and identify increasingly complex music notation and symbols. (CA)

a. Read music from the grand staff that includes ledger lines above and below thebass and treble clefs.

b. Sight-read teacher-selected repertoire in major and minor keys.


Music 108

6. Demonstrate awareness of the role and function of music and musicians incultures, times, and places. (HC, CA)

a. Recognize distinguishing characteristics of keyboard music within specificcultures, times, and places.

b. Analyze the role and function of keyboard music in various cultures, times, andplaces.

7. Develop awareness of aesthetic qualities in works of music. (A)

a. Analyze elements in works of music that impart artistic meaning and value.b. Determine common characteristics of works of music that endure over time.

8. Recognize broad concepts that music, the other arts, and other subject areasshare in common. (C, CA)

a. Discover ways that similar ideas are communicated through various artsdisciplines.

b. Recognize common conceptual elements among the arts disciplines.c. Understand the relationship between vibration and sound production.

9. Understand the role of music and musicians in everyday life. (C)

a. Identify needs and uses for keyboard music and musicians in daily life.b. Compare and contrast careers of keyboard musicians to other music careers,

careers in the arts disciplines, and careers in other disciplines.c. Evaluate the role of keyboard music and musicians within the entertainment

business.


Music, Intermediate Keyboard

Music 109


SuggestedAssessment

1

2

3

4

5

6

7

8

9

a

a

a

a

b

a

a

c

a

One student plays a repertoire selection formembers of the class. Classmates identify the styleand tempo of the selection.

Develop a plan for an original keyboard compositionusing five-finger melodies in left and right hand. Thesequence might include: 4-measure introductionplayed by left hand; 4 measure melody played byright hand; 4 measure conclusion played by bothhands.

After listening to the first two sections of Fur Elise byBeethoven, students describe the use of dynamicsin the two sections.

The teacher performs a selection from the student’srepertoire, but plays it in a sloppy way. Afterward,the students will describe what changes should bemade to improve the performance.

Students sight-read teacher-selected music thatincludes grand staff notation in C, F, and G majorand/or the relative minor keys.

After playing or listening to teacher-selectedrepertoire from cultures found in the United States(e.g., Hispanic, African-American, Asian), studentsevaluate the use of music elements in eachselection.

Students and teacher discuss the expressivequalities of two contrasting selections (e.g., aClementi Sonatina and Claire de Lune, byDebussy).

The student will play three chords, I, V, I, whileholding down the sostenuto pedal; repeat the threechords without the pedal. Discuss the acousticalreasons for a difference in the sounds.

Students conduct research to determine how oftenkeyboard instruments are heard and seen during atwo-week period, where they were found, andwhether they were being played, or were idle todetermine the impact of keyboard instruments andmusic on daily life. Share findings and tabulateresults.

Teacher observation

Teacher and peerevaluation using achecklist to assesselements of the piece

Teacher evaluation ofstudent response


Student oral self-evaluation; teacher or peerevaluation


Teacher assessment ofstudent’s use ofvocabulary describing theselections

Teacher assessment ofstudent responseindicating anunderstanding of thescientific principle ofvibration

Discussion of the impactas determined by thestudent research


Music 110

MUSIC


The high school years serve as the culmination of years of music study. It is atthis point that students synthesize and apply the music learning that began in earlykindergarten experiences and continued through middle school. Students in grades 9-12 are ready for challenging repertoire in choral and instrumental music, in large andsmall ensembles, and in some cases, in solo performances. They are also ready toemploy music technology applications, basic knowledge of music theory, andperforming technique on their respective instruments. This is a time to polish individualperformance skills and to evaluate individual or ensemble performances. Instrumentaland choral ensembles often participate in festivals and competitions in addition toschool performances. The circle of music experience in high school broadens toinclude a wide variety of repertoire, performing groups, and performance types.

Students in grades 9-12 may elect to take various high school music coursessuch as general music, choral, and/or instrumental music performance. The highschool music framework is divided into separate programs of study that can be used todevelop curriculum for a variety of courses listed in the Approved Courses for theSecondary Schools of Mississippi manual. For example, the High School InstrumentalMusic program of study will be used to develop curriculum for High School Band, HighSchool Instrumental Ensemble, High School Performance Arts Special Course andAdvanced Strings.

Each High School Music program of study includes an introduction listing thecourses that will use that particular program of study in building curriculum. For eachprogram of study sample strategies and assessments are given at proficient andadvanced levels. When developing curriculum, teachers are encouraged to selectcourse content, incorporate technology, choose a diverse range of choral andinstrumental repertoire, and implement performance practices and assessments thatwill enable students to meet the competencies stated for proficient and advancedlevels.

High school music courses build on sequential music instruction shaped bybenchmarks established in grades K-8. Competencies in high school music 9-12progress from proficient to advanced. The proficient level is attained by students whohave completed courses of study involving relevant skills and knowledge that areequivalent to two semesters of study at the high school level. The advanced level ofstudy is attained by students who have completed course work equivalent to three tofour years of study. Students at the advanced level are expected to achievecompetencies for the proficient as well as the advanced levels. Every student isexpected to achieve the proficient level in at least one arts discipline by the time he orshe graduates from high school.


Music 111

In order to accommodate the variety of scheduling formats throughoutMississippi schools, some arts courses are available for 1 or 1/2 credit. Courses offeredfor 1/2 credit must cover all the competencies in the designated program of study. Thosecourses earning 1 credit will cover all the competencies, but in greater depth andbreadth than the1/2 credit courses. A listing of these courses and the correspondingprogram of study to be used in developing curriculum for those courses follows.

Music Course: Music Program of Study:

High School General Music High School General MusicHigh School Choral Music High School Choral PerformanceHigh School Choral Ensemble High School Choral PerformanceHigh School Performing Arts Special Course

(Choral Music) High School Choral PerformanceHigh School Voice High School Choral PerformanceHigh School Band High School Instrumental PerformanceHigh School Strings - Proficient High School Instrumental PerformanceHigh School Strings - AdvancedHigh School Instrumental Ensemble High School Instrumental PerformanceHigh School Performing Arts Special Course High School Instrumental Performance

(Instrumental)High School Keyboard High School KeyboardHigh School Small Group Jazz Improvisation High School Small Group Jazz

ImprovisationHigh School Music, Theory and High School Theory and Harmony/

Harmony/Literature Literature

Advanced Placement Music Theory Advanced Placement Curriculum

Course Descriptions

High School General Music (1/2 or 1 credit)This course includes basic instruction in music performance, music theory, and musicliterature. In addition, connections between music, other arts, and other subject areasare made.

High School Choral Music (1/2 or 1 credit)This course allows students to continue music learning through the study of choralperformance repertoire. In addition to learning repertoire, students will continue todevelop vocal technique, sight singing, and ear training skills. Students who choose toenroll in choral music courses in successive years are expected to master proficientcompetencies, and then pursue advanced competencies.

High School Choral Ensemble (1/2 or 1 credit)This course is an extension of High School Choral Music intended for students whochoose to perform in a particular ensemble. Students are often required to audition for


Music 112

choral ensembles. Groups may be large or small; they may focus on specific types ofrepertoire or music genre. Students who elect choral music ensemble courses insuccessive years are expected to master proficient competencies, and then pursueadvanced competencies.

High School Performing Arts Special Course (Choral Music) (1/2 or 1 credit)This course is intended to provide specialized choral instruction in a specific categorywithin the field of music (e.g. madrigal choir , sign language choir, vocal ensemble).The course draws upon musical expertise or knowledge of individual teachers thatwould not necessarily be widely practiced by all music teachers.

High School Voice (1/2 or 1 credit)This course is designed for individualized instruction in vocal performance. Coursecontent will address vocal technique and music literacy skills. Solo repertoire will beassigned, and individual performance goals will be set. Students who elect to studyvoice in successive years are expected to master proficient competencies, and thenpursue advanced competencies.

High School Band (1/2 or 1 credit)This large ensemble performance course is designed to include brass, wind, andpercussion instruments. Individual student progress is often determined by repertoireselection, individual instruction, and accomplishment of stated progress requirements.Students who elect to play in high school band during successive years are expectedto master proficient competencies, and then pursue advanced competencies.

High School StringsProficient (1/2 or 1 credit)Advanced (1/2 or 1 credit)This course is intended for students who are continuing their study of string instrumentsor who wish to begin studying a stringed instrument. Instruction may be in small orlarge groups. Classes may be divided by instrument type (e.g., cello, guitar, violin) ormay include a mixture of instruments. Students with different performance andexperience levels may be included in the same class. Students who elect to studystring instruments in high school during successive years are expected to masterproficient competencies, and then pursue advanced competencies.

High School Instrumental Ensemble (1/2 or 1 credit)This course is intended for students who choose to perform in a particular instrumentalensemble. A wide variety of instrumental ensembles may exist in a single school (e.g.,symphonic band, orchestra, brass choir, steel drum). Students are often required toaudition for instrumental ensembles. Groups may be large or small; they may focus onspecific types of repertoire or music genre. Students who elect instrumental musicensemble courses in successive years are expected to master proficient competencies,and then pursue advanced competencies.

High School Performing Arts Special Course (Instrumental) (1/2 or 1 credit)This course is intended to provide specialized choral and/or instrumental musicinstruction in a specific category within the field of music (e.g., African drumming,


Music 113

instrumental/ensemble, blue grass band). The course draws upon musical expertise orknowledge of individual teachers that would not necessarily be widely practiced by allmusic teachers.

High School Keyboard (1/2 or 1 credit)This course is designed for students who wish to obtain or increase keyboardperformance skills. Instructional methods will be determined in part by availableequipment in the local school setting. In schools where only one piano or electronickeyboard is available, students will receive private or small group instruction. Insettings where multiple keyboards are available in a technology laboratory, instructionmay be individualized within keyboard classes for up to 20 students. Teachers maywish to screen individual student music and/or keyboard knowledge to determineacceptance and placement into keyboard classes.

High School Small Group Jazz Improvisation (1/2 or 1 credit)This course is offered to choral, and instrumental students, including strings andkeyboard performers, who wish to develop jazz improvisation skills. Students mayperform in individual or ensemble settings as they develop competencies at proficientand advanced levels. Teachers may wish to audition individual students to determineappropriate placement.

High School Music, Theory and Harmony/Literature (1/2 or 1 credit)This course examines the basic elements of music theory and music literature.Previous choral or instrumental music performing experience is a prerequisite foradmission into this course. The analytical study of scales, keys, chords, andcomposition elements complements other high school music performance courses. Asurvey of music literature will broaden student knowledge of music as an art form, andwill aid understanding of the connection between music theory and music literature.The survey of music literature will also involve the historical and cultural background ofthe various genres of music.

Advanced Placement Music Theory (1 credit)The Advanced Placement course curriculum is administered by the AP Central Collegeboard and developed by a committee of college faculty and AP teachers to cover theindepth, “information, skills, and assignments found in the corresponding collegecourse.” http://apcentral.collegeboard.com. See the website for detailed information.


Music 114

MUSICHIGH SCHOOL GENERAL MUSIC

(Proficient and Advanced)


Students who elect to study general music at the high school level may pursuemusic learning through a variety of means. This course may include lecture, choraland/or instrumental performance, cooperative learning group activities, interdisciplinaryor thematic studies within the school, and use of technology applications to create,perform, or research music as an art form. This program of study may be used todevelop curriculum that includes study of music appreciation, music literature, or musicin relation to other arts disciplines. Teachers are encouraged to examine a wide arrayof repertoire for students to study and perform, including American music and music ofcultures outside the United States.

Teachers are encouraged to select and implement unit topics, repertoire,teaching strategies, performance practices, and assessments that will enable studentsto meet the competencies stated for each level. Sample strategies and assessmentsare given for each competency. The benchmark chart in the Music Introduction sectionestablishes the progression of instruction for each goal area through grade clusters.This program of study is to be used in developing music curriculum for high schoolstudents in the following:

High School General Music





Music 115

MUSICHIGH SCHOOL GENERAL MUSIC


CONTENT STRANDS:



1. Perform in choral or instrumental ensembles of varying sizes anddescriptions. (CP)

Proficient:a. Perform a composition in a group setting with expression and technical accuracy

demonstrating ensemble skills.b. Perform simple rhythmic compositions using appropriate dynamics and tempo.

Perform works of music that include combinations of instruments and voices.(CP)

Advanced:a. Perform with expression and technical accuracy music compositions as a

soloist.b. Demonstrate the ability to perform music from a varied repertoire in a variety of

ensemble combinations with and without accompaniment.

2. Create and perform arrangements using a variety of music elements. (CP)

Proficient:a. Improvise rhythmic melodic variations using traditional and nontraditional

sources of sound in major and minor keys.b. Compose and perform a variety of stylistically appropriate short musical works.c. Improvise original melodies over given chord progressions.


Music 116

Create and perform original music and arrangements in a variety of forms,styles, and genres. (CP)

Advanced:a. Improvise rhythmic and melodic variations on a given melody demonstrating

creativity in the use of musical elements.b. Construct a composition with a given chord progression in a consistent style,

meter, and tonality supporting a specific genre or style of music.d. Improvise stylistically appropriate harmonizing parts.

3. Listen to, analyze, and evaluate music in a variety of forms and styles. (CA)

Proficient:a. Using critical thinking and listening skills, identify and analyze the basic

elements of music.b. Decode and translate standard notational devices.c. Discuss and demonstrate appropriate audience and performance behavior.

Analyze and interpret music of various historic periods, forms, and styles.(CA, HC)

Advanced:a. Identify and describe compositional devices and techniques used to provide

unity, diversity, tension, and release in a musical work.b. Analyze major musical works through identification of compositional devices and

techniques using the vocabulary of music.

4. Analyze music performances by using critical thinking and listening skills.(CA, A)

Proficient:a. Judge music performances and compositions using prescribed criteria.b. Evaluate a musical performance in terms of its aesthetic qualities.

Evaluate the quality of music performances and compositions using multiplecriteria. (CA, A)

Advanced:a. Develop criteria and evaluate the musical and expressive elements inherent in

the informal and formal performance of a musical composition.b. Using prescribed or original evaluation criteria, assess a live or taped

performance, composition, arrangement, or improvisation and compare tosimilar exemplary models.


Music 117

5. Demonstrate understanding of music notation and symbols by reading andperforming music. (CP, CA)

Proficient:a. Demonstrate knowledge of the elements of rhythm and melody.b. Identify the basic elements of music.c. Evaluate expression and meaning through the development of an appropriate

musical vocabulary.d. Use notation to record musical ideas.

Demonstrate the ability to read a full score by describing how the elements ofmusic are used. (CP, CA)

Advanced:a. Demonstrate extensive knowledge of music that contains technical demands,

expanded ranges, and varied interpretive requirements.b. Discover aurally and visually the properties and function of the musical elements

in specified pieces.c. Identify and explain compositional devices and techniques and give examples of

works using similar devices and techniques.

6. Analyze forms and subject matter in music that recur in various cultures,times, and places. (CA, HC, C)

Proficient:a. Discuss the historical development of music in various cultures and places from

antiquity through the twentieth century.b. Know the development of various genres of American music.c. Know how elements, artistic processes, and organizational principles are used

in similar and distinctive ways across genres.

Assess the impact of music and musicians in various cultures, times, andplaces on society today. (CA, HC, C)

Advanced:a. Determine and assess the function of music genres within global cultures.b. Evaluate music and its expressive elements within each of the historical periods.c. Interpret the components of genres of American music through historical and

musical analysis while citing well known musicians and their compositions.

7. Interpret the value of a musical work in terms of its aesthetic qualities. (A)

Proficient:a. Recognize feelings and emotions evoked from listening to music.b. Determine the artistic value of specified musical works based upon an individual

perspective.


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Evaluate selected musical works in terms of aesthetic qualities. (A)

Advanced:a. Communicate the aesthetic impact of arts performances seen live versus those

recorded on audio or video.b. Explain the musical means a work uses to evoke feelings and emotions.

8. Analyze the relationship of the content in music to the other arts and otherdisciplines. (CA, C)

Proficient:a. Compare the expressive qualities in music with other artistic endeavors.b. Describe ways in which the principles and subject matter in other disciplines are

interwoven with those of music.

Integrate knowledge of music and musicians with knowledge of the arts andother subject areas. (CA, HC, C)

Advanced:a. Analyze the elemental components and the organizational processes inherent to

the creation of various art forms within the context of a given historical period orculture.

b. Evaluate analytically an artistic work or set of compared works based upon adeveloped or prescribed system.

c. Explain ways in which principles of music and principles in various disciplinesoutside the arts are related.

9. Analyze contributions of musicians and the music industry to individuals andcommunities. (CA, C)

Proficient:a. Explore the ways in which technology impacts music in a global culture.b. Identify careers associated with the music industry.

Evaluate the role of music as a career or avocation. (CA, C)

Advanced:a. Explore the choices available to individuals desiring to continue their musical

experience and education.b. Explain the impact of a life that includes a variety of music experiences.c. Apply music skills to solve problems relevant to various careers.d. Research copyright and performance rights laws.


High School General Music (Proficient and Advanced)

Music 119


SuggestedAssessment

1

1

2

2

3

3

a

b

a

b

a

b

a

b

a

c

b

ProficientStudents perform a simple composition by singingor playing an instrument (recorder, xylophone, et al).

Students perform simple rhythmic compositionsusing appropriate dynamics and tempo.

AdvancedStudents sing or play an existing and an originalcomposition.

Students sing or play a composition with three ormore parts.

ProficientStudents improvise rhythmic and melodic variationson specific melodies.

Students write and perform a minimum 32-measurecomposition beginning with a simple melody andadding chordal accompaniment, parts, voicings, anddynamic and tempo markings.

AdvancedUsing a simple chord progression (I, IV, V, I),students create answer phrases/melodies to aquestion musical phrase.

Students arrange pieces that preserve or enhancethe expressive effect of the music.

ProficientStudents create a chart to compare and contrastmusical storytelling in works from different periodsof music history, for example, William Tell Overtureand “Theme from Star Wars.”

Students compare and discuss appropriate behaviorduring various types of choral/instrumentalperformances..AdvancedUsing a choral score, students listen to and analyze“Hallelujah Chorus” from Messiah by G. F. Handel.

Teacher-made rubricChecklist

Small groupevaluation

Teacher observationRubric

Student Performance

Teacher observationRubric checklist

Rubric/checklist

Teacher observationRubric/ checklist

Teacher-made rubric

Teacher evaluation ofstudent chart

Teacher observationWritten analysis

Teacher observationof student analysis



Music 120

4

4

5

5

6

6

7

a

b

c

b

a, b

a

a

b

ProficientStudents view a videotape performance of a highschool choir or band and evaluate the performancebased on an adjudication form designed for highschool choir or band.

AdvancedStudents compare indicators of vocal orinstrumental performance listed on no less than twoadjudication forms for high school chorus or highschool band.

ProficientStudents listen to a performance of LeRoyAnderson’s Bugler’s Holiday and make a list ofdynamic levels heard in the selection using Italianterminology.

AdvancedStudents look at a score of "Prelude no.1” fromBach’s Well-Tempered Clavier and describe howthe composer uses a repeating rhythm pattern tounify the piece.

ProficientStudents prepare a list of classical and/or popularmusic performers from around the world. Studentschoose a performer and research information aboutthem through library, internet, or other sources.

AdvancedStudents listen to celebration music from threeworld cultures, for example, Asian (Chinese NewYear), South American (Carnival/Brazil), andEuropean (St. Patrick’s Day/Ireland). Studentsdecide what makes the music appropriate for eachcelebration and what characteristics the selectionshave in common.

ProficientStudents describe and discuss the various emotionsthat occur when listening to a selected work.

Students discuss the value of patriotic songs andthe way the songs may make people feel aboutthemselves and their country. Compare America,America the Beautiful, Star Spangled Banner, andBattle Hymn of the Republic for stylistic andexpressive qualities, as well as Sousa marchingband pieces and other patriotic songs.

Teacher leddiscussion of studentevaluations

Teacher observationof studentevaluations

Teacher evaluation ofstudent lists.

Teacher observationof studentdescriptions.

Teacher/peerevaluation of oralresearch reports andwritten copy

Teacher observationof student discussion





Music 121

7

8

8

9

9

a, b

b

a

b

a

b

a

b

AdvancedStudents listen to and analyze national songs fromother countries for similarities and differences.

Students listen to or watch videos of scenes fromAmerican musical theatre works such as Sound ofMusic, Annie, and Lion King. Students examinecertain familiar songs and/or scenes from the showfor musical and plot connections, staging,characters, actions, and music style.

ProficientStudents examine and describe the way sound ismade on a piano, electronic keyboard, andcomputer MIDI soundcard.

AdvancedStudents will write a research paper or create apresentation tracing the patronage of music fromBach to the present.

ProficientStudents examine the way music is sold andmarketed to their generation and society throughmeans of media, education, entertainment, andreligion.

Students interview a local musician (e.g., banddirector, church choir director, dance instructor) andwrite a report or create a presentation based on thatinterview.

AdvancedStudents research the various opportunitiesavailable for music as a vocation or avocationthrough sources such as internet, career labs,guidance counselors, community choirs/orchestras,etc., and write a report or create a presentationbased on the findings.

Students develop a list of ways music consumersare influenced. Students discuss the issues ofmusical choices and advertising.

Teacher observationof student analysis

Teacher observationof student commentsand discussion

Teacher / peerevaluation of studentdescriptions.

Research paper


Rubric, report

Rubric, report

Teacher/peerevaluation ofindividual lists anddiscussion of musicalchoices


Music 122

MUSICHIGH SCHOOL CHORAL PERFORMANCE



This program of study is to be used in developing curriculum for use in a varietyof choral performance courses. The focus of the course will guide the development ofthe specific curriculum based upon the competencies in this program of study.Competencies are provided at proficient and advanced levels to facilitate meetingneeds of students at different levels. Curriculum developed from these competencieswill foster increasing knowledge of: choral performance; the relationship of musicelements, music theory, and technology to performance practices; repertoireencompassing a wide variety of forms, styles, and periods; historical/culturalconnections of repertoire to events, times, places, other arts, and other disciplines.


High School Choral MusicHigh School Choral EnsembleHigh School Performing Arts Special Course (Choral Music)High School Voice



For an explanation of the Content Strands, Competencies, and Objectives, seethe General Introduction Section of the Mississippi Visual and Performing ArtsFramework. The Framework General Introduction, Literature Connections, TechnologyConnections and Glossary are available online at the Mississippi Department ofEducation web site: http://www.mde.k12.ms.us.


Music 123

MUSICHIGH SCHOOL CHORAL PERFORMANCE


CONTENT STRANDS:



1. Perform in choral ensembles of varying sizes and descriptions. (CP)

Proficient:a. Sing from a diverse repertoire with expression and technical accuracy using

correct vocal technique.b. Read and perform a varied repertoire of music that demonstrates understanding

of music notation, symbols, and expression.c. Use ensemble skills (e.g., balance, intonation, rhythmic unity).

Perform works of choral music that include combinations of instruments andvoices. (CP, A)

Advanced:a. Perform an increasingly difficult repertoire in various ensembles with expression,

technical accuracy, and correct posture and breathing techniques.b. Interpret the text and style of a varied choral repertoire with expression,

technical accuracy, and a sense of the contribution of the individual within thegroup setting.

2. Create and perform choral arrangements using a variety of music elements.(CP)

Proficient:a. Improvise harmonies in varied styles.b. Improvise rhythmic and melodic variations on specific melodies.c. Compose original melodies in a given chord progression.


Music 124

Create and perform original choral music and arrangements in a variety offorms, styles, and genres. (CP)

Advanced:a. Create choral arrangements using all of the elements of music.b. Compose original choral works in a variety of forms, styles, and genres.

3. Listen to, analyze, and evaluate choral performances in a variety of forms andstyles. (CA)

Proficient:a. Analyze the basic elements of choral music by using critical thinking and

listening skills.b. Decode and translate standard notational devices.c. Use technical vocabulary to assess and analyze choral performances.

Analyze and/or interpret music of various historic periods, forms, and styles.(CA)

Advanced:a. Evaluate music performances and compositions using various criteria.b. Use accurate, technical vocabulary to assess and categorize music from various

historical periods and cultures by genre or style.

4. Use critical thinking and listening skills to analyze choral performances. (CA)

Proficient:a. Judge music performances and compositions using prescribed criteria.b. Assess individual performances using prescribed or original evaluation criteria.

Evaluate quality choral performances and compositions using multiplecriteria. (CA)

Advanced:a. Evaluate, both as an individual performer and as a member of a group, the

musical and expressive elements inherent in the informal and formalperformance of choral repertoire.

b. Determine the effectiveness and/or appropriateness of various scoring rubricsfor choral contests/festivals.


Music 125

5. Demonstrate understanding of music notation and symbols by reading andperforming music. (CP, CA)

Proficient:a. Demonstrate the ability to read and perform a vocal score of up to four staves.b. Interpret musical content relative to dynamics, tempo, and articulation to

communicate the text to the listener.


Advanced:a. Read music that contains technical demands, expanded ranges, and varied

interpretive requirements.b. Analyze and describe the characteristic use of musical elements in a variety of

choral works.

6. Analyze forms and subject matter in choral music that recurs in variouscultures, times, and places. (CA, HC, C)

Proficient:a. Interpret, analyze, and categorize music in various genres or cultures.b. Explain the use of elements of music and expressive devices in music of various

genres and cultures.c. Identify various roles that musicians perform, cite representative individuals who

have functioned in each role, and describe their activities and achievements.

Assess the impact of music and musicians in various cultures, times, andplaces on society today. (CA, HC, C)

Advanced:a. Determine and assess the function of music genres within global cultures.b. Investigate the musical traditions of various cultures and the characteristics evident in each style or genre.c. Identify and explain the stylistic features of a given musical work that serve to

define its aesthetic tradition and its historical or cultural context.

7. Interpret the value of a choral work in terms of its aesthetic qualities. (A)

Proficient:a. Explore and justify the artistic value of specific choral works.b. Recognize and identify the expressive qualities of a given choral work.c. Interpret the expressive meanings of the musical and/or compositional elements.d. Express individual perceptions and experiences within the context of specified

choral works.


Music 126

Evaluate selected choral works in terms of aesthetic qualities. (A)

Advanced:a. Evaluate a given musical work in terms of its aesthetic qualities and explain the

musical means it uses to evoke feelings and emotions.b. Determine the effectiveness of the presentation of the musical work in evoking

appropriate or desired feelings or emotions.

8. Analyze the relationship of content in music to other arts and other subjects.(CA, HC, C)

Proficient:a. Compare the expressive qualities in music with those in other artistic endeavors.b. Describe ways in which the principles and subject matter of other disciplines are

interwoven with those of music.c. Research choral music from cultural, historical, and societal perspectives to

determine the relationship.d. Interpret music using broad-based knowledge and skills that clarify the context

and content of musical selections.e. Recognize the ways in which technology impacts music in a global culture.

Integrate knowledge of music with knowledge in the other arts and othersubjects. (CA, HC, C)

Advanced:a. Discover the elemental components and the organizational processes inherent

to the creation of various art forms within the context of a given historical periodor culture.

b. Integrate the knowledge of the elemental components of various art forms withan evaluation of the effective use of each component.

c. Analytically evaluate an artistic work or set of compared works based upon adeveloped or prescribed system.

d. Evaluate the importance of each person involved in the creation of an artisticwork.

e. Analyze the relationship between choral music, literature, visual arts, politics,societal structure, and technology throughout various historical periods.

9. Analyze the role of choral music in everyday life. (C, CA, HC)

Proficient:a. Analyze the importance of vocal music in common celebrations in America.b. Analyze the impact the treatment of certain music elements has on a musical

work.c. Identify sources of American choral music genres, and cite well-known

musicians and compositions associated with them.


Music 127

Evaluate the role of choral music as a career or avocation. (C, CA, HC)

Advanced:a. Investigate choices available to individuals desiring to continue their musical

experiences.b. Analyze the impact of a life that includes a variety of music experiences.c. Identify and describe choral music genres or styles that show the influence of

two or more cultural traditions and how these affect the lives of individuals.d. Investigate laws pertaining to copyright and performance rights.


High School Choral Music (Proficient and Advanced)

Music 128


SuggestedAssessment

1

1

2

2

3

3

a

b

a

b

a

b

c

a

b

a

b

a

ProficientStudents sing correctly using appropriate breathsupport and control.

Students perform choral literature in various culturesfrom antiquity through the 20th Century.

AdvancedStudents sing with expression and technicalaccuracy in accompanied and a capella selection.

Students sing, with expression and technicalaccuracy, a concert or contest repertoire thatdemonstrates accurate understanding of the text,style, and genre of the music.

ProficientStudents harmonize given melodies during warm-upexercises.

Students create and perform rhythmic ostinati on agiven melody in a cooperative setting.

Students create melodic “answer” phrases toteacher’s melodic “question” phrases.

AdvancedUsing a compositional computer program, studentscreate an arrangement of a given melody.

Students create an original composition in variousforms including theme and variations.

ProficientStudents evaluate a work using teacher and studentprescribed criteria.

Students identify standard notational devices (e.g.,1st and 2nd endings, D.C., D.S., Coda) in a givenchoral work.

AdvancedStudents critique various video/audio choralperformances using student-generated criteria.

Small group observation

Teacher observation

Video/Audio observation

Teacher observation

Teacher observation


Teacher observation

Rubric of prescribedcriteria applied tocomposition


Rubric

Teacher observation

Rubric



Music 129

4

4

5

5

6

b

c

a

b

a

b

a

b

a

b

a

b

Students describe distinguishing characteristics ofrepresentative music genres and styles from varioushistorical cultures.

Students identify sources of American musicgenres; develop a historical timeline showing theevolution of these genres and styles; include well-known musicians, their compositions, and thepublic's reaction to the initial performance.

ProficientStudents attend a concert and evaluate the choralperformance using teacher-prescribed criteria.

Students evaluate individual performance usingstudent-prescribed criteria.

AdvancedUsing prescribed criteria, students assess a choralperformance.

Students evaluate another school’s contest/festivalperformance using various scoring rubrics oradjudication forms.

ProficientStudents perform a concert or contest repertoireand evaluate it according to teacher-prescribedcriteria.

Students perform choral works using appropriateinterpretive elements.

AdvancedStudents read and perform vocal scores that includetechnically difficult elements such as complexrhythms and atonal melodic lines.

Students compare and contrast the way theelements of music are used in choral works fromantiquity through the 20th Century.

ProficientStudents categorize, according to style, voicing, andmood, performance of a visiting choral group.

Students identify the differences between choralensembles from various historical periods throughcooperative presentations (e.g., PowerPoint, oral,written).

Teacher observation,Chart

Reports, timeline, teacherobservation of studentparticipation

Rubric, reports

Student generated rubric

Written evaluation

RubricAdjudication forms

Rubric

Teacher observation

Small group evaluation

Written or oral report offindings

Charts

Teacher observation ofpresentations



Music 130

6

7

7

8

8

a

b

a

b

c

a

b

a

b

c

d

a

d

AdvancedStudents discuss the various functions of aprescribed piece such as African-Americanspirituals or gospels.

Students explore movements inherent to a particularmusic genre. (e.g., African music, the HarlemRenaissance).

ProficientStudents explain how a given work affects anindividual performer.

Students listen to a professional recording of aspecified work, observing expressive qualities.

Students compare and contrast feelings andemotions evoked from listening to classical andpopular love songs.

AdvancedStudents explain how a complex musical workevokes feelings and emotions.

Students discuss the audience’s reactions toparticular performances.

ProficientStudents compare and contrast visual art, dance,literature, technology, and music of the samehistorical period.

Students discover the mechanics of the diaphragmby observing a dissected animal. (IntegratedActivity with Biology or AP)

Students compare and contrast the characteristicsof music with other disciplines from a historicalperspective.

Students discuss the ways music videos haveinfluenced people throughout the world.

AdvancedStudents explore the various forms in classicalworks (such as 2-part, 3-part, rondo, sonata).

Students chart a musical composition from itsinception to the performance by creating a pictorialtimeline.

Teacher observation

Small group presentation

Written evaluation

Teacher observation

Chart

Small group discussion

Video observation

Teacher observation oforal presentation

Observation of studentparticipation duringBiology class presentation

Written evaluation

Teacher observation

Rubric for chart

Teacher evaluation oftimeline



Music 131

9

9

a

b

a

b

ProficientStudents perform a thematic music program basedon a holiday or celebration.

Students listen to and evaluate how the musicelements are used to invoke specific emotionalresponses in music written for movies.

AdvancedStudents interview professional vocal musicians todiscover the educational and talent requirements fortheir field of study.

Students survey community members to discoverhow music has impacted their lives.

Teacher observation

Teacher observation ofclass discussion or writtenresponse

Reports/Interviews

Survey developedwritten analysis of datacollected


High School Choral Ensemble (Proficient and Advanced)

Music 132


SuggestedAssessment

1

1

2

2

3

3

a

b

a

b

a

a

b

a

b

a

b

a

ProficientStudents sing correctly using appropriate posture,breath support, and control.

Students perform a variety of choral ensembleliterature selections written in parts, improvingblend, and matching dynamic levels..

AdvancedStudents sing with expression and technicalaccuracy both accompanied and a capellaselections.

Students sing an increasingly difficult repertoirerepresenting musically and culturally diverseliterature with expression and technical accuracywhile responding to the conductor's cues.

ProficientStudents harmonize given melodies during warm-up.

Students create and perform rhythmic ostinati on agiven melody in a cooperative setting.

Create melodic “answer” phrases to teacher’s melodic “question” phrases.

AdvancedUsing a compositional computer program, studentscreate an arrangement of a given melody.

Students compose an original composition in aprescribed form or genre.

ProficientStudents evaluate a work using teacher prescribedcriteria.

Students identify standard notational devices (e.g.,1st and 2nd endings, D.C., D.S., Coda).

AdvancedStudents critique video/audio performance usingstudent-generated criteria.

Teacher observation

Teacher observation

Video/Audio observation

Teacher observation

Teacher observation


Teacher observation



Rubric

Teacher observation

Rubric



Music 133

4

4

5

5

6

6

b

a

b

a

b

a

b

a

b

a

b

a

b

Students categorize performance repertoireaccording to historical period or culture identifyingcharacteristics that distinguish the period or culture.

ProficientStudents attend a concert and evaluate the concertprogram and performance using teacher-prescribedcriteria.

Students evaluate individual performance usingstudent-prescribed criteria.

AdvancedStudents describe and evaluate the ensemble'smusic performance using musical terminology, anddevelop suggestions for improvement.

Students evaluate another school’s contest/festivalperformance using various scoring rubrics oradjudication forms.

ProficientStudents listen to various choral works and evaluateaccording to teacher-prescribed criteria.

Students perform choral works using appropriateinterpretive elements.

AdvancedStudents sight-read increasingly difficult music.

Students discuss musical elements used in choralworks.

ProficientStudents categorize music sung by visiting choralgroups.

Students identify the differences between choralensembles from various historical periods and theirpurpose in the culture of the period.

AdvancedStudents discuss the function or purpose of aprescribed piece.

Students explore movements inherent to a particularmusic genre (e.g., African music, Blues, Caribbeanmusic).

Teacher observation, chart

Rubric, reports


Teacher observation

Rubric and adjudicationforms.

Rubric

Teacher observation

Teacher observation

Teacher observation

Teacher observation

Teacher observation

Teacher observation

Teacher observation



Music 134

7

7

8

8

9

a

b

c

a

b

a

b

c

d

a

b

a

b

ProficientStudents explain how a given work affects anindividual performer.

Students listen to a professional recording of aspecified work, observing expressive qualities.

Students discuss feelings and emotions evokedfrom listening to music.

AdvancedStudents explain how a complex musical workevokes feelings and emotions.

Students discuss the audience’s reaction toparticular performances and what factors contributeto evoking the noted reactions.

ProficientStudents compare and contrast visual art and musicof the same historical period.

Students discover the mechanics of the diaphragmby observing a dissected animal. (Integrated Activitywith Biology).

Students compare and contrast the characteristicsof music with other disciplines from a historicalperspective.

Students discuss the ways music videos haveinfluenced people throughout the world.

AdvancedStudents explore the sonata form in a classicalwork.

Students identify and explain the features of anygiven piece and list the steps a choral group goesthrough to perfect this selection for performance.

ProficientStudents perform a thematic music program basedon a holiday or celebration.

Students listen to and evaluate ways musicelements are used to invoke specific emotionalresponses in music written for movies.

Teacher observation

Teacher observation

Teacher observation

Teacher observation

Teacher observation

Teacher observation

Observation

Teacher observation

Teacher observation

Teacher observation

Chart

Teacher observation

Teacher observation,question and answer



Music 135

9 a

b

AdvancedStudents investigate, compare, and evaluate theroles of musicians throughout history and in variouscultures including music careers in today's society.

Students survey community members to discoverthe various careers impacted or influenced bymusic.

Reports/interviews

Survey developed; writtenanalysis of data collected


High School Voice (Proficient and Advanced)

Music 136


SuggestedAssessment

1

1

2

2

3

3

4

4

5.

a

b

c

b

b

b

a

a

a

ProficientThe student and teacher will collaborate to selectmusic from various eras, which the student learnsand performs.

AdvancedStudents accurately interpret the text and style of avaried choral repertoire including a sense of theindividual’s contribution to the ensemble.

ProficientStudents create a melody in a given chordprogression.

AdvancedStudents compose three or more musical works ofincreasing difficulty in form.

ProficientUsing choral and solo student works provided by theteacher, students decode and translate standardnotational devices.

AdvancedStudents research, categorize, and discuss musicfrom various historical periods and cultures by genreor style.

ProficientUsing a class-created adjudication form that statesprescribed criteria, students judge live and/or videoperformances of vocal works of varied soloistsand/or ensembles.

AdvancedStudents evaluate solo and choral performancesfrom video or a live production according to a self-generated adjudication rubric that addresses themusical and expressive elements of performance.

ProficientStudents evaluate examples of choral works byvarious composers from several eras of musichistory.

Student and teacher-created rubric addressingthe components of highquality singing andperformance


Teacher-made rubric

Rubric for originalcomposition created byteacher and student

Teacher-made rubric


Teacher analysis ofcompleted adjudicationform

Adjudication rubric andteacher observation

Teacher observation ofstudent discussions



Music 137

5

6

6

7

7

8

8

9

a

b

a

c

a

a

c

a

AdvancedStudents sing a selected voice part from a majorwork such as Handel’s Messiah and explain thetechnical intricacies contained therein.

ProficientStudents listen to quality samples of folk music froma variety of places such as, Japan, Saudi Arabia,Ethiopia, Jamaica, Ukraine, and Brazil. Explainorally, or in writing, the use of expressive devicesincluding unique instruments.

AdvancedStudents study and listen to the celebratory music offive or more cultures. Analyze in a research paperhow this music is used in terms of the culture inwhich it exists.

ProficientStudents interpret the success of a choral/orchestralwork, such as Beethoven’s Ninth Symphonyregarding the expressive meanings and use ofmusical elements.

AdvancedStudents listen to a reflective, contemplative piece,such as Samuel Barber’s Agnus Dei and evaluate.A listening map will be created using appropriatesigns and symbols to indicate the emotions evoked.

ProficientStudents compare and contrast the complex storyand music qualities of an opera with the writingcomplexities of a novel, such as Andrew LloydWebber’s The Phantom of the Opera and WilliamFaulkner’s A Light in August.

AdvancedStudents look at Delacroix’s painting LibertyLeading the People, listen to Beethoven’s Eroica –Symphony no. 3 and read about its history athttp://www.greatdreams.com/eroica.htm and readVictor Hugo’s Les Miserable. For example, studentsdraw a comparison between the political and socialactivity, art, and music of an era by analyzing worksfrom that culture and time.

ProficientStudents research the use of folk music in specificareas of the country, such as celebrations, familygatherings, or to retell a familiar story handed down.

Teacher observation andoral report

Teacher observationand/or written report

Teacher observationResearch paper

Oral or written report toclass

Listening map

Multi-media presentationdemonstrating the majorpoints of how theexpressive qualities inmusic work with the art ofwriting

Teacher prescribed rubricPresentation of findings ina multimedia format

Musical collage of the folkmusic in America



Music 138

9 aAdvancedStudents visit a recording studio and watch orparticipate in a recording session. Studentsinterview the recording engineer and otherpersonnel to discover the music and educationrequirements for holding their positions.

Oral and/or written reportTeacher-created rubric


High School Performing Arts Special Course, Choral (Proficient and Advanced)

Music 139


SuggestedAssessment

1

1

2

2

3

3

4

4

b

a

b

b

a

b

a

b

ProficientStudents as a group perform a repertoire of three ormore varied styles of music demonstrating anunderstanding of music notation and symbols.

AdvancedThe student will accurately interpret, in variouschoral ensemble combinations, the text and style ofa varied choral repertoire including a sense of thecontribution of each individual within the groupsetting.

ProficientGiven a known melody, the student will improvisethe rhythm and melody of the given melody.

AdvancedStudents compose original musical works in themeand variations, AB, and ABA forms for a soloist orchoir.

ProficientStudents research and create an adjudication sheetfor choral performance and use this instrument toevaluate a live or taped choral performance.

AdvancedStudents listen to Handel’s Messiah, Puccini’sLaBoheme, and Andrew Lloyd Webber’s JesusChrist Superstar (or other similar choral selections)and categorize each of the component parts bygenre and style. Students write a paper comparingthese works, identifying the differences andsimilarities.

ProficientUsing a class created adjudication form, studentsjudge live and/or video performances of choralworks of varied ensembles.

AdvancedStudents collect various scoring rubrics from Districtand State choral festivals, show choir contests, andsolo and ensemble festival for comparison purposes

Teacher observation andrubric for performance

Teacher and studentdesigned rubric

Teacher designed rubricincluding style appropriate-ness and singability of thevariation

Rubric for originalcompositions

Adjudication sheetRubric for adjudication

Teacher evaluation onresearch paper

Rubric for adjudicationform using prescribedcriteria

Teacher evaluation ofstudent reports



Music 140

5

5

6

6

7

7

a

b

a

b

b

b

and determine the effectiveness andappropriateness of each scoring rubric collected andevaluate which rubrics could be usedinterchangeably and why. Students report findings.

ProficientStudents perform a varied choral repertoire in threeor more ensemble combinations

AdvancedStudents select a 20th century classical vocal pieceby Vincent Persichetti (or other composer) and aSchubert art song for evaluation. Student will listento selected pieces and interpret the musical content,relative to the elements, in communicating the textto the listener.

ProficientStudents listen to holiday and special occasionmusic from various countries (i.e. Jamaica, Mexico,Japan, England, America). Students interpret themusic of various cultures identifying how the use ofspecific instruments or musical elements affects theintent of the work.

AdvancedAfter selecting a country for intensive study,students will research and investigate the use ofmusic in various kinds of celebrations. Studentswrite a paper reporting the findings of the researchincluding the origin of the musical traditions of theselected country.

ProficientStudents will identify and orally describe the writtenand performance sensitive qualities of selectedworks.

AdvancedStudents will listen to and research the historicaldebut of Stravinsky’s The Rite of Spring (Le Sacredu printemps). After hearing the work, students willevaluate the presentation in terms of the emotions itevokes. Prepare a presentation for a classdescribing the public reaction to this historical work.Compare this work to the work of contemporaryartists whose works are criticized because they aremisunderstood.

Teacher observationScoring rubric


Teacher observation

Teacher evaluationresearch paper

Teacher developed rubric

Rubric describingpresentation criteria



Music 141

8

8

9

9

c

c

a

a

ProficientStudents will write a paper comparing/contrastingthe elements of each medium using the musicalworks of Debussy (i.e. Afternoon of a Faun) with thepaintings of Claude Monet (i.e. Lillies).

AdvancedStudents will look at Delacroix’s painting LibertyLeading the People, listen to Beethoven’s Eroica –Symphony no. 3 and read about its history athttp://www.greatdreams.com/eroica.htm, listen toLes Miserables, and read Victor Hugo’s book of thesame name to draw a comparison between thepolitical and social activity, art, and music.

ProficientStudents will make a poster from a list compiled ofthe different kinds of celebrations experienced inAmerica and discover, through listening, the musicassociated with each.

AdvancedStudents will create and present a series ofbrainstorm clouds that represent a variety ofoccupations associated with music, musicians, andthe music industry with a brief description of theoccupations and educational requirements of each.

Teacher prescribed rubric

Teacher prescribed rubricPresentation of findings ina multimedia format

Rubric describing postercriteria

Rubric criteria forbrainstorm clouds


Music 142

MUSICHIGH SCHOOL INSTRUMENTAL PERFORMANCE



The High School Instrumental Music program of study is to be used in designingcurriculum for high school courses in instrumental music in a variety of courses. Thefocus of the course will guide the development of the specific curriculum based upon thecompetencies in this program of study. The program of study contains competencies atthe proficient and advanced levels to assist in meeting needs of students on differentlevels. Curriculum for courses must include all competencies at the proficient level.Curriculum for advanced courses must include all competencies at the proficient andadvanced levels.


High School Band (Proficient and Advanced)High School Instrumental Ensemble (Proficient and Advanced)High School Performing Arts Special Course, Instrumental (Proficient and Advanced)High School Strings, (Proficient and Advanced)





Music 143

MUSICHIGH SCHOOL INSTRUMENTAL PERFORMANCE


CONTENT STRANDS:



1. Perform in instrumental ensembles of varying sizes and descriptions. (CP)

Proficient:a. Perform with expression and technical accuracy a large and varied musical

repertoire.b. Demonstrate desirable instrumental tone quality in practical registers and

moderate dynamic levels.c. Perform scales/rudiments appropriate to the music being studied within the

practical range of the instrument.

Perform a more difficult repertoire of music that includes combinations ofinstruments. (CP)

Advanced:a. Perform an increasingly difficult repertoire in various ensembles with expression

and technical accuracy.b. Demonstrate a tone quality characteristic of the instrument in extended register

and all dynamic levels.

2. Create instrumental arrangements using a variety of music elements. (CP)

Proficient:a. From a given melody improvise music in various styles.b. Improvise rhythmic and melodic variations from given chord progressions.


Music 144

Create original instrumental music and arrangements in a variety of forms,styles, and genres. (CP)

Advanced:a. Compose and perform music in various styles with a given melody and

accompaniment.b. Improvise original melodies in a variety of styles over given chord progressions

demonstrating consistent style, meter, and tonality.


Proficient:b. Play and count rhythm patterns and corresponding rests from a variety of forms

and styles.b. Define, identify, demonstrate, and apply music theory terms and symbols at the

appropriate level.

Analyze and/or interpret music of various historic periods, forms, and styles.(CA)

Advanced:a. Compare music performance practices of the Baroque, Classical, Romantic,

Impressionistic, and Twentieth Century periods of composition.b. Analyze and describe uses of the elements of music in a given work that make it

unique, interesting, and expressive.

4. Analyze music performances by using critical thinking and listening skills.(CA)

Proficient:a. Aurally discriminate among various instrumental timbres.b. Evaluate a performance by comparing it to similar or exemplary models.

Evaluate music performances and compositions using multiple criteria. (CA,A)

Advanced:a. Describe the type of compositions performed on given recordings or of live music

performance examples.b. Evaluate a given musical work in terms of its aesthetic qualities and explain the

musical means used to evoke feelings and emotions.


Music 145

5. Demonstrate understanding of music notation and symbols by reading andperforming music. (CP, CA, A)

Proficient:a. Interpret music notation, including articulation and dynamic markings.b. Translate music notation into appropriate instrumental sound.c. Play and count rhythm patterns and corresponding rests.


Advanced:a. Read music that contains technical demands, expanded ranges, and interpretive

requirements.b. Determine aurally and visually the properties and function of the musical

elements in specified pieces.

6. Understand the role and function of music and musicians in various cultures,times, and places. (CA, HC)

Proficient:a. Demonstrate knowledge of a variety of compositional styles and periods.b. Evaluate the musical and expressive elements in compositions of various

historical periods.

Evaluate the relationship of instrumental music and musicians in variouscultures, times, and places. (CA, HC, A)

Advanced:a. Determine aurally and visually the individual characteristics and stylistic features

that identify a musical composition of a historical period.b. Identify and explain the stylistic features of a given musical work that serves to

define its aesthetic qualities and its historical and cultural context.

7. Interpret the value of a musical work based on one’s beliefs about the art form.(A)

Proficient:a. Respond to the feelings experienced when listening to or performing a musical

selection and justify or explain responses.b. Understand how music can communicate ideas suggesting events, feelings,

moods, or images and how these ideas are related.


Music 146

Evaluate selected musical works in terms of aesthetic qualities. (A)

Advanced:a. Interpret the varied uses of the elements of music and expressive devices

appropriate to a given musical performance.b. Describe how music can communicate a variety of moods and feelings and how

responses vary based upon individual perspectives.

8. Explain ways that music interrelates with the other arts and other subjectareas. (CA, HC, C)

Proficient:a. Compare the uses of characteristic elements, artistic processes, and

organizational principles among the arts from different historical periods andcultures.

b. Know ways that current technology affects music education and the musicindustry.

Assess the roles of music and musicians in relation to the arts and othersubject areas. (CA, C)

Advanced:a. Research various careers in music and requirements needed to obtain and be

successful in a chosen musical profession.b. Explain how music can enhance visual art, dance, and drama in distinctive ways.

9. Examine the role of instrumental music in everyday life. (C)

Proficient:a. Understand how music affects one's quality of life.b. Explain practical applications of instrumental music in daily activity.

Evaluate the role of instrumental music in lifelong learning. (C)

Advanced:a. Explain the characteristics inherent in music making that would enhance lifelong

learning experiences.b. Identify opportunities available in the community for instrumental musicians.


High School Band (Proficient and Advanced)

Music 147


SuggestedAssessment

1

1

2

2

3

3

4

4

5

5

6

a

b

a

b

a

a

a

a

a

a

a

ProficientStudents play exercises that develop concepts ofbalance/blend, flexibility, and control.

AdvancedStudents play warm-up exercises demonstrating thecomplete range of the instrument.

ProficientStudents compose and perform an original melodyplayed in three different styles (e.g., march, song,swing).

AdvancedStudents use the pentatonic scale to provide anexample of improvisational technique.

ProficientStudents will warm-up on rhythm patterns selectedfrom the literature being studied.

AdvancedStudents create a worksheet with stylisticcharacteristics of period in which the literature wascomposed.

ProficientStudents discuss the harmonic structure of literaturebeing studied in terms of instrumental timbre.

AdvancedStudents listen to recordings of a march andcompare the style to a chorale.

ProficientStudents play different articulations and dynamicsduring warm-up exercises.

AdvancedStudents differentiate, label the basic elementscolor-coded score.

ProficientStudents listen to recordings of different selectionsto compare compositional styles and periods.

Teacher/peer performanceevaluation

Student created audiotapeand teacher feedbackusing prescribed criteria

Teacher observation

Teacher Observation

Written exam

Evaluation of worksheet

Teacher observation

Teacher/studentperformance assessment

Rubric

Teacher observation andevaluation of studentresponses

Evaluate by using achecklist


High School Band (Proficient and Advanced)

Music 148

6

7

7

8

8

9

9

a

a

a

b

a

b

a

b

AdvancedStudents listen to recordings and review highlightedscores to aid in determining the differentcharacteristics and styles.

ProficientStudents express the feelings created whenlistening to a musical selection.

AdvancedUsing the developed form, students evaluate his/herown performance and correlate the evaluation withthe teacher’s evaluation.

ProficientStudents discuss how meter in poetry is similar tometer in music

AdvancedStudents select a musical career from a teacher-compiled list. Students do a research paper on thecareer and its requirements matching Schools ofMusic that best meet the requirements of thespecific career. Students report findings to class.

ProficientStudents discuss types of music used in variousenvironments (e.g., sporting events, dentist’s office).

AdvancedStudents identify social skills associated withlearning and performing music.

Students invite a local/professional musician fromthe local community to discuss the impact music’slife long learning had on his/her life. Prior to thevisit, students compose a list of possible interviewquestions to ask the artist. Through verbalassessment, students finalize which questionswould be the best to use as a starting point for theirdiscussion with the artist.


Teacher or student-created rating scale

Teacher observation

Students determine if thetimpani is properly tunedby listening for a matchingsound

Teacher rubricTeacher observation ofreport

Teacher evaluates andresponds to studentanswers

Teacher observation

Teacher observation ofstudent/artist discussion


High School Instrumental Ensemble (Proficient and Advanced)

Music 149


SuggestedAssessment

1

1

2

2

3

3

4

4

5

5

a

a

b

a

b

a

a

a

a

a

ProficientStudents perform grade level appropriate literaturethat requires expressive qualities.

AdvancedTeacher selects a piece from the Classical period.The students perform the piece, presenting in theirperformance the indicators of interpretation that arecharacteristic of this period.

ProficientStudents perform scales/rudiments in differentstyles and articulations.

AdvancedStudent compose an arrangement of a givenmelody.

ProficientStudents apply appropriate articulation when givena specified style.

AdvancedStudents listen to exemplary recordings of differentperiods and describe the considerations that aperformer would encounter.

ProficientStudents listen to recordings and identify the type ofensemble and the instruments performing.

AdvancedStudents listen to a march, such as Stars andStripes, highlighting the elements that make thispiece a march.

ProficientStudents review teacher provided worksheet withthe musical terms, articulation, and dynamicmarkings that are specific to the piece beingstudied. Students will perform the assigned pieceaccurately.

AdvancedStudents label the basic elements of a teacherprovided score.

Student performance skillinventory

Teacher will assessthrough the use of astudent performance skillinventory.

Teacher observation withappropriate feedback

Rubric of prescribedcriteria applied to thecomposition

Teacher observation withappropriate feedback

Written quiz.

Written evaluation

Written evaluation

Student performanceassessment

Evaluation through the useof a rubric



Music 150

6

6

7

7

8

8

9

a

a

a

b

a,b

b

a

ProficientStudents describe the intended purpose or functionof a given piece of music.

AdvancedTeacher provide students the historical and culturalbackground of a given piece of music and discussthe significance.

ProficientStudents listen to recorded and/or live performancesof a given musical work and discuss how thecombination of musical elements creates uniquequalities that set a certain style or genre apart.

AdvancedStudents perform or listen to Boysen’s I Am ascompared to Finlayson’s Early English Suite anddiscuss individual reactions to each.

ProficientStudents compared the sounds from John Cage’swork to visual imagery and sounds created byartists from the Dadaist movement. Studentsdiscuss how DaDa artists might have influencedCage. Students discuss how technology from theseartists’ times influence the sounds and visualimagery they created. Students make a list oftechnological devices of today and discuss waysthey could be used to create sounds unique totoday. Students discuss their findings. Using a website on John Cage (http://www.artandculture.com)students research to find other visual andperforming artists who have been influenced by thework of John Cage. Students report their findings.Students working in groups use technologicaldevices discussed earlier to create a short musicalpiece of their own based on given elements from theteacher. Students perform their works for the group.

AdvancedStudents analyze examples of musicals, operas,and ballets where the performer interprets the storythrough music. Students prepare an essayexplaining how music enhances the communicationof the story.

ProficientStudents read memoirs of a famous instrumentalistand discuss in groups the skills that are acquired ininstrumental music such as, self-discipline, goalsetting, teamwork, loyalty, and commitment.

Written evaluation

Written evaluation

Inventory checklist

Teacher-providedquestionnaire

Teacher observationRubric for performancepiece

Rubric describing essaycriteria




Music 151

9 aAdvancedStudents brainstorm ways that important events arepositively affected by music. Students predict waysin which their performances may improve the qualityof life of their audience, creating a chart.

Teacher evaluation ofchart


High School Strings, Proficient and Advanced

Music 152


SuggestedAssessment

1 aProficientStudents play exercises that develop concepts ofbalance/blend, flexibility, and control, such as drawingthe bow on a string parallel to the bridge in a givenrhythm pattern.

Teacher and studentevaluation ofperformed exercises

1 aAdvancedStudents produce a solid, balanced ensemble sound.Students, as an ensemble, draw the bow on a stringparallel to the bridge, varying the length of bow usedand the part of the bow used.

Teacher and studentevaluation ofperformed exercises

2 aProficientTeacher demonstrates an original melody played inthree different styles (e.g., march, swing, song).Students play pieces written in ternary form, such asSkater’s Waltz by Strauss.

Teacher evaluation ofstudent performance

2 bAdvancedStudents distinguish the components of musical form byanalyzing a specific form, such as minuets and writtenreports. Students improvise an original melody in thestyle of a minuet.

Teacher evaluation ofwritten and oral report

3 aProficientStudents will warm up, as a group, by playing rhythmpatterns selected from a specific style or genre beingstudied.

Advanced

Student evaluation ofperformed exercise

3 b Students listen to music from selected periods andstyles, such as Baroque, Classical, and romantic,identifying the styles, describing response to the music,and critiquing the music using student-created criteria.

Proficient

Teacher evaluation ofstudent-created criteriaand responses

4 a Students will play, as a group, all possible bowingarticulations on open strings.

Advanced

Teacher evaluation ofstudent performance

4 a Students will listen to isolated parts of a piece todetermine the harmonic importance of each part.Students discuss the harmonic structure in terms ofinstrumental timbre.

Proficient

Teacher evaluation ofstudent-created criteriaand responses

5 a Students play different articulations and dynamicsduring warm-up exercises, such as playing rhythmicpatterns and altering accents on given beats.

Teacher observation



Music 153

5

6

6

7

7

b

a

a

a

a

AdvancedStudents recognize natural and contrived accents andthen respond appropriately to them. Students playrhythmic patterns, altering accents on given beats.

ProficientStudents listen to several recordings of various stylesand periods, comparing compositions and presentingtheir findings.

AdvancedStudents research and present findings on theirexposure to string music performance outlets.

ProficientStudents respond to a variety of musical selections byexpressing the feelings and emotions evoked whilelistening to those selections. Students discuss theiremotional reactions to music used in variousenvironments.

AdvancedStudents listen to teacher selected pieces (e.g., Vivaldi’sFour Seasons). Students list the various elements ofmusic found in each piece and describe how theseelements and expressive devices are used tocommunicate the various descriptive feelings evoked byeach selection.

Proficient

Teacher observation

Student and teacherevaluation ofpresentations


Teacher evaluation ofdiscussion


8

8

b

b

Students will listen to various selections of string music,clapping rhythmic patterns, altering accents on givenbeats. Students read aloud and listen to variousselections of poetry, clapping rhythmic patterns.Students discuss how meter in poetry is similar to meterin music.

AdvancedStudents compare the way composers compose musicto express a feeling or emotion to the way artists usecolor and line and authors use words and punctuation toelicit a response. Connections between all art forms willbe made.

Teacher observation ofexercise anddiscussion


9 bProficientStudents discuss types of music used in variousenvironments, such as sporting events and dentists’offices, how musical elements are used to evokedifferent responses, and the impact on individuals inthose settings.




Music 154

9 bAdvancedStudents will identify and interview string musicians intheir community to identify the musical opportunitiesavailable in the locality. Students report findings toclass.

Teacher evaluation ofreport


High School Performing Arts Special Course, Instrumental (Proficient andAdvanced)

Music 155


SuggestedAssessment

1

1

2

2

3

3

4

4

5

a

a

a

b

a

a

a

a

a

ProficientStudents perform in groups or individually usingresources appropriate to their skill level.

AdvancedStudents perform musical selections that provide anopportunity for students to experience differenttimbres and tonality.

ProficientStudents compose a melody with the chordalaccompaniment provided by the teacher.

AdvancedStudents write or perform the melody from a familiarpiece such as Twinkle, Twinkle Little Star in a swingstyle or march style.

ProficientStudents listen to recordings of exemplary quality ofvarious styles.

AdvancedStudents perform selections from a specific timeperiod or style using the appropriate and uniqueperformance requirements.

ProficientTeacher provides a checklist of elements forstudents to listen for while listening to live orrecorded performances.

AdvancedStudents justify their opinions of live and recordedperformances on a critique worksheet. Opinionsshould be limited to the basic elements of music andinterpretative decisions and should be supported byknowledge of performance standards, of the periodwithin which the selection was composed.

ProficientTeacher provides a musical selection as aworksheet for students to use in labeling basicsymbols and notation.


Use a questionnaire tosynthesize opinions andprovide appropriatefeedback

Teacher providedquestionnaire

The teacher will provideappropriate feedbackthrough the use of a rubric



Use a rubric to assesstheir progress

Teacher review ofworksheet and discussionof feedback

Teacher review ofworksheet discussion offeedback



Music 156

5

6

6

7

7

8

8

a

a

a

a

a

a

b

b

AdvancedTeacher provides students with a full score andrecording. The students color code the elementsfound within the score. The teacher could alsoprovide a checklist for items that should be labeled.

ProficientTeacher provides the historical and culturalbackground of a given piece of music and leadstudent discussion of the significance.

AdvancedStudents research the historical and culturalbackground of a given piece of music and compareto a classic piece of art, dance, or literature from thesame background.

ProficientStudents listen to recorded and/or live performancesof a given musical work and discuss how thecombination of musical elements creates uniquequalities that set a certain style or genre apart.

AdvancedStudents perform or listen to a classical piece suchas, Barber’s Adagio for Strings as compared to acurrent pop tune and discuss their immediatereaction to the music. Discuss what elements withinthe music caused these reactions.

ProficientStudents discuss the similarities of phrasing inmusic and sentence flow in literature.

Students discuss the impact that music has whenused with technology, especially its commercialuses.

AdvancedStudents create a historical timeline (e.g. Gothic,Renaissance, Baroque, etc.) of major artistic andmusical developments relating influences andenhancements music has had on the other art forms(visual art, dance and drama).

Teacher-created rubricand discussion offeedback

Written evaluation

Written evaluation

Inventory checklist

Inventory checklist

Teacher observation

Prompts for essayresponse and evaluationof essay

Written evaluation



Music 157

9

9

a

a

ProficientAfter hearing from a local musical artist onopportunities available in music, students willinterview a local musician or an individual withintheir community who has been involved in music onhow music has impacted their life.

AdvancedStudents discuss the development of communityadult performing groups (community choruses,community bands) and the professional makeup ofthese groups. Students survey members of thecommunity as to their musical background,establishing the percentage of adults who continueto be involved in musical activity within theircommunity.

Teacher evaluation ofinterviews and discussionof feedback



Music 158

MUSICHIGH SCHOOL KEYBOARD

Description of Program of Study:

The High School Keyboard framework is designed to assist teachers in developing akeyboard music curriculum for students in grades 9-12. The competencies andstrategies are closely related to the high school general music framework. Individualschools or school districts make decisions about when students begin keyboard study.At the high school level students may have considerable experience playing keyboardinstruments, or they may have no experience at all. It is probable that a plan ofinstruction will need to be developed for individual students based on assessmentsadministered at the beginning of the course. Where possible, keyboard technologyapplications should be explored. Competencies in this framework apply to students whohave had some exposure to playing keyboard and are not designed for specific gradelevels. This program of study is to be used in developing music curriculum for highschool students in the following:

High School Keyboard





Music 159

MUSICHIGH SCHOOL KEYBOARD

CONTENT STRANDS:



1. Perform a variety of keyboard solos or duets. (CP)

a. Perform repertoire that includes treble/bass clef, using both hands.b. Demonstrate proper use of fingering and hand placement on the keys.c. Know the functions of the three pedals on an acoustic piano.

2. Create and perform keyboard arrangements using a variety of music elements.(CP, CA)

a. Create a keyboard arrangement of a familiar melody by writing a bass line andharmony parts.

b. Improvise a keyboard accompaniment by reading chord symbols and a melody.c. Create an original 16-bar keyboard composition with two contrasting phrases.

3. Listen to, analyze, and evaluate music in a variety of forms and styles. (CP, CA)

a. Analyze keyboard music by listening for specific elements: rhythm, melody,harmony, form, style, genre, and expression.

b. Evaluate musical expression and performance by employing an appropriatemusic vocabulary.

4. Analyze keyboard performances by using critical thinking and listening skills.(CA)

a. Evaluate keyboard compositions and performances using prescribed criteria.b. Evaluate keyboard performances in terms of aesthetic qualities.


Music 160

5. Demonstrate understanding of music notation and symbols by reading andperforming keyboard music. (CP, CA)

a. Demonstrate knowledge of music notation by sight-reading music in treble andbass clef.

b. Interpret content of keyboard music scores in terms of mood, dynamics, tempo,and articulation.

6. Analyze forms and subject matter in music that recur across cultures, times,and places. (HC, CA)

a. Understand the development of keyboard music from antiquity through thetwentieth century.

b. Evaluate the various functions of keyboard music in cultures, times, and places.

7. Interpret the value of a musical work in terms of aesthetic qualities. (A, CA)

a. Evaluate the artistic merit of specified musical works by comparing them toexemplary models.

b. Establish criteria for evaluating the quality and effectiveness of keyboardcompositions or performances.

8. Analyze the relationship of content in keyboard music to other arts and othersubjects. (C, CA)

a. Compare the expressive qualities of music with those of other artistic endeavors.b. Identify the correlation between organizing principles such as repetition and

contrast, in music with those of other arts and other subjects.

9. Analyze the contributions of musicians and the music industry to individualsand communities. (C, CA)

a. Analyze the impact of technology on keyboard music in today’s culture.b. Research roles and contributions of well-known keyboard musicians, their

influence on the art form and on the public.c. Research copyright and performance rights laws.


Music, High School Keyboard

Music 161


SuggestedAssessment

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Students perform scales using correct fingerings inat least three major and minor keys.

Students create an arrangement of America thatincludes a chord accompaniment for one verse withmelody in the right hand, and one verse with melodyin the left hand.

Students identify each theme entrance in a pianocomposition written in rondo form.

Teacher creates a checklist for adjudicating theexpressive nature of a piano solo performance.Students play for one another and score theperformance based on the checklist.

Students work in pairs to sight-read teacherselected compositions. One student plays while theother student reads and listens. The pairs take turnsas players or listeners.

Students listen to three examples of Americansecular music repertoire, for example: folk songs,singing games, and popular music. The studentsguess an approximate date for the composition, anddefend their choice by describing elements of musiccomposed during that period.

Students listen to a Duke Ellington keyboardperformance of Sophisticated Lady or Mood Indigo.They determine why the selection has becomeknown as a jazz standard.

Students look at a color reproduction of Van Gogh’sStarry Night, and compare elements of expressionused by the artist to the music elements used bycomposer, John Williams, in his Star Wars movietheme.

Students interview people who play keyboardinstruments (acoustic or electronic) and receivepayment for doing so (e.g., church musician, pianoteacher, school music teacher, or accompanist orstudio musician). Teacher facilitates studentdiscussion.

Teacher observation

Teacher observation orstudent/peer assessment

Teacher observesstudents responses

Peer assessment; studentand teacher evaluation ofchecklists

Students evaluation ofrhythmic and melodicaccuracy of theperformance






Music 162

MUSICHIGH SCHOOL

SMALL GROUP JAZZ IMPROVISATION(Proficient and Advanced)


This course is intended for high school music students electing to studyimprovisation through the medium of jazz. The small group ensemble may includeinstrumental, keyboard, and/or vocal performers. The framework for this course fostersdeveloping knowledge of jazz improvisation as a performance skill.


High School Small Group Jazz Improvisation



For an explanation of the Content Strands, Competencies, and Objectives, seethe General Introduction Section of the Mississippi Visual and Performing ArtsFramework. The Framework General Introduction, Literature Connections, TechnologyConnections, Resources and Glossary are available online at the MississippiDepartment of Education web site: http://www.mde.k12.ms.us.


Music 163

MUSICHIGH SCHOOL

SMALL GROUP JAZZ IMPROVISATION(Proficient and Advanced)

CONTENT STRANDS:



1. Perform in choral or instrumental jazz ensembles of varying sizes and descriptions. (CP)

Proficient :a. Practice playing and/or singing major and minor scales and modes.b. Improvise melodies within selected jazz repertoire.c. Perform selected choral and/or instrumental jazz ensemble repertoire.

Perform works of music that include combinations of instruments and voices.(CP)

Advanced:a. Sing or play improvised jazz solos with performers in an ensemble.b. Improvise solos in selected jazz ensemble repertoire.

2. Create and perform jazz arrangements using a variety of music elements. (CP)

Proficient:a. Create jazz arrangements by adding improvised solos to selected ensemble

repertoire.b. Vary performances of selected repertoire by altering tempo and dynamics.

Create and perform original music and arrangements in a variety of forms,styles, and genres. (CP, HC)

Advanced:a. Create original music in 12-bar blues form incorporating improvised solos.b. Improvise solos in a variety of jazz styles (e.g., swing, jazz-rock, Dixieland,

blues, Latin) in selected repertoire.


Music 164

3. Listen to, analyze, and evaluate music in a variety of forms and styles. (CA,HC)

Proficient:a. Listen to and analyze examples of improvisation in various jazz styles.

b. Listen to and analyze improvisation styles of significant jazz artists.

Analyze and interpret music of various historic periods, forms, and styles.(CP, CA, HC)

Advanced: a. Listen to and analyze wide variety of recordings featuring jazz soloists and

ensembles. b. Describe and/or demonstrate the use of music elements in a variety of jazz

periods, forms, and styles. c. Interpret jazz standards by arranging and/or improvising selected music in

particular styles (e.g., swing, blues, Dixieland, etc).


Proficient: a. Recognize the correlation of keys, scales, and chords to jazz improvisation. b. Listen to and analyze bass lines and chord harmonies from a variety of jazz

repertoire.

Evaluate the quality of music performances and compositions using multiple criteria. (CA, HC)

Advanced:a. Listen to and analyze the relationship between improvised solos and the melodic

and harmonic structure of recorded jazz examples. b. Develop and apply criteria to evaluate jazz performances, compositions, and

arrangements.

5. Demonstrate understanding of music notation and symbols by reading and performing music. (CP, CA)

Proficient: a. Perform improvised solos in standard meters and in major and minor keys by

reading jazz scores.b. Read and/or interpret standard chord symbols that function as the basis for jazz

improvisation.


Music 165


Advanced: a. Read, analyze, and interpret melodic and harmonic relationships in jazz scores. b. Describe composition devices that distinguish jazz scores from other music

genres.

6. Analyze forms and subject matter in music that recur across cultures, times,and places. (HC, C)

Proficient:a. Analyze similarities between events in U. S. history and milestones of jazz

history.b. Compare the subject matter of blues songs with topics in poetry and literature in

various cultures and historical periods.

Assess the impact of music and musicians of various cultures, times, andplaces on society today. (HC, C)

Advanced:a. Assess the role of individuals and/or cultures that influenced the development of

jazz.b. Know events and trends in U. S. history and culture that influenced the

designation of jazz as an American art form.c. Examine the influence of jazz on composers in the 20th and 21st Century.

7. Interpret the value of a musical work in terms of aesthetic qualities. (CA, A)

Proficient:a. Analyze performance practices that contribute to the success of jazz artists or

performing groups.b. Compare and contrast the lasting value of works in the jazz idiom.c. Determine the characteristics of jazz that led to its designation as an original

American art form.

Evaluate selected musical works in terms of aesthetic qualities. (CA, A)

Advanced:a. Assess the role of improvised solos in determining the musical success of

selected works of jazz.b. Establish criteria to evaluate the artistic success of jazz performances.c. Analyze the qualities of jazz performances that enable them to endure over time.


Music 166

8. Analyze the relationship of content in music to other arts and other subjects.(HC, C)

Proficient:a. Recognize the importance of creativity in jazz music compared to creativity in

drama, visual art, or dance.b. Relate historic developments in jazz with concurrent artistic, social, cultural, and

political developments in America.

Integrate knowledge of music with knowledge in the other arts and othersubjects. (HC, C)

Advanced:a. Assess the influence of jazz on 20th Century visual and performing artists and art

forms.b. Compare the role of creativity in jazz to the role of creativity in other disciplines

such as literature or science.

9. Analyze contributions of musicians and the music industry to individuals andcommunities. (C)

Proficient: a. Evaluate the impact of jazz and jazz musicians on the recording industry and the music industry.

b. Analyze the influence of jazz and jazz musicians on race relations in the U.S.

Evaluate the role of music as a lifelong career or avocation. (C)

Advanced:a. Research employment opportunities for jazz musicians in the local or regional

community.b. Determine the education, experience, and training requirements for musicians

who pursue careers in jazz performance or the music industry.



Music 167


SuggestedAssessment

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ProficientStudents play or sing a D minor scale, ascendingand descending, using rhythmic accents to matchvarious jazz rhythm idioms. (e.g., swinging eighthnotes, drag triplets).

AdvancedStudents improvise a solo based on a jazz standardsuch as Duke Ellington’s Satin Doll, while otherensemble members perform the harmonic changes.

ProficientStudents create and perform a new arrangement ofexisting repertoire by adding improvised solos.

AdvancedRhythm players establish a harmonicaccompaniment for 4, 8, or 12-bar improvised bluessolos.

ProficientTeacher leads a student discussion distinguishingbetween the performance of eighth notes in ragtimemusic and swing era jazz. Student responsesindicate that eighth notes are executed evenly inragtime, unevenly in swing.

AdvancedStudents listen to and analyze recordings ofimprovised saxophone solos by artists such as StanGetz and Kenny G.

ProficientStudents compare the bass line of a Dixielandensemble to a post-1950 jazz combo.

AdvancedStudents use an adjudication sheet intended for jazzensemble competitions to determine criteria forevaluating jazz performances or recordings.

ProficientStudents use a lead sheet or a guitar/keyboard partfrom original or published music as a basis fordeveloping improvised solos.



Teacher observation andfeedback to individualperformers


Teacher evaluation ofstudent discussion

Teacher observation ofstudent analysis

Teacher observation ofstudent analysis

Teacher evaluation ofstudent-developed criteria

Teacher and/or peerfeedback on studentperformance



Music 168

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AdvancedStudents will compare and describe the differencesbetween a published score for a jazz ensemble anda choral octavo score or a band score.

ProficientStudents listen to various recordings of blues songsand identify themes or topics suggested by thewords. The themes or topics in the songs arecompared to themes in literature and poetry.

AdvancedStudents listen to recordings of Louis Armstrongand discuss why he is sometimes described as ajazz legend in context of his life's work

ProficientStudents learn the melody of I Got Rhythm byGershwin and conduct an internet search todetermine when the tune was composed, how manydifferent arrangements have been written, and thenames of different artists who have performed orrecorded the tune.

AdvancedStudents listen to a recording such as OscarPeterson’s Live at Montreaux. After discussingelements of the improvised solos in one selection,students list criteria (e.g., artist’s creative ideas,musical connection or communication with otherperformers, audience response) of successfulperformances.

ProficientStudents attend an exhibit of 20th Century art orview examples from a book or selected imagesfound on the internet. Compare the creativeexpression in a jazz solo to the ways creative ideasare expressed in visual artworks.

AdvancedStudents develop hypotheses about the importanceof creativity in the field of science. Compare thehypotheses for science to the role of creativity injazz.

ProficientStudents discuss the racial make-up of varioushistoric jazz ensembles and compare this to trendsin American society at the time the ensemblesperformed.

Teacher and studentobservation

Teacher observation

Teacher evaluation ofstudent discussion

Teacher observation ofstudent lists and follow-updiscussion

Teacher evaluation ofstudent discussion andcriteria

Teacher observation ofstudent discussion andcomparisons

Teacher observation ofstudent hypotheses anddiscussion




Music 169

9 bAdvancedStudents visit or phone a recording studio, a privatestudio, or a music store to interview professionalmusicians or workers in the music industry.Interview individuals to determine the credentialsnecessary for a career in jazz performance or themusic industry.

Teacher evaluation ofstudent interviews anddiscussion


Music 170

HIGH SCHOOLTHEORY AND HARMONY/LITERATURE


High school students in grades 9-12 electing to study Music Theory andHarmony/Literature are seeking a deeper knowledge of the discipline of music thanperformance courses alone generally offer. These students may desire to pursue musicas a career or to continue serious music study after completing high school. Teachersare encouraged to incorporate music technology applications into instruction and toinclude the student's performance knowledge and skill into an integrated survey ofmusic theory and literature.

This course examines the basic elements of Music Theory and Music Literature.Previous keyboard, choral, or instrumental music performing experience is aprerequisite for admission into this course. The analytical study of scales, keys, chords,and composition elements complements other high school music performance courses.A survey of music literature will broaden student knowledge of music as an art form, andwill aid understanding of the connection between music theory and music literature.

This program of study is to be used in developing music curriculum for highschool students in the following:

High School Music Theory and Harmony/Literature

Teachers are encouraged to select and implement unit topics, repertoire,teaching strategies, performance practices, and assessments that will enable studentsto meet the competencies stated for each level. Sample strategies and assessmentsare given for each competency. The benchmark chart in the Music Introduction sectionestablishes the progression of instruction for each goal area through grade clusters.

Content strands include Creating/Performing, Critical Analysis, History/Culture,Aesthetics, and Connections. The competencies are printed in bold face type and arerequired to be taught. The competencies are printed in bold face type and are requiredto be taught. The competencies may relate to one or more of the content strands andmay be combined and taught with other competencies throughout the school year.Competencies are not listed in order of importance and may be taught in any order thatis determined suitable by the school or district. Competencies provide a generalguideline of ongoing instruction, not isolated units, activities, or skills.



Music 171



Music 172

MUSICHIGH SCHOOL

THEORY AND HARMONY/LITERATURE

CONTENT STRANDS:Creating/Performing (CP) Critical Analysis (CA)History/Culture (HC) Aesthetics (A)Connections (C)


1. Perform in choral or instrumental ensembles of varying sizes anddescriptions. (CP)

a. Sing major and minor (melodic and harmonic) scales in a variety of keys usingsolfege, letter names or numbers.

b. Sing and/or play I, IV, V, and V7 chords as intervals (e.g., do-mi-sol-mi-do; f-a-c-a-f; or 1-3-5-7-5-3-1) in selected major and minor keys.

c. Combine voices and/or instruments to perform selected music examples inunison, two-part, three-part, and four-part harmony.

d. Sing and/or play music selected from a variety of solo or ensemble repertoire.

2. Create and perform arrangements using a variety of music elements. (CP)

a. Compose and perform (sing and/or play) an original melody with a given chordaccompaniment.

b. Play or sing an original melody that includes repetition and contrast. c. Improvise harmony for a selected melody by singing or playing in thirds or sixths. d. Create arrangements by varying the rhythm, articulation, instrumentation, or

accompaniment of selected works of music. e. Write original compositions for voices and/or instruments using teacher-specified

criteria.


a. Listen to recorded music samples to determine the form or style of selectedrepertoire and relate it to a specific genre or culture.

b. Identify individual voice parts or groups (e.g., soprano, children's choir, malechorus, duet, adult choir) heard in selected solo or ensemble examples.

c. Recognize and label the form of various music selections (e.g., canon, themeand variations, call-response, strophic song, verse-refrain, AB, ABA).


Music 173

d. Discriminate and specify differences among a wide variety of music genres (e.g.,Classical, 20th Century, opera, instrumental, vocal, electronic, etc.) and styles(e.g., folk, sacred, secular, jazz, popular, ethnic).


a. Determine the date and place of origin of selected works of music based on themusical characteristics of the example.

b. Compare and contrast separate performances of selected works of music. c. Describe characteristics of various music forms (e.g., chorale, fugue, sonata

allegro, rondo, theme and variation, blues, etc.) d. Discriminate between intervals that move by step, skip, or leap. e. Analyze important harmonic events in music (e.g., cadences, key change,

modulation, tonic/dominant chord relationships) when listening to selectedinstrumental or choral examples.

f. Describe the musical devices composers use to convey mood and/or emotion inselected examples of music.

5. Demonstrate understanding of music notation and symbols by reading andperforming music. (CA)

a. Sight-read by singing or play melodies in a variety of major/minor keys and modesin treble and bass clef.

b. Define, interpret, and perform rhythmic, melodic, and harmonic symbols of staffnotation.

c. Define, interpret, and perform meter signatures, tempo markings, and dynamicmarkings that are incorporated into music scores.

d. Write melodies, bass lines, and inner parts as dictated from selections using basicchord progressions and limited non-harmonic tones.

e. Interpret, demonstrate, or describe conducting gestures that assist performers inreading and performing music scores.

6. Analyze forms and subject matter in music that recur across cultures, times,and places. (HC)

a. Compare and contrast music scores or performances of music written by well-known composers from major historic periods of classical music (e.g.,Renaissance, Baroque, Classical, Romantic, early/late 20th Century).

b. Integrate the study of music literature across cultures, times, and places throughthe use of universal themes (e.g., celebrations, lullabies, sacred or secular music).

c. Compare the lives and works of composers of today with those of other times andplaces.

d. Examine the role of music in the lives of people from a wide variety of cultures,times, and places.


Music 174

7. Interpret the value of a musical work in terms of aesthetic qualities. (A)

a. Establish criteria for evaluating works of music based on knowledge of musicelements, performance practice, and individual beliefs about music.

b. Examine works of music that have endured over time to determine qualities theyshare in common.

c. Research and/or describe the meaning or message communicated by selectedworks of music.

8. Analyze the relationship of content in music to other arts and other subjects(C)

a. Examine developments in music theory and literature that correlate with events inworld history or American history.

b. Discover relationships between sound in music and scientific study of sound. c. Investigate similarities between tone color in music and the color palette used by

visual artists. d. Evaluate the relationship of music to the disciplines of dance and drama.

9. Analyze contributions of musicians and the music industry to individuals andcommunities. (C)

a. Identify music performance and audience opportunities in the local community. b. Identify sources (e.g., libraries, education institutions, retail outlets, performing

arts centers, performers) in the local community or region and on the Internet forpursuing a personal interest in music theory and music literature.

c. Determine the importance of music in the lives of family members, friends, and/ormembers of the community.

d. Evaluate the use of technology as a lifelong music-learning resource.


High School Theory and Harmony/Literature

Music 175


SuggestedAssessment

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Divide students into two groups. One group willsing the melody to a familiar song. The other groupwill sing or play chord roots to accompany thesong.

Students arrange an accompaniment thatincorporates I, IV, and V chords into a familiar 16-measure song such as Twinkle, Twinkle, Little Star.Divide the class into sections to sing thearrangement.

Students listen to Benjamin Britten’s YoungPerson’s Guide to the Orchestra. Students listnames of instruments (ex. flute, French horn, etc.)and instrument sections (ex. brass, percussion,etc.) on a piece of paper.

Students listen to a selection such as OlympicFanfare, by Leo Arnaud and discuss the use ofmusic elements and choice of instruments thecomposer incorporates to create a sense ofpageantry in the music.

Individual students sight-read major or minorselections, or modal examples of teacher-selectedrepertoire.

Students compare and contrast separateperformances of Bach’s Fugue in D Minor playedon an organ and on a synthesizer.

Students listen to and analyze music examplessuch as a love duet from La Boheme and a loveduet from it’s 20th Century Broadway counterpart,Rent. Discuss the musical elements of a love songwritten in two different centuries.

Students listen to a recording of Claire de Lune byDebussy, an impressionist composer. Compareways that painters (such as Monet, Renoir, orDegas) and ballet dancing of that era approachedtheir work with elements heard in Debussy’s piece.

Teacher observation ofstudent success in groupparticipation

Teacher observation orstudent arranger self-assessment

Students self assess basedon outline prepared by theteacher


Teacher and peer evaluationof sight-singing accuracy

Teacher observes studentability to identify differencesin the timbre of the twoinstruments

Teacher observes studentability to identify common ordissimilar music elements inthe selected works

Teacher observation ofstudent discussion. Canstudents correlate the colorin the music with the lightand color in the paintings?


High School Theory and Harmony/Literature

Music 176

9 d Students keep a daily journal documenting theirexperiences using music and technology such asplaying an electronic keyboard, downloading musicfrom the internet, etc., for one week. Studentscompare reports.

Teacher and peerobservation of journal writingTeacher and peer evaluationof student reports.


Music 177


MUSIC

The Literature Connections section is designed to serve as a guide and first-stop sourcefor making cross-curricular connections. The titles are not extensive and other booksshould be used in the classroom.


Aylesworth, Jim THE COMPLETED HICKORY, DICKORY DOCK. NewYork: Macmillan Publishing Co., 1994. Illustrated by EileenChristelow. Recounts the antics of a young mouse eachhour after the clock strikes one.

Demi THE FIREBIRD. New York: Henry Holt, 1994. ThisRussian fairy tale is lavishly illustrated in bright colors andgold; a suitable companion for Stravinsky’s ballet.

Ellwand, David TEN IN THE BED. New York: Handprint Books, 2002. Acounting book.

Goode, Diane SILLY STORIES AND SONGS. New York: DuttonChildren’s Books, 1992. This collection of stories andsongs from numerous cultures includes notes about storysources.

Hays, Michael ABIYOYO. New York: Simon and Schuster, 1994. A story-song based on a South African lullaby and folk story. AReading Rainbow Book.

Kalman, Bobbie BALLET SCHOOL. New York: Crabtree Press, 1994.Describes what it is like to study ballet at the National BalletSchool in Canada from living at the school to getting readyfor a performance.

Kellogg, Steven YANKEE DOODLE. New York: Simon & Schuster, 1996.The illustrator uses the multiple verses of the originalRevolutionary War song to relate history. Facts supportingthe text are included.

Kovalski, Maryann THE WHEELS ON THE BUS. New York: Little Brown andCo., 1987. A book to sing. While a grandmother andgrandchildren wait for a bus, they sing the title song withsuch gusto they miss the bus.


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Lester, Julius JOHN HENRY. New York: Dial Books, 1994. Thetraditional story and ballad of the “Steel Drivin’ Man”includes beautiful illustrations and a surprise ending.

Martin Jr., Bill; Archambault, J. CHICKA, CHICKA BOOM! BOOM! New York: Simon &Schuster, 1989. Book and cassette. A delightful way toencourage memorization of the alphabet.

Moore, Inga THE SORCERER’S APPRENTICE. New York: MacmillanPublishing Co., 1989. A picture book and story thatemphasizes the importance of respecting rules.

Moss, Lloyd ZIN! ZIN! ZIN! A VIOLIN. New York: Scholastic Inc., 1995.Illustrated by Marjorie Priceman, the book includes richvocabulary and pictures of instruments.

Muller, Jorg PETER AND THE WOLF. New York: Alfred Knopf Inc.,1986. A musical fairy tale by Sergei Prokofiev (book andtape).

Paker, Josephine I WONDER WHY FLUTES HAVE HOLES AND OTHERQUESTIONS ABOUT MUSIC. New York: Kingfisher, 1995.This delightfully illustrated book answers miscellaneousquestions about music, instruments, composers, etc.

Rachlin, Ann & Hellard, Susan SCHUMANN. Chicago: Children’s Press, 1993. This booktells stories from the life of composer, Robert Schumann.Other books in the Famous Children Series include Bach,Brahms, Chopin, Handel, Haydn, Mozart, and Tchaikovsky.

Scieszka, Jon THE TRUE STORY OF THE 3 LITTLE PIGS. New York:Puffin Books, 1989. A delightful re-telling of the traditionalstory, from the perspective of the wolf.

Spier, Peter THE STAR SPANGLED BANNER. New York: Doubleday,1992. This picture book illustrates the text of our nationalanthem written by Frances Scott Key.

Weiss, George David; WHAT A WONDERFUL WORLD. New York:Thiele, Bob Simon & Schuster, 1995. Illustrated by Ashley Bryan.

Ashley Bryan’s artwork depicts Louis Armstrong andchildren of many backgrounds performing a puppet showthat brings to life the song Armstrong made famous.

Whitman, Walt I HEAR AMERICA SINGING. New York: Philomel Books,1991. Whitman’s poem is illustrated in this picture book byRobert Subuda.


Music 179

Middle School

Baeza, Silvia P. MUSIC & DANCE. Vero Beach, FL: Rourke Publications,Inc., 1995. Latino life, music, history, and criticism.

Bennett, William J. THE BOOK OF VIRTUES. New York: Simon & Schuster,1993. This rich collection of stories provides numerousconnections to literature and music.

Geis, Jacqueline WHERE THE BUFFALO ROAM. Nashville: IdealsChildren’s Books, 1992. An illustrated version of Home onthe Range with connections to wildlife and landscapes ofthe American southwest.

Guthrie, Woody THIS LAND IS YOUR LAND. New York: Little, Brown andCo., 1998. The folksong writer’s well-known music islavishly illustrated by artist Kathy Jakobsen; introduction byPete Seeger.

Mitchell, Barbara AMERICA, I HEAR YOU. Minneapolis: Carolrhoda Books,Inc., 1987. A biography of the American composer,George Gershwin.

Roalf, Peggy LOOKING AT PAINTINGS: MUSICIANS. New York:Hyperion Books for Children, 1993. Painters have depictedmusicians for more than two thousand years to express joy,beauty, and sometimes despair. This book providesinsights into artists and musicians, good connectionsbetween two arts disciplines.

Siebert, Diane MISSISSIPPI. New York: Harper Collins Publishers, 2001.Greg Harlan has illustrated the poetry of the author withsweeping scenes of the river landscape. Additionalconnections to history and science.

High School

Bamberger & Brofsky: THE ART OF LISTENING: DEVELOPING MUSCIALPERCEPTION AND RHYTHM. New York: Harper andRow, 5th ed., 1988. Chronological information on thefundamentals of harmony.

Berger, Melvin THE STORY OF FOLK MUSIC. New York: S. G. Phillips,1976. Examines the evolution of American folk music dueto the influences of p

Bernstein, Leonard THE JOY OF MUSIC. New York: Simon and Schuster,1959. Best-seller collection of Bernstein’s essays andconversations on the world of music from Blues toBeethoven.


Music 180

Ellis, Dr. Rex M. WITH A BANJO ON MY KNEE: A MUSICAL JOURNEYFROM SLAVERY TO FREEDOM. New York: F. Watts,2001. Discusses the influence of the banjo on AfricanAmerican music and profiles various banjo players.

Haskins, James BLACK MUSIC IN AMERICA. New York: Thomas Crowell,1987. Surveys the history of African-American music, fromearly slave songs through jazz, the blues to soul, classicalmusic and current trends.

Lyons, John Henry STORIES OF OUR AMERICAN PATRIOTIC SONGS.New York: Vanguard, 1942. Music of patriotic songs withillustrations.

Machlis, Joseph AMERICAN COMPOSERS OF OUR TIME. New York:Greenwood Press, 1990. Introduction to modern Americanmusic. Biographies of modern American composers,documenting their uphill struggles. Tips on compositionsrecorded to record and what to note in studying them.

Mississippi Dept. of Archives ALL SHOOK UP. Mississippi Roots of American andHistory Popular Music


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MUSIC

The Technology Connections section is designed to serve as a starting point forinvestigation into using technology in the music instructional program. The MississippiDepartment of Education does not endorse or recommend purchasing the followingresources. Mississippi Department of Education suggests that all resources bethoroughly reviewed to accommodate the needs of individual districts. Please notetechnology changes on a daily basis, therefore, web sites, software, etc. which may becurrent on a given day may not be the next. Keep this in mind when using this as aresource.

Web Sites

Americans for the Artshttp://www.artsusa.org

Arts Education Partnershiphttp://www.aep-arts.org

American Music Conference AMChttp://www.amc-music.com

The American Music Education Initiativehttp://www.usamusic.org

American Orff-Schulwerk Association (AOSA)http://www.aosa.org

ArtsEdge: Linking the Arts and Education Through Technology. Cooperative web site of theJohn F. Kennedy Center for the Performing Arts and the National Endowment for the Artshttp://artsedge.kennedy-center.org

Awesome LibraryIn the “Music” section, see listings for choir, composers, opera, etc.http://www.awesomelibrary.org

Best Children’s Music, Children’s Music Webhttp://www.childrensmusic.com

British Journal of Music Education (Cambridge University Press)http://Uk.cambridge.org

CABC (Center for Arts in the Basic Curriculum)http://www.Newhorizons.org/ofc_cabc.html#abcabc


Music 182

CARTS: Cultural Arts Resources for Teachers & Studentshttp://www.carts.org

Children’s Music Workshophttp://childrensmusicworkshop.com/cmw.html

Dalcroze Society of Americahttp://www.dalcrozeusa.org/index.htm

Earlychildhood Newshttp://www.earlychildhood.com

Education Index: Music Resourceshttp://www.educationindex.com/music

Education Worldhttp://www.education-world.com/arts/index

ERIC Clearinghouse on Elementary and Early Childhood Educationhttp://www.ericeece.org

How to Sing and Dancehttp://www.ur-net.com/music-little-folks

Idea Box: Early Childhood Education and Activity Resourceshttp://www.theideabox.com

J. Paul Getty Museum, the site offers the Multicultural Art Print Series for classrooms K-12;extensive links to arts-related Web siteshttp://www.getty.edu/artsednet/resources/Maps

Kids Music Planethttp://www.kidsmusicplanet.com

Kidzone! (New York Philharmonic)http://www.newyorkphilharmonic.org

Kindermusikhttp://www.kindermusik.com

Lessons from the Worldhttp://www.mhhe.com/primis/catalog/pcatalog/D30-1.htm

MENC: The National Association for Music Education, a professional organization serving theneeds of music educators at all levelshttp://www.menc.org

Mississippi Alliance for Arts Education. The site includes numerous state/national resourcesspecific to music/arts educationhttp://www.msartsalliance.com


Music 183

Music for Kids Onlinehttp://www.musicforkids.com

Music Technology Centerhttp://www.mtlc.net/main.php

Musikgartenhttp://www.musikgarten.org

NAMM (International Music Products Association)http://www.namm.com

National Assembly of State Arts Agencieshttp://www.nasaa-arts.org

National Association for the Education of Young Children (NAEYC)http://www.naeyc.org

National Endowment for the Artshttp://www.nea.gov

National Institute on Early Childhood Development and Education (U.S. Department ofEducation)http://www.ed.gov/index.jsp

The Nation’s Report Cardhttp://nces.ed.gov/nationsreportcard/arts

The Newsletter of TI:ME/Technology Institute for Music Educatorshttp://www.ti-me.org

Organization of American Kodaly Educators (OAKE)http://www.oake.org

VSA Arts (Formerly Very Special Arts)http://www.vsarts.org

Software

ALFRED’S ESSENTIALS OF MUSIC THEORY - Alfred Publishing Co., Inc. (CD Rom) Forordering information: (818) 892-2454 orhttp://www.alfred.com/frameset,cfm?sub=home

DR. T’S SING-A-LONG AROUND THE WORLD (1994-Music and Sound Award, MusicEducator product of the year) CD Rom. This gives songs, pictures and flags for the countrieson the map. Songs are sung in English and the language of the country.

GREAT COMPOSERS – Beethoven, Grieg and Hanson. CD Rom. (A selection of CD’s isavailable.) The story of the composer with written/spoken story lines and with composer’s mostfamous compostions played in the background. Zane Publishing.


Music 184

THE INSTRUMENTAL HISTORY OF JAZZ. Wille L. Hill, Jr. MENC/International Association ofJazz Educators. Two audio CD boxed set with multimedia features (Mac, PC); 56-page book.

MUSIC ACE – An interactive CD-rom program designed to develop music skills.

MUSIC! WORD! OPERA! (Microsoft); MMB, Inc.

SONIC FOUNDRY DEMO CDs For ordering information:http://www.sonicfoundry.com or call 1-800-57-SONIC

AURALIA COMPLETE EARTRAINING FOR ALL MUSICIANS (CD Rom) and MUSITION2COMPETE MUSIC THEORY TRAINING FOR YOUR PC; 1999-2002 Rising Australia Pty.Ltd.http://www.risingsoftware.com

Other

(See Music Resources for listings of books with accompanying cd’s and tapes.)

RHYTHMICALLY MOVING by Phyllis Weikert.

MUSIC ALIVE! Magazine Subscription P.O. Box 53063, Boulder, CO 80323-3063http://www.musicalivel.com (middle school)

Companies

Zane Publishing, Inc. 1950 Stemmons, Suite 4044, Dallas, TX 75207-3109.http://www.zane.com


Music 185

RESOURCES

MUSIC

The Resources section is a listing of supplemental educational material that may behelpful to teachers. This list is not comprehensive and is offered as a starting point forinvestigation into possible resources. The Mississippi Department of Education doesnot endorse or recommend the following resources and suggests that other resourcesshould also be considered.

BOOKS

Kindergarten Through Fourth Grade

Barrett, McCoy, Veblen SOUND WAYS OF KNOWING: MUSIC IN THEINTERDISCIPLIPINARY CURRICULUM.ISBN: 0-02-864530-8Schirmer: Thompson Learninghttp://www.music.wadsworth.com

Beall, Pamela Conn; THE WEE SING SERIES. Los Angeles, California:Nipp, Susan Hagan Price Stern Sloan, Inc. A Collection of Songs and

Fingerplays.

Bergethon/Boardman/ MUSICAL GROWTH IN THE ELEMENTARYMontgomery SCHOOL, SIXTH EDITION.

ISBN: 0-15-501648-2Schirmer: Thompson Learninghttp://www.music.wadsworth.com

Brewer, James H. MISSISSIPPI MUSICIANS HALL OF FAME. Brandon,MS: Quail Ridge Press, 200l. Little know facts andbiographies of Mississippi’s great musicians. Excellentresource for any grade level.

Campbell/Scott-Kassner MUSIC IN CHILDHOOD: FROM PRESCHOOLTHROUGH THE ELEMENTARY GRADES,SECOND EDITION.ISBN: 0-534-58554-XSchirmer: Thompson Learninghttp://www.music.wadsworth.com

Campbell-Towell, Lee ALLIGATOR PURSE. Milwaukee, WI: Hal Leonard. Oldgames made new with movement and song.

Campbell-Towell, Lee CAT PAWS. Milwaukee, WI: Hal Leonard. Songs for andJudy Smith Murray moving and playing by. Book #44223097 (Book and tape).


Music 186

Hammett, Carol BALL, HOOP, AND RIBBON ACTIVITIES FOR YOUNGand Elaine Bueffel CHILDREN. Long Branch, NJ: Kimbo Educational (book

and tape).

Jacobsen, John CONGA IN THE KITCHEN. Milwaukee, WI: Hal Leonard.and Alan Billingsley Movement and Activity Songs for Kids.

Lavender, Cheryl ROCKIN’ RHYTHM RAPS. Milwaukee, WI: Hal Leonard.A sequential approach to rhythm reading. (book and CD)

Leonard, Hal ANY TURKEY CAN TANGO. Milwaukee, WI: HalLeonard. Seasonal songs for moving and playing. Book#08740129. (book and tape)

Leonard, Hal THE GREAT COMPOSERS. Milwaukee, WI: HalLeonard. Interesting information that kids like to know, aunison music selection, and ways to teach the song.(book and reproducible packet)

Levine, Donna B. MUSIC THROUGH CHILDREN’S LITERATURE: THEMEAND VARIATIONS . Englewood, Colorado: TeacherIdeas Press, 1993. Thirty nine books are presented withmusic connections, vocabulary and additional resources.

Lornell, Rasmussen MUSIC OF MULTICULTRUAL AMERICA: ASTUDY OF TWELVE COMMUNITIES.ISBN: 0-02-864585-5Schirmer: Thompson Learninghttp://www.music.wadsworth.com

Martin, Bill CHICKA, CHICKA BOOM! BOOM! New York, NY:and John Archambault Simon and Schuster. A delightful way to encourage

memorization of the alphabet. (book and cassette).

Marx, Pamela TAKE A QUICK BOW! Glenview, IL: Goodyear Books,1997. Contains twenty-six short plays that may be easilystaged in the classroom on every subject from theseasons and holidays to American heritage, science, folktales from diverse cultures, and more. Each play allowsfor a flexible number of characters, with enough roles foran entire class.

Mattox, Cheryl Warren SHAKE IT TO THE ONE THAT YOU LOVE THE BEST:Play songs and Lullabies from Black Musical Traditions.El Sobrante, CA: Warren-Mattox Productions, 1989.

McLean, Edwin SCHOOLHOUSE ROCK SONGBOOK. Port Chester, NY:Cherry Lane Music Company.

Meyrick, Kathryn THE MUSICAL LIFE OF GUSTAV MOLE. Martinez, CA:Discovery Toys. (book and tape)


Music 187

Moss, Lloyd ZIN! ZIN! ZIN! A VIOLIN. Illustrated by MarjoriePriceman. New York, N.Y: Scholastic, Inc.

Muller, Jorg PETER AND THE WOLF. New York: Alfred Knopf Inc.,1986. A musical fairy tale by Sergei Prokofiev. (book andtape)

The Reader’s Digest THE READER’S DIGEST “CHILDREN’S SONGBOOK”.Association, Inc. Pleasantville, New York. ISBN-0-89577-214-0. A

delightful collection of songs with notes about each song.

The Reader’s Digest DOWN THE MISSISSIPPI. Reader’s Digest travels andAssociation, Inc. adventures condensed from MISSISSIPPI SOLO: A

RIVER QUEST by Eddie L. Harris. Pleasantville, NY:The Reader’s Digest Association, Inc.

Riekehof, Lottie THE JOY OF SIGNING. Springfield, Missouri: GospelPublishing House, 1987. Sign-language dictionary.

Scieszka, Jon THE TRUE STORY OF THE 3 LITTLE PIGS. New York,N.Y: Puffin Books. (Use with Orff instruments and drama)

Middle School


Gerke, Pamela MULTICULTURAL PLAYS FOR CHILDREN: Volume II:GRADES 4 – 6. Lyme, NH: 1996. Ten plays based onmulticultural folktales from such countries as Ghana,China, and Italy.

Jacobsen, John and Billingsley, A. CONGA IN THE KITCHEN. Milwaukee, Wi: Hal Leonard.Movement and Activity Songs for Kids.

Kalman, Bobbie BALLET SCHOOL. New York, NY: Crabtree Press.

Lavender, Cheryl ROCKIN’ RHYTHM RAPS. Milwaukee, WI: Hal Leonard.A sequential approach to rhythm reading.

Leonard, Hal THE GREAT COMPOSERS. Milwaukee, WI: HalLeonard. Interesting information that kids like to know, aunison music selection, and ways to teach the song.(book and reproducible packet)

Levine, Donna B. MUSIC THROUGH CHILDREN’S LITERATURE: Themeand Variations. Englewood, Colorado: Teacher IdeasPress, 1933. Thirty nine books are presented with musicconnections, vocabulary and additional resources.


Music 188

The Reader’s Digest THE READER’S DIGEST “CHILDREN’S SONGBOOK”.Association, Inc. Pleasantville, New York: ISBN-0-89577-214-0. A

delightful collection of songs with notes about each song.

Riekehof, Lottie THE JOY OF SIGNING. Springfield, Missouri: GospelPublishing House, 1987. Sign-language dictionary.

Silverman, Jerry MEL BAY PRESENTS: THE AMERICAN HISTORYSONGBOOK. Pacific, MO: Mel Bay Publications, 1992.U.S. patriotic and national songs through history.

High School

Albrecht, Sally CHORAL MUSIC IN MOTION. Vol. I, Vol. II, 1989.Adding movement to your choral program.

American String Teacher STRING SYLLABUS. American String TeacherAssociation Association.


Crocker, Emily and Eilers, J. CHORAL APPROACH TO SIGHT SINGING. Milwaukee,WI: Hal Leonard, 1995. Collection offers a variety of acapella warm ups and workouts.

Glencoe McGraw-Hill MUSIC! ITS ROLE AND IMPORTANCE IN OUR LIVES(text)Teacher Resource Binder includes: Unit and ChapterBlackline Masters, Music Theory Masters, Unit Tests andAnswer Key, Fine Art Transparencies, Fine ArtTransparencies Instructor’s Guide.

Gridley, Mark Jazz Styles: History of Analysis 3rd and 6th Edition, UpperSaddle River, NJ. History of Jazz styles.

Kamien, Roger MUSIC AN APPRECIATION 2nd Brief EditionMcGraw-Hill Publisher, ISBN: 0-07-034819-7.

Kinghorn, Harriet LET’S MEET FAMOUS COMPOSERS.Lewis-Spicer, Lisa and T.S. Denison & Company, Inc., Publisher.Badman, Jacquelyn A creative activity book.

Miles, Richard TEACHING MUSIC THROUGH PERFORMANCE. Vol. I –IV, Chicago, IL: GIA publications, 2000. Indispensableresource for band directors.


Music 189

Swope, Carol M. INDIVIDUALIZED RESOURCE BOOK FOR GENERALMUSIC CLASSES. J. Weston Welch, Publisher.(reproducible)

Telfer, Nancy SUCCESSFUL SIGHT SINGING. San Diego: Neil A.Kjos Music Co., 1992. Well Organized method for sight-singing.

ORGANIZATIONS

Mississippi Alliance for Arts Education, 3008 Navajo Cir., Hattiesburg, MS 39402http://www.msarts.alliance.com

Mississippi Arts Commission, 239 N. Lamar Street, Suite 207, Jackson, MS 39201(601) 924-0131 http://www.arts.state.ms.us

MUSIC PUBLISHERS

Cherry Lane Music Company. P.O. Box 430, Port Chester, NY 10573Crabtree Press. 350 Fifth Avenue, Suite 3308, New York, NY 10118Gospel Publishing House. 1445 Boonville Ave., 65802Hal Leonard. 7777 W. Blue Mound Rd. P.O. Box 13819, Milwaukee, WI 53213Kimbo Educational, P.O. Box 477, Long Branch. N.J.Plank Road Publishing Company. P.O. Box 26627, Wauwatosa, WI 53226. (262-790-5210)Price Stern Sloan, Inc. 360 North La Cienega Blvd, Los Angeles, California 90048.Scholastic, Inc., 555 Broadway, New York, NY 10012USA Plays for Kids, Drury University, 900 North Benton Avenue, Springfield, MO 65802

http://usaplays4kids.drury.edu

OTHER

NATIONAL STANDARDS FOR ARTS EDUCATION. 1994.Reston, VA: MENC.MUSIC K-8. The Resource Magazine for Elementary and Middle School Music Teachers.

Plank Road Publishing Company.Teaching Music Magazine; MENCChoral Journal; ACDAGeneral Music Today; MENC Bob Kelly Cosmetics, 151 West 46th Street, New York, NY 10036Combat Video, 322 Northwest 175th, Seattle, WA 98177DVC, Inc., P. O. Box 40227, Indianapolis, IN 46240Films for the Humanities, P. O. Box 2053, Princeton, NJ 98543Insight Media, 121 West 85th Street, New York, NY 10024Metropolitan Opera Guild, "Creating Original Opera," 212-769-7023, David Dik, Program

DirectorOsesen Company, 1535 Ivar Avenue, Hollywood, CA 92024

Suggested Additional Resources/Equipment

MIDI – Interface cables or device with cables that allow digital instruments to connect to computer software for program applications and to make digital sounds.


Music 190

Sequencing software - Records acoustic or digital sounds digitally on computer software for editing, playback, and archival.

Ethnic music videos - Videos that show indigenous people make traditional music native totheir culture, country, or ethnic group.

Electronic keyboards - Piano-based instruments that are powered by batteries or electricity.They make representations of acoustic sounds, synthesized new sounds, chords andstylistic rhythms. Many have songs loaded on instrument and some have ways thatsongs can be recorded onto the instrument. They may be connected to computers withMIDI hardware. They are portable.

Barred percussion - Xylophones, metallophones, glockenspiels commonly called “Orff”instruments. They are played with mallets.

Recorders - Flute-like instruments that are made of plastic or wood. Plastic ones areinexpensive.

Notation software - Computer programs that write music notes through manual entry or MIDIentry. Music looks professional and may be printed or played back through thecomputer or connected keyboard.

Basal textbook series – Adopted by state as optional required textbooks for music. Includesvideos, CD accompaniment tracks, and supplement books for instruments, signlanguage, foreign languages, worksheets, and music technology.


Music 191

MUSIC GLOSSARY

a cappella – Unaccompanied choral singing.

accent – A stress or emphasis ( > ) given to certain tones.

accompaniment – Vocal or instrumental parts that accompany a melody.

acoustic – A term used to distinguish instruments from their electronic counterparts.

aesthetics – The study of the relationship of music to the human senses and intellect.

alla breve – The meter signature indicating the equivalent of 2/2 time.

allegro – Fast.

analyze – To separate or distinguish the component parts of a piece of music in orderto discover their unique characteristics.

andante – Moderately slow (“walking”).

arco – With the bow.

arrangement – The adaptation of a composition for performance to suit the particularneeds of performers.

articulation – The manner in which notes are performed, such as staccato or legato.

atonality – Music in which no single tone is the home base or key center.

bar or bar line – A vertical line separating the staff into measures.

beat – Unit used to measure rhythmic pulses.

binary – A musical form consisting of two main sections.

blues – A style of music usually conceived in twelve-bar phrases; tonality ispredominantly major, but with the 3rd and 6th of the key flattened; othercharacteristics include use of 7th chords, syncopation, and improvisation.

brass instruments – Wind instruments made of brass or other metals. Someexamples are: trumpet, French horn, trombone, and tuba.

cadence – A group of notes or chords at the end of a phrase or piece of music thatgives a feeling of pausing or finality.


Music 192

caesura – Silence (often following a fermata) often indicated by “railroad tracks” orapostrophe.

call-response – A musical form in which a melodic statement (call) is presented followed by an answer (response).

canon – Process of imitating the same pattern while the original pattern is still being performed; similar to round.

chord – The simultaneous combination of at least three different pitches.

chord root – The pitch on which a chord is constructed; the most important pitch in thechord.

classroom instruments – Instruments typically used in the general music classroom,including, for example, recorders, mallet instruments, hand-held percussioninstruments, fretted instruments, keyboard instruments, and electronicinstruments.

clef – A symbol written at the beginning of a musical staff indicating which notes arerepresented by which lines and spaces.

coda – A short passage added to the end of a composition; a musical way of saying“the end.”

composition – Original music created by organizing sound; usually written forothers to perform.

compositional devices – The melodic, harmonic, rhythmic, formal, and expressivetechniques used to create and sustain a musical composition (e.g., the use ofterraced dynamics in the Baroque period, 12-tone, and serial technique in 20th

Century music).

compound meter – Meter characterized by 3:1 relationship of the beat to thesubdivided beat (the note receiving the beat in compound meter is always adotted note).

create – To invent original text, melody, or harmony in a musical setting.

crescendo – A gradual increase in volume.

culture – The patterns, traits, and products that are associated with a particular period,place, or population.

duple meter – The grouping of beats into sets of two.


Music 193

dynamic levels, dynamics – Degrees of loudness and softness of a musical passage.

elements of music – Pitch, rhythm, harmony, dynamics, timbre, texture, form.

ensemble – The dynamic interplay of two or more performers making music.

ethnic – Music associated with a particular culture, race, or population.

expression, expressive, expressively -- With appropriate dynamics, phrasing, style,and interpretation and appropriate variations in dynamics and tempo.

evaluate – To examine and judge carefully; appraise.

fermata – A symbol placed over a note or rest to indicate that it is to be prolongedbeyond its normal duration.

form –The overall structural organization of a music composition (e.g., AB, ABA, calland response, rondo, theme and variations, sonata-allegro) and theinterrelationships of music events within the overall structure.

genre – A type or category of music (e.g., sonata, opera, oratorio, art song, gospel,suite, jazz, madrigal, march, work song, lullaby, barbershop, Dixieland).

glissando – A continuous or sliding movement from one pitch to another.

harmonic progressions – A succession of individual chords or harmonies that formlarger units of phrases, sections, or compositions.

harmony – The simultaneous sounding of two or more pitches.

icons – Symbols associated with learning and reading music notation.

improvisation – Spontaneous musical invention created without the aid of manuscript,sketches, or memory.

interval – The distance in pitch between two tones.

intonation – Degree to which the pitch is accurately produced in performance,particularly among the players or singers in an ensemble.

introduction – A brief section of music that precedes the main body of a composition.

jazz – A style of American music that originated in the South with African Americans;characterized by a strong, prominent meter, improvisation, and syncopatedrhythms.


Music 194

key – The series of tones forming any given major or minor scale.

keyboard instruments – Instruments played by means of a set of piano-like keys.

key signature – The sharps or flats printed at the beginning of each staff that indicatethe key of the composition.

legato – To sing or play in a smooth or connected manner with no breaks between thetones.

major key – A key based on a major scale.

measure – A group of beats separated by bar lines.

melody – A logical succession of musical pitches arranged in a rhythmic pattern.

melodic rhythm – Durations of pitches used in a melody.

meter – The grouping in which a succession of rhythmic pulses or beats is organized;indicated by a meter signature at the beginning of a work.

meter signature – An indicator of the meter of a musical work, usually presented in theform of a fraction, the denominator of which indicates the unit of measurementand the numerator of which indicates the number of units that make up ameasure.

MIDI – Music Instrument Digital Interface – A standard interface that enables electronic instruments such as the synthesizer, sampler, sequencer, and drum machine

from any manufacturer to communicate with one another and with computers.

minor key – A key based on a minor scale.

mixed meter – A sequence of different meters within a section of a composition.

modal – In the character of a mode, patterned from church modes of the 13th Century.

modal tonalities – Music based on scales other than major, minor, or pentatonic.

motive -- A brief rhythmic/melodic figure or pattern that recurs throughout acomposition as a unifying element.

musical technique – The ability to perform with appropriate timbre, intonation, anddiction and to play or sing correct pitches and rhythms.

ostinato – A short musical pattern that is repeated persistently throughout acomposition.


Music 195

overtones – Tones generated from a fundamental sound source.

pentatonic scale – Music based on a five-tone scale using tones, do, re, mi, sol, andla.

percussion – The group of instruments that are sounded by striking or shaking.

performance practices – Approach to performance in a particular style of music.

phrase – A musical idea like that of a sentence or clause.

pitch – The highness or lowness of a music tone.

pizzicato – Plucked.

repertoire – A collection of music compositions.

range – The highest and lowest pitches of a melody, an instrument or a voice.

refrain – Phrases recurring at the end of each verse of a song, sometimes called thechorus.

rest – The notation symbol used to indicate silence in music.

rhythm – The combinations of long and short, even and uneven sounds and silencesin music.

rondo – A musical form in which the A section alternates with contrasting section(ABACA).

root – The lowest tone on which a chord is built.

round – A melody performed by 2 or more groups entering at different times.

rubric – An assessment strategy where objectives are defined and work is assessedaccording to a hierarchy of proficiency.

rudiments – A basic set of patterns used to rehearse performance technique.

sacred – Subject matter relating to sacred or religious themes.

scale – The arrangement of notes in specific order of whole and half steps.

score – Notation showing all the parts of a music ensemble, instrumental or choral.


Music 196

secular -- Subject matter relating to daily life; not sacred or religious.

simple meter – Meter characterized by a 2:1 relationship of the beat to the subdividedbeat (the note receiving the beat in simple meter is always an eighth note,quarter note, or half note).

solfege – A system for identifying the pitches of the Western scale: do, re, mi,, fa, sol,la, ti, do.

sonata – A composition for one or two instruments, usually in 3 or 4 movements.

sostenuto – Sustained.

staccato – To sing or play notes in a detached or separated manner.

staff – Five parallel horizontal lines used in traditional music notation.

string instruments – Those instruments in which the sound-producing agent is astretched string.

strophic songs – Songs in which all of the stanzas are sung to the same music;hymns and folk songs are usually strophic.

style – The distinctive or characteristic manner in which the elements of music aretreated. In practice, the term may be applied to, for example, composers (thestyle of Copeland), periods (Baroque style), media (keyboard style), nations(French style), form or type of composition (fugal style, contrapuntal style), orgenre (operatic style, bluegrass style).

sympathetic vibration – An acoustical concept describing a sound that is produced asa result of another nearby sound source.

syncopation – An arrangement of rhythm that places emphasis on weak beats orweak parts of beats.

tempo – The pace which at music moves, based on the speed of the underlying beat.

ternary – A musical form consisting of three main sections.

terraced dynamics – Gradual changes in dynamic level.

texture – The character of musical sound produced by different layers of horizontal(melodic) or vertical (harmonic) elements.

theme – A short melody within a musical composition.


Music 197

theme and variation – A musical form in which a given melody (called a theme) ispresented, followed by a number of modifications (each of which is called avariation).

timbre – The distinctive quality of sound that distinguishes one instrument, voice, orother sound source from another.

time signature – See meter signature.

tonality – The tonal center of a composition or a section of music.

tonic – The central tone of the key and the first note of the scale.

tremelo – Usually, the quick and continuos reiteration of a single pitch.

trill – The quick alteration between two notes, most often between the note indicated and the next diatonic step above.

triple meter – The grouping of beats into sets of three.

unison – Music that is sung or played on the same pitch by a group of performers.

variation – A different form or version of a given theme, with modifications in rhythm, key, or melody.

verse-refrain – A two-part song form (AB) with multiple verses where the second part(B) remains constant and repeats after every verse.

vibrato – A slight fluctuation of pitch used by performer to enrich or intensify the sound.

wind instruments – Generic name for instruments in which an enclosed column of airis the sound-producing agent. Includes brass and woodwind instruments.

woodwind instruments – Instruments in which a column of air is the sound-producingagent, such as clarinet, flute, oboe, saxophone.

THEATRE

“We use a mirror to see our face and the arts to

see our soul.”

George Bernard Shaw

Theater 1



Theatre 2

THEATRE

TABLE OF CONTENTS

Introduction…………………………………………………………………………………..3

Theatre Benchmarks .............................................................................................. ...4

Elementary Introduction.......................................................................................... ...9

Kindergarten........................................................................................................... .10

First and Second Grades…………………………………………………………………14

Third and Fourth Grades ........................................................................................ .21

Middle School Introduction ..................................................................................... .29

Middle School Level I – II …………………………………………………………….…..30

Middle School Level III - IV..................................................................................... .36

High School Introduction ....................................................................................... .43

High School Level I................................................................................................. .46

High School Level II................................................................................................ .54

High School Level III............................................................................................... .61

High School Level IV .............................................................................................. .69

High School Theatre Production…………………………………………………………78

Dramatic Criticism and Performance.……………………………………………………84

High Tech Video Production……………………………………………………………...90

Oral Interpretation/Readers’ Theatre…………………………………………………….95

Literature Connections…………………………………………………………………..100

Technology Connections………………………………………………………………..106

Resources………………………………………………………………………………...112

Glossary…………………………………………………………………………………...118


Theatre 3

THEATRE

INTRODUCTION

Theatre, a performing art that explores and enacts the imagined or actual worldof the human experience, is one of the primary ways children learn about life, aboutactions and consequences, about customs and beliefs, about others and themselves. All students can benefit from the theatre experience, which encourages them todevelop both internal and external resources. The study and practice of theatre areways of expanding knowledge and skills, a means of personal expression and delight,and a vehicle to explore art as an essential part of daily life.

The work of the theatre is social in nature requiring collaboration among artists,technicians, and audiences. The subject and method of theatre are also social; theatreenhances the efforts of all participants to explore the human condition and enablesthem to do so as a community. The concerns of theatre are also the concerns oftheatre-derived media such as radio, film, and television. They touch every aspect ofhuman experience. Theatre is an ever-changing kaleidoscope of all the arts. Therefore,theatre has the remarkable power to communicate holistically, through the senses, withthe hearts and minds of men, women, and children.

In order to assist the development of broad and deep theatrical knowledge andskills in students and to nurture within them lifelong connections to theatricalexpression, a sequential program of study is necessary. The Theatre section of theMississippi Visual and Performing Arts Framework serves as a guide for elementary,middle school, and high school theatre curriculum development at the district and localschool level.


THEATRE BENCHMARKS

*the equivalent of 1 Carnegie unit Theatre 4

Goal 1: Students will communicate ideas and feelings by creating and performing works of art through theatre.


BENCHMARKS




Demonstrate ability to understandimprovisations based on personalexperience, heritage, imagination,literature, and history

Write scripts through the process ofimprovisation leading to scriptedscenes based on personalexperience, heritage, imagination,literature, and history

Write scripts based on personalexperience, heritage, imagination,literature, and history throughimprovisation and research

Write and objectively evaluate scriptsthrough improvising, writing, andrefining scripts based on personalexperience, heritage, imagination,literature, and history

Act by assuming roles and interactingin improvisations

Develop acting skills to portraycharacters that interact in improvisedand scripted scenes

Develop and communicate charactersin improvisations and informalproductions

Develop objectivity in appraisingpersonal abilities and creativeendeavors while acting inimprovisations and formal andinformal productions

Design by visualizing and arrangingenvironments for classroomdramatizations

Design by developing environmentsfor improvised and scripted scenes

Design and produce environmentsthrough exploration of artisticinterpretations

Conceptualize and realize a unifiedartistic interpretation for formal andinformal productions

Direct by planning classroomdramatizations

Direct by organizing rehearsals forimprovised and scripted scenes

Direct by organizing and conductingrehearsals for formal and informalproductions

Evaluate the consequences ofdecisions made and actions taken inthe directing process


THEATRE BENCHMARKS


Goal 2: Students will respond to, describe, analyze, interpret, and evaluate the complex characteristics oftheatre.


BENCHMARKS




Understand the similarities anddifferences between everyday life,theatre, film, television, and electronicmedia productions

Understand that there are individualas well as universal meanings inclassroom dramatizations, theatre,film, television, and electronic mediaproductions

Understand personal preferences andconstruct meanings from classroomdramatizations, theatre, film,television, and electronic mediaproductions

Evaluate production concept anddramatic interpretation in classroomdramatizations, and from theatre, film,television, and electronic mediaproductions

Support classroom dramatizations byfinding information

Know how to apply discoveries fromresearch to support classroomdramatizations

Utilize research to support and defendartistic choices made in theatreproduction

Synthesize knowledge of researchedmaterial into the creation of a theatreproduction


THEATRE BENCHMARKS


Goal 3: Students will understand the roles and functions of artists and theatre in cultures, times, and places.


BENCHMARKS




Explore historical and multiculturalconcepts through dramatic activity

Recognize that theatre cancommunicate the artistic and socialvalues and accomplishments of othercultures, times, and places

Study context by analyzing the role oftheatre, film, television, and electronicmedia in other cultures, times, andplaces

Critically evaluate the role of theatre,film, television, and electronic mediain other cultures, times, and places


THEATRE BENCHMARKS


Goal 4: Students will perceive, understand, and appreciate the diverse meanings and value of theatre.


BENCHMARKS




Perceive and appreciate diversemeanings and values of works of art

Explore theatre and theatre artists inorder to respond cognitively tocreative products

Express meaning as a response toworks of theatre and theatre artists onthe basis of their aesthetic qualities

Critique and derive meaning fromworks of theatre and theatre artists onthe basis of their aesthetic qualities


THEATRE BENCHMARKS


Goal 5: Students will make valid connections among the arts, others subject areas, and everyday life.


BENCHMARKS




Experience theatre and relate tovarious arts and everyday life

Explore relationships between theatre,other arts, subject areas, andeveryday life

Understand connections betweencontent in theatrical experiences andother art disciplines, subject areas,and everyday life

Synthesize elements of all the arts, aswell as internal and externalexperiences, into the creation of atheatrical production

(Competency 9)


Theatre 9

THEATRE

ELEMENTARY INTRODUCTION(Kindergarten – Fourth Grade)

Developmentally, children in kindergarten through fourth grade exhibit aneed for concrete physical situations. Interaction with the surrounding environmentis critical in student learning as they acquire representational skills in the areas ofmental imagery and language. As students journey from Kindergarten through theFourth Grade they develop a worldview that grows beyond egocentrism to one thatis cognizant of events outside of their lives and able to take into account more thanone perspective simultaneously. Pretending and verbalizing are naturalprogressions that lead to new competence in thinking and expand into anawareness of transformations, as well as static situations.

The arts are the first means of expression of children. Children are naturallyinvolved in the arts from an early age as they sing, pantomime, move, create andcommunicate through their senses. Theatre in grades K-4 encourages students toexplore themselves, their community and their world through creative drama.Students will develop thinking and learning skills by imitating, speaking, moving,creating and sharing. The dramatic process provides students with opportunities todevelop teamwork skills and to express and understand themselves and others in apositive way. Through imitation and creative expression, students can explorelanguage arts, science, math, social studies and other academic disciplines throughthe power of drama. Creative drama also provides a natural vehicle for curriculumintegration. As students role-play and re-enact stories, they bring literature to lifeand develop reading expression and comprehensive skills. This program of study isto be used by the Theatre Specialist and or the Classroom Teacher in developingtheatre curriculum for kindergarten students in the following:

Elementary TheatreArts Integrated in the Elementary Classroom


Theatre 10

THEATREKINDERGARTEN


This program of study is designed to introduce kindergarten students to thebasic concepts of theatre. It is to be used in designing theatre curriculum for thefollowing:


The competencies are printed in bold face type and are required to be taught.Content strands include Creating/Performing, Critical Analysis, History/Culture,Aesthetics, and Connections. The competencies may relate to one or more of thecontent strands and may be combined and taught with other competencies throughoutthe school year. Competencies are not listed in order of importance and may be taughtin any order that is determined suitable by the school or district. Competencies providea general guideline of ongoing instruction, not isolated units, activities, or skills.

The suggested teaching objectives are optional. Objectives indicate conceptsthat enable the fulfillment of competencies, describe competencies in further detail, orshow progress of concepts within benchmark grade clusters. School districts mayadopt the suggested teaching objectives or may write their own objectives that meet orexceed those suggested, based upon needs of students at the local level.

For an explanation of the Content Strands, see the General Introduction Sectionof the Mississippi Visual and Performing Arts Framework. The Framework GeneralIntroduction, Literature Connections, Technology Connections, Resources, andGlossary are available on line at the Mississippi Department of Education web site:http://www.mde.k12.ms.us.


Theatre 11

THEATREKINDERGARTEN

CONTENT STRANDS:



1. Plan improvisations based on personal experience, heritage, imagination, andliterature. (CP, HC, C)

a. Explore life experiences and develop imaginary situations through guideddramatic play.

b. Know stories based on folklore of other cultures and times.

2. Act by playing characters and interacting in improvisations. (CP)

a. Create a variety of real and imaginary characters using basic acting skills (e.g., emotional, physical, and vocal expression, sensory perception, concentration).b. Perform group pantomimes and improvisations to retell familiar stories.

3. Respond to a variety of theatrical experiences. (CA)

a. Identify appropriate and inappropriate audience behavior.b. Identify characters, settings, and events seen or portrayed in formal and informal productions.c. Recognize the similarities and differences between theatre and other dramatic

media, such as film and television.

4. Perceive and appreciate diverse meanings and values of works of art. (A)

a. Give reasons for personal preferences for characters in a play, movie, etc. b. Recognize how theatre communicates events of everyday life.

5. Recognize content in theatre experiences that connects to other artdisciplines, subjects and everyday life. (C)

a. Cooperate with others in guided dramatic play.b. Identify with characters in a dramatic work.


Theatre, Kindergarten

Theatre 12


SuggestedAssessment

1

2

3

a

b

a

a

b

b

a

a,b,c

b

b,c

c

Students pull slips of paper with a picture of ananimal, object, or an event to portray throughimprovisation (e.g., a grasshopper, an airplane,getting dressed, eating an apple).

Students re-enact a folktale from another culture(e.g., African, Japanese, Native American) orfavorite fairy tale.

Students use imagination to create and performcharacters based on physical poses. For example,the student might be told to “make a triangle” withhis/her body, then to use that shape to inspire acharacter or object to become, like a rocket.

Students use drama software to create simplecharacters, backgrounds, and scripts.

Students plan and pantomime actions for acharacter in a story as teacher tells or reads it outloud.

Students make hand puppets and cardboardscenery or sculpt characters from play dough to actout story.

Teacher and students simulate acceptable physicaland verbal responses to performances bydemonstrating applause and laughter in response toclass performances.

Teacher prepares students to attend a localchildren’s theatre or bring a touring company to yourschool by discussing what to expect at a play andhow to behave. After the performance, review theexperience with students.

Teacher asks students to draw or re-enact theirfavorite character or moment in the play.

Teacher and students discuss the various elementsof a play that the students watch or create (actors,set or scenery, costumes, lighting, etc.).

Students describe the differences betweenattending a live performance and a movie.

Teacher observation

Class discussion andcritique of re-enactment

Participation checklist

Teacher observation

Teacher observation

Class discussion andcritique

Teacher observation

Class discussion

Teacher observation

Class discussion

Class discussion


Theatre, Kindergarten

Theatre 13

4

5

a

b

a

a

b

Teacher asks students to draw or act out a favoritecharacter from a movie, and tell three reasons whyhe or she is their favorite.

Students describe one part of a play or movie thatthey have seen that reminds them of their own lives.

Students plan and perform a scene from a familiarstory with a small group of other students.

Students use body, voice and imagination toillustrate concepts in other subject areas.� Make the shape of a letter of the alphabet with your body, give its sound, and pantomime becoming or using an object that starts with that letter. Imitate a variety of roles in family life.� Act out a family of animals, like the three

bears in the story of Goldilocks.

After viewing a play or movie, students identify thefeelings of a character and describe a time whenthey felt the same way.

Class discussionParticipation checklist

Class discussion

Class critique of scenesTeacher checklist ofdesired elements

Teacher observation

Teacher observation

Teacher observation


Theatre 14

THEATREFIRST AND SECOND GRADES


This program of study is designed to give first and second grade students anopportunity to explore at an introductory level the basic concepts of theatre,emphasizing guided creative practice. This program of study is to be used by theTheatre Specialist and or the Classroom Teacher in developing theatre curriculum forfirst and second grade students in the following:


The competencies are printed in bold face type and are required to be taught.Content strands include Creating/Performing, Critical Analysis, History/Culture,Aesthetics, and Connections. For an explanation of the content strands, see thegeneral introduction section of the Mississippi Visual and Performing Arts Framework.The competencies may relate to one or more of the content strands and may becombined and taught with other competencies throughout the school year.Competencies are not listed in order of importance and may be taught in any order thatis determined suitable by the school or district. Competencies provide a generalguideline of ongoing instruction, not isolated units, activities or skills.




Theatre 15

THEATREFIRST AND SECOND GRADES

CONTENT STRANDS:



1. Plan and record improvisations based on personal experience, heritage,imagination, literature, and history. (CP, HC, C)

a. Create real and imaginary scenes with a beginning, middle, and end from lifeexperience, diverse cultures, times, and places in guided dramatic play.

b. Dramatize stories from the folklore of other cultures, times, and places.c. Improvise dialogue to tell stories, and formalize improvisations by writing or

recording the dialogue.

2. Act by assuming roles and interacting in improvisations. (CP)

a. Develop body awareness and spatial perception through movement andpantomime.

b. Develop expressive use of voice.c. Develop sensory awareness of all fives senses.d. Use skills in pantomime, tableau, and improvisation to create characters and to

demonstrate their feelings, relationships, and environments.

3. Design by visualizing and arranging environments for creative play. (CP, C, A)

a. Comprehend the concept and role of technical theatre elements such as props,costumes, and scenery.

b. Interpret stories by creating appropriate environment and moody through theuse of props, costumes, and scenery.


Theatre 16

4. Respond to, analyze, criticize, and construct meaning from a variety oftheatrical experiences. (A, CA)

a. Use the correct vocabulary to identify and discuss elements that are unique tothe theatre (e.g., play, plot [beginning, middle, and end], improvisation,pantomime, stage, character, props, costumes, masks, sets, audience).

b. Recognize the message or meaning of various dramatic works.

5. Perceive and appreciate diverse meanings and values of works of art. (A)

a. Understand individual preferences for aspects of a story of dramatic work.b. Understand emotional reactions to a story or dramatic work.

6. Recognize content in theatre experiences that connects to other artdisciplines, subject areas, and everyday life. (C, CA)

a. Compare and contrast other art disciplines and subject areas (visual art, dance,music, creative writing) with theatre.

b. Use literature, current event, or life experience to create a dramatic activityutilizing plot (beginning, middle, and end).

c. Develop individual focus and group cooperative skills through participation ingroup theatre activities.


Theatre, Grades 1-2

Theatre 17


SuggestedAssessment

1

2

a

a,b

c

a

a

a

b

b

c

With classmates assigned to different roles, create aplan to act out a familiar story or a real life incident.After a test performance, discuss ways to improvethe story.

Students perform a variety of familiar characters byre-enacting traditional literary fairy tales or folk tales(e.g., Little Red Riding Hood). The actors shouldidentify and demonstrate the characters’ feelings.

Students take turns improvising dialogue as theyplay characters in a story. The teacher records theirdialogue into a “script,” which the students are ableto use to replicate other students’ improvisations.With teacher suggestions, students are guided intorevising and improving their dialogue.

Students use imagination to pantomime the shapesand dimensions of objects (e.g., blow up imaginaryballoons, bounce or throw an imaginary ball).

Students perform isolation exercises, taking turnsmoving different parts of the body in a circularmotion (e.g., rotate only your shoulders, now justone finger, now just your tongue).

Students practice relaxation exercises to enhanceconcentration and imagination skills and toovercome stage fright. For example, as a group,students take a series of deep breaths from thediaphragm (they should feel their stomachs expandas they inhale). Then they close their eyes andimagine themselves in a calm, comfortingenvironment as they practice saying their lines.

Students practice speaking in different voices (highand low pitch). Imitate different voicesdemonstrated by the teacher or other students.

Students read sentences or poems as differentcharacters might say them (e.g. a witch, a giant, anews announcer, a robot).

Students go on a “sensory walk” by walking in acircle and showing (without sound) how they wouldreact in different environments such as a beach, ajungle, a city street, a cave, etc. Afterwards, theydescribe sights, sounds, smells, etc. from theimaginary walk.

Teacher observation

Teacher observation

Teacher observation

Teacher observation

Teacher observation

Teacher observation


Teacher observation,Participation checklist

Teacher observation,Class discussion ofsensory details


Theatre, Grades 1-2

Theatre 18

3

4

c,d

d

d

a

b

a

a

b

Students pantomime eating favorite foods orlistening to favorite music. Other students try toguess what the favorites are from visual clues.

Students carefully observe figures in a famouspainting, create a tableau of the picture, then bringthe tableau to life and show how the figures mightmove. Finally, they add dialogue and dramatizeinteractions between the characters.

Students use pantomime to act out occupations(e.g., policeman, astronaut), animals, machines(e.g. toaster, alarm clock, airplane), and otherinanimate objects (e.g. book, spoon, toothbrush).Other students try to guess what is being played.Afterwards, discuss which pantomimes were themost successful and why.

Students create an acting space (e.g., Indianvillage, outer space, fairy tale setting) usingeveryday materials (e.g., cardboard, poster board,fabric). Transform everyday objects into costumesand props. Use the set and other technicalelements to inspire creative play.

Students draw designs for a place from a story (e.g.,the barn from Charlotte’s Web or the castle in Jackand the Beanstalk), paying particular attention toinclude details and use colors that suggest thefeeling or mood appropriate to the story.

Students restate theatre terms called out by theteacher, using student wording; or they demonstrateknowledge of theatre vocabulary by acting out theterm called out by the teacher.

After a review of acceptable audience etiquette,students take turns demonstrating the role of actorand audience member in class presentations.

After presenting a performance in class, studentsanswer the teacher’s and classmates’ questionsabout their acting choices (e.g., “Why did you speakso softly when you were playing the lion?”, “Why didyou have the character move that way?”). Thequestions should not be negative or critical. Theyshould seek to help the actor discover the strengthsand weaknesses in his or her performance. Thenthe performance can be repeated with improvement.

Teacher observationClass discussion of thequality of the pantomimeclues

Teacher observationChecklist: accuracy oftableau, believability ofcharacters’ movementsand words

Teacher observation,Class discussion of thequality of pantomime clues

Teacher observation

Class discussion of whichdesigns seem mostappropriate and why

Checklist: number ofterms correctly defined

Checklist indicatingappropriate behavior asaudience member as wellas participation as actor

Teacher observation


Theatre, Grades 1-2

Theatre 19

4

5

6

b

a

b

a

b

Students design and perform a puppet show basedon one of Aesop’s fables, concluding with anannouncement of the moral of the story.

Students discuss, draw, or re-enact favorite scenesfrom a story, play, or movie, and list reasons fortheir appeal.

After attending a live theatrical performance,students pretend to be “theatre critics” and give areview that mentions three things that were donewell and one thing that could have been improved.

After viewing a movie or play, students tell whichscenes of a movie or play were funny, sad, or scary,and why.

With teacher guidance, students constructs two liststo compare and contrast the wants and needs oftwo characters in a story or dramatic work (e.g. LittleRed Riding Hood wants to get to Grandma’s houseto bring her treats; the Wolf wants to get there firstto eat Grandma, etc.).

Compare and contrast many types of performances,such as a play, a dance, or a concert. The teacherleads a discussion using questions such as: “How isa ballet or an opera different from a play? What dothey have in common?”

Using a story or poem they have read, students can:� draw or build a model of a design for a play

set� draw a costume sketch for a character� turn a poem or book into an “opera” by

making up a tune and singing it as a particularcharacter would

Students tell a story of something that happened tothem or other family members on a vacation or athome. Students direct peers to act out the eventthey describe.

Teacher-created rubricmeasuring accuracy ofstory, creativity of designof puppets/scenery,volume and expression ofvoice(s), and awareness ofmoral

Class discussion

Checklist: inclusion of thethree positive remarks andone of constructivecriticism

Class discussion

Class discussion

Class discussion

Checklist or rubric ofappropriate criteria

Teacher observation


Theatre, Grades 1-2

Theatre 20

c Working alone, students create a puppet of acharacter using a variety of materials. Then theycollaborate with other students to perform a puppetshow. For example, each student designs aseparate character from The Wizard of Oz. Thenthe teacher can direct them in using the puppets toperform the story.

Teacher observationChecklist

2003 Mississippi Visual and Performing ArtsFramework

Theatre 21

THEATRETHIRD AND FOURTH GRADES


This program of study is designed to provide third and fourth grade studentsopportunities to explore more fully through age appropriate activities the basicconcepts of theatre, emphasizing guided creative practice. This program of study is tobe used by the Theatre Specialist and or the Classroom Teacher in developingtheatre curriculum for first and second grade students in the following:


The competencies are printed in bold face type and are required to be taught.

Content strands include Creating/Performing, Critical Analysis, History/Culture,Aesthetics, and Connections. The competencies may relate to one or more of thecontent strands and may be combined and taught with other competenciesthroughout the school year. Competencies are not listed in order of importance andmay be taught in any order that is determined suitable by the school or district. Competencies provide a general guideline of ongoing instruction, not isolated units,activities, or skills.

The suggested teaching objectives are optional. Objectives indicate conceptsthat enable the fulfillment of competencies, describe competencies in further detail,or show progress of concepts within benchmark grade clusters. School districts mayadopt the suggested teaching objectives or may write their own objectives that meetor exceed those suggested, based upon needs of students at the local level.

. For an explanation of the Content Strands, Competencies, and Objectives,see the General Introduction Section of the Mississippi Visual and Performing ArtsFramework. The Framework General Introduction, Literature Connections,Technology Connections, Resources, and Glossary are available on line at theMississippi Department of Education web site: http://www.mde.k12.ms.us.


Theatre 22

THEATRETHIRD AND FOURTH GRADES

CONTENT STRANDS:



1. Demonstrate ability to create improvisations and scripted scenes based onpersonal experience, heritage, imagination, literature, and history. (CP, HC, C)

a. Demonstrate cooperative script-writing through recording improvisation.b. Explore the value and diversity of other cultures, times, and places through

research-based improvisation and script-writing.

2. Act by assuming roles and interacting in improvisations and scripted scenes.(CP)

a. Demonstrate the ability to utilize the body and voice (e.g., breath control, diction, concentration, and isolation) for creative self-expression in thought, feeling, and character.b. Dramatize stories from literature through dialogue, movement, and acting a

variety of emotional states (e.g., happy, sad, frightened).

3. Design by visualizing and arranging environments for classroom dramatizations. (CP, HC, C, A)

a. Know the technical theatre elements of sound, props, lighting, makeup,costumes, scenery, and stage management in formal and informal dramaticpresentations.

b. Understand the basic types of theatre stages (proscenium, thrust, and arena)and how they are utilized.

c. Understand how visual elements (such as space, color, line, shape, andtexture) and aural elements (music, sound effects) can be used tocommunicate place, time, and mood in a theatrical work.

4. Direct by planning classroom dramatizations. (CP, CA)


Theatre 23

a. Demonstrate knowledge of basic blocking and stage areas.b. Demonstrate responsible behavior such as sharing, flexibility, and effective

use of time.c. Understand the dynamics of a character’s outer action and inner thought

process.d. Demonstrate various ways of staging classroom dramatizations.

5. Understand the similarities and differences between everyday life, theatre, film, television, and electronic media productions. (A, CA)

a. Know that there is a set of criteria for evaluating a theatrical experience withregard to characterization, diction, pacing, gesture, and movement.

b. Know the impact on the audience of theatre, film, television, radio, and othermedia.

c. Recognize the consequences of artistic choices.d. Recognize the importance of respectful, positive, and constructive criticism.e. Understand the similarities and differences between real life and the

representation of life (willing suspension of disbelief).

6. Support classroom dramatizations by finding information. (CA, HC, C)

a. Understand how theatre can be an interpretation of actual events in history andeveryday life.

b. Recognize key developments in theatre-derived media such as theintroduction of movies, animation, radio, television, and interactive video.

7. Explore historical and multicultural concepts through dramatic activity. (CA, HC, C)

a. Recognize universal themes in stories and plays from different periods andplaces through dramatic activity.

b. Recognize that theatre styles vary according to culture, time, and place.

8. Perceive and appreciate diverse meanings and values of works of art. (A, CA)

a. Articulate emotional response to the whole, as well as parts of, dramaticperformance.

b. Understand and value how individual emotional responses to art may vary.

9. Experience theatre and relate to various arts and everyday life. (C, CA)


Theatre 24

a. Use problem solving and cooperative skills to dramatize a story or a currentevent from another content area.

b. Understand the social nature of theatre and that theatre etiquette is theresponsibility of the audience.

c. Understand artistic characteristics and social impact of various media (e.g.,film, television, and electronic media), including connections with dance,music, and visual arts.


Theatre, Grades 3-4

Theatre 25


SuggestedAssessment

1

2

3

4

a

b

a,b

b

a, c

b

c

a

a

Students collaborate to create scripts dramatizingdifferent cultural versions of similar stories fromaround the world (e.g., variations of the Cinderellastory from France, China, Africa, and America)utilizing the 5 w’s (who, what, where, when, why).In groups, students make lists of characters andoutlines of each plot. Then they improvise andrecord appropriate dialogue to tell each story.

Students improvise scenes based on research andstudy of the “Underground Railroad,” or otherhistorical events.

Students enact stories from classroom literatureutilizing a variety of emotions.

Students pantomime improvisatory scenes using avariety of musical selections to stimulate emotionalcreativity (e.g., Beethoven, Gershwin, mariachi,ragtime). When they first hear a selection of music,they improvise corresponding movements. Theythen use the movements they have invented toinspire characters, emotions, and situations to actout to the music.

Students devise simple set designs for a playthrough cooperative teams. Create first drawings ofthe set and finally a three-dimensional model.

Students are able to draw or identify the three basicstage types (proscenium, thrust, and arena).

After viewing a play or film (animated or live action),students identify how sound and visual elements areused to establish mood and setting.

Students draw a chart of the stage floor with eacharea labeled.

Students take turns directing one another to moveto different stage areas. They can direct oneanother to move with different speeds, at differentlevels (high, middle, or low), with various emotionsor attitudes, and different styles of movement(crawling, hopping, dancing, waddling, etc.).

Teacher-made rubric

Class discussion

Teacher observation


Self-assessment

Test

Class discussion

Checklist

Teacher observation


Theatre, Grades 3-4

Theatre 26

5

b

c

d

a

b

c

d

After observing students in a small group activity(such as rehearsing and performing a short sceneor playing a game), the teacher identifies andpraises students who show an ability to share, tocompromise, to accept other students’ ideas, and touse time wisely without wasting it.

Students are divided into groups. Each group hasfifteen seconds to agree on how to present apantomime of a machine in action (e.g., atelephone, a car, a blender, a clock). Each studenthas to participate in some part of the machine.Groups who fail to have their machines ready ontime fail to gain points in this game. Rather thanmachines, the object might be to put together anysystem of interrelated parts (e.g. the Solar System,the Water Cycle, the process of photosynthesis, thecontinents), and the time limit could be extended forlonger, if necessary.

Using a list of human emotions, studentsdemonstrate body language and facial expressionsthat communicate appropriate feelings. This maybe done with an entire class at once, or the studentsmay take individual turns. As the teacher calls outeach emotion, the student(s) must immediatelycreate a pose that reflects that emotion.

Students are divided into groups with one “director”in charge of each group’s performance. Each groupis assigned a scene from history (e.g. Columbus’saudience with Ferdinand and Isabella) to dramatize.They plan collaboratively on how to present it, butthe “director” makes all final decisions.

Students design a performance rubric for evaluationof characterization, vocal volume, diction, pacing,gesture, and movement.

After attending a play, students compare andcontrast live theatre to seeing a movie and discusshow it made them feel.

Students draw a costume appropriate for acharacter in a story. They must explain and justifycolor, design, and material choices based onknowledge of the character.

Students observe a dramatic skit and list twopositive comments and two suggestions forimprovement. They must justify their comments,explaining why they liked certain elements.


Teacher observation


Teacher observation

Project grade

Discussion

Project grade

Checklist


Theatre, Grades 3-4

Theatre 27

6

7

8

9

e

a

b

a

b

a

b

a

b

Students attend a live theatrical performance and atalk-back where actors (as themselves) interact withstudents.

Through creative improvisation, students re-enact ahistoric scene, such as when Rosa Parks refuses togive up her seat on a bus.

Students view samples of early animation such asDisney’s Snow White, and the most recentinnovation in computer animation, such as Disney’sMonster’s Inc., and discuss the differences.

After viewing a movie or a scene from a moviecontaining some examples of special effects,students discuss how those effects (music, soundeffects, computer imagery) did or did not increasetheir involvement with a specific work of art.

Students listen to ”trickster” stories from differentcultures such as the Native American Iktomi tales,the African Anansi folktales, and/or the stories ofBrer Rabbit. Act out different stories and discussthe differences and similarities between them.

After learning about various styles of Asian theatre(e.g., Japanese Noh plays or Kabuki plays, Bunrakupuppet plays, or Indonesian shadow puppet plays),students create their own version of Bunraku orshadow puppets, or use the stylized acting ofKabuki drama to act out a fairy tale in an Asiansetting such as Lon Po Po or Nightingale.

After viewing a live or filmed performance, studentsidentify how it made them feel. The teacher leads adiscussion to help students understand what imagesor dramatic elements contributed to that feeling.

Students conduct a poll of other students or adultsto determine what their favorite cartoon or funnymovie may be. Students then create a graph todisplay the results of this poll. In class, they discussreasons for the relative popularity of certain films orcartoons.

Students create a script from a selected newspaperheadline or classified ad and perform.

After discussing proper theatre etiquette, studentslist the do’s and don’ts of theatre behavior.

Discussion


Discussion

Discussion

ParticipationDiscussion

Teacher or student-maderubric measuringparticipation and thepresence of certainprescribed criteria uniqueto the particular style ofdrama

Discussion

Evaluation of graphClass discussion

Peer assessment

Written assignment


Theatre, Grades 3-4

Theatre 28

c Students conduct a survey of media preferences(newspaper, Internet, TV, radio, video, videogames) among family and friends to determine anypatterns. The teacher leads a discussion on “Whatimplications do the results have?” (e.g., targetingaudiences, communication, values, commercialism,trend-setting).

Project gradeDiscussion


Theatre 29

THEATRE


Students in middle school think conceptually and explore the notions of causeand effect, time, comparison, and other complex ideas. They develop the logicalstructures that explain their physical experiences and initiate the capability of abstractproblem solving, yet do not consider all of the logically possible outcomes.

Students in Grades 5-8 begin to develop theatre literacy. In theatre, the artistcreates an imagined world; it is the role of theatre artists to lead the audience into thisvisual, aural, and oral world. It is important that students learn to see the created worldof theatre through the eyes of the playwright, actor, designer, and director. Throughactive creation of theatre, students learn to understand artistic choices and to critiquedramatic works. Students play a larger role in the planning and evaluation of theirwork. The emphasis is on helping students use drama with more facility andproductivity in daily living and, as a participant or viewer, to incorporate drama into theirlives.

Theatre becomes a part of the student’s experience of life as a whole. Withgreater emphasis on reading, writing, and performing scripts, students begin to createplays based on peer issues, concerns, and interests using improvisation andcollaboration. Likewise, they are introduced to plays and experiences that reachbeyond their communities to national, international, and historically representativethemes. Students come to perceive theatre as a means of pleasure, communication,and learning.

This program of study is to be used by the Theatre Specialist and or theClassroom Teacher in developing theatre curriculum for levels I-II and levels III-IVmiddle school students in the following:

Middle School TheatreArts Integrated in the Middle School Classroom


Theatre 30

THEATREMIDDLE SCHOOL LEVEL I - II


This program of study is to be used in designing theatre curriculum for Level I and IImiddle school students. It is intended to stimulate and develop unique intellectual andcreative abilities of each student through learning and practicing basic theatreconcepts. Through an applied emphasis in this course, the student will gain greaterknowledge of self and others and will begin to develop an appreciation of theatre as anart form. This program of study is to be used by the Theatre Specialist and or theClassroom Teacher in developing theatre curriculum for level I-II middle schoolstudents in the following:

Middle School TheatreArts Integrated in the Middle School Classroom





Theatre 31

THEATREMIDDLE SCHOOL LEVEL I – II

CONTENT STRANDS:



1. Know and understand the creation of improvisations and scripted scenesbased on personal experience, heritage, imagination, literature, and history.(CP, HC, C)

a. Recognize the structural elements of plot (exposition, complication, crisis,climax, and resolution) in a script or theatrical experience.

b. Demonstrate an understanding of text, subtext, and context.c. Demonstrate how improvised dialogue and scenes are used to tell stories and

create characters based on history, culture, literature, and everyday situations.d. Apply logical sequencing of events.

2. Develop basic acting skills required to interact in improvised or scripted

scenes. (CP)

a. Develop vocal, movement, and pantomime skills (external) to express the inner(internal) life of the character through improvisation and the rehearsal.

b. Understand the role of conflict and emotions in dramatic situations.

3. Design by developing environments for improvised and scripted scenes. (CP,HC, C, A)

a. Participate in making artistic choices in a small group.b. Specify how technical theatre elements of sound, props, lighting, makeup,

costumes, scenery, and stage management are used to communicate locale,mood, and characterization in scripted formal and scripted or improvisedinformal productions.


Theatre 32

4. Direct by organizing rehearsals for improvised and scripted scenes. (CP, C)

a. Use dramatic elements to stage a play.b. Use rehearsal time effectively to brainstorm, experiment, plan, and rehearse.c. Demonstrate the use of blocking stage areas, levels, and actor’s position (e.g.,

full front, quarter, profile, and full back) in dramatic scenes.d. Discern characters’ perceived thought processes during dramatic scenes.e. Recognize ways to “physicalize” characters’ thought processes.

5. Know that individual experiences play a role in constructing meaning fromclassroom dramatization and from theatre, film, television, and electronicmedia productions. (A, CA)

a. Communicate thoughts and emotions evoked by performance.b. Correlate personal experiences to stage and film experiences.c. Deduce lessons that theatre teaches to actors and audience members.d. Create alternative characters, settings, or events after viewing or participating in

a performance.

6. Develop methods to apply discoveries from research to support classroomdramatizations. (HC, CA)

a. Recognize how plays represent the time periods in which they are set.b. Differentiate between low, middle, and high comedy.

7. Recognize theatre as an important tool to assist in understanding cultures,times, and places. (HC, CA)

a. Identify and differentiate theatre and film traditions from cultures, times, andplaces.

b. Examine different types of early American theatre (e.g., melodrama, musicaltheatre).

8. Study theatre and theatre artists in order to appreciate diverse meanings andvalues of works of art. (A, CA)

a. Understand the notion of empathy and aesthetics.b. Value the role of beauty in theatrical productions.c. Use articulated criteria to describe and evaluate the effectiveness of artistic

choices found in dramatic performances.


Theatre 33

9. Determine relationships between theatre, other arts, other subject areas, andeveryday life. (CA, C)

a. Know skills necessary to pursue opportunities in theatre, film, television, andelectronic media.

b. Determine the value of collaboration in creating a theatrical production.c. Utilize theatrical skills to dramatize events/concepts from other subject areas.d. Know that theatre can synthesize all the arts.e. Analyze ways in which theatre, television, and film mirror daily life.


Theatre, Middle School Levels I - II

Theatre 34


SuggestedAssessment

1

2

3

4

5

a,b

c

d

a

b

a,b

a,b

c

d

e

a

Students work in small groups and demonstrateunderstanding of structural elements of plot (e.g.,setting, rising action, crisis, falling action) bycreating scripts based on life experiences (e.g., tripto the mall, football/cheerleader practice, prom).

Students perform improvised scenes or monologuesthat illustrate influence of significant historicalfigures (e.g., Lee’s surrender to Grant, Lincoln,Truman, John F. Kennedy).

Students outline the events in a well-known fairytale or story, according to the stages of plotsequence (structural elements).

Students create a character “biography” bychoosing a character from a play and developing ahistory and future of him/her.

Students perform in improvisations based onconflicts and emotions observed from experience(e.g., being grounded by parents, being bullied).

Students work in cooperative groups and useavailable resources to make creative decisions andconstruct the technical elements needed in an outerspace or “fantasy” skit.

Students identify the dramatic elements in a familiarchildren’s story and adapt it for the stage (e.g.,Hansel and Gretel, Three Billy Goats Gruff).

Students select a scene from a play and planblocking for the available stage area (e.g.,classroom presentation area, outside the building, inthe school theatre).

Students attend a live performance and discuss themotivation of the characters in the play.

Students demonstrate a character’s inner feelingsthrough facial expression and body language.

Students participate in group discussion ofempathetic responses (e.g., laughter, sadness,anger) and meanings gleaned from a live or tapedperformance.

Teacher-made rubric

Teacher-made rubric

Written work

Written work

Teacher-made rubric

Project Grade

Project Grade

Teacher-made rubric

Discussion

Demonstration

Oral response


Theatre, Middle School Levels I - II

Theatre 35

6

7

8

9

b

c

d

a

b

a

b

a,b

c

a

b

c

d

Students create scripts based on real lifeexperiences (e.g., my worst/best day, summervacation, hobbies).

Students identify several plays containing moralsand analyze ways in which the lessons werepresented.

Students perform scenes from a well-known playsetting the characters and events in a different timeperiod (e.g., Romeo and Juliet in the Blue RidgeMountains in the 1940’s).

Students adapt a favorite TV show to a differenttime and report on the changes required.

Students create mini-scenes depicting each of thethree types of comedy.

Students view film/plays from other countries,compare and contrast cultural influences.

Students work in cooperative groups, create mini-scripts and perform them in the styles of earlyAmerican theater.

After viewing a theatrical performance, studentsdiscuss human qualities which cause emotionalresponse to theatrical performances (e.g., empathy,identification).

Working in small groups, students create a list ofeffective and ineffective artistic choices (e.g.,setting, mood, character development).

Students select a specific theatrical career and writea job description.

Students stage a production with separate groupsworking on the different components (e.g., setdesign, costumes, make-up) to form a cohesivewhole.

Students improvise a scene based on a currentnews event.

Students stage a production incorporating the otherart forms.

Teacher Observation

Discussion

Teacher-made rubric

Written report

DemonstrationPerformance

Discussion

Oral response

Discussion

DiscussionWritten work

Written work

Demonstration

Teacher-made rubric

Teacher-made rubric


Theatre 36

THEATREMIDDLE SCHOOL LEVELS III - IV


This program of study is to be used in designing theatre curriculum for Level IIIand IV middle school students. It is intended to continue and broaden the exploration oftheatre concepts presented in Middle School Levels I - II. This course emphasizesguided creative practice.

As with all disciplines, a well-rounded education in theatre includes a range ofeducational processes. The middle school program emphasizes guided creativepractice that is to be incorporated into the curriculum to achieve an increasedintelligence spectrum for learner outcome. This program of study is designed tocontinue and broaden the exploration of theatre concepts presented in Middle SchoolLevel I -II.

This program of study is to be used by the Theatre Specialist and or theClassroom Teacher in developing theatre curriculum for levels III-IV middle schoolstudents in the following:

Middle School TheatreArts Integrated in the Middle School classroom

The five major strands of study in the theatre discipline are:Creating/Performing, Critical Analysis, History/Culture, Aesthetics, and Connections.The competencies are printed in bold face type and are required to be taught. Thecompetencies may relate to one or more of the content strands and may be combinedand taught with other competencies throughout the school year. Competencies are notlisted in order of importance and may be taught in any order that is determined suitableby the school or district. Competencies provide a general guideline of ongoinginstruction, not isolated units, activities or skills.




Theatre 37

THEATREMIDDLE SCHOOL LEVEL III - IV

CONTENT STRANDS:



1. Create scripts through the process of improvisation leading to scriptedscenes based on personal experiences, heritage, imagination, literature, andhistory, (CP, HC, C)

a. Create characters, environments, and actions (individually and in groups) thatcreate tension and suspense.

b. Collaborate in small groups to refine original scripts and justify writing choices.c. Identify dramatic elements within a script using the vocabulary of theatre.d. Develop scripts from literary sources, personal experiences, or historical events.

2. Develop acting skills to portray characters that interact in improvised and

scripted scenes. (CP)

a. Analyze descriptions, dialogue, and actions to discover, articulate, and justifycharacter motivation.

b. Invent character behaviors based on the observation of interactions, ethicalchoices, and emotional responses of people.

c. Interact as an invented character in improvised and scripted scenes.d. Practice actors’ techniques for physical (posture and energy) and vocal

conditioning (voice warm-up, diction, and projection).e. Simulate and/or participate in the audition process.

3. Design by developing environments through interpretation of improvised andscripted scenes. (CP, HC, C, A)

a. Know the functions and interrelated nature of scenery, props, lighting, sound,costumes, and makeup in creating an environment appropriate for any givenplay.

b. Practice the roles and responsibilities of the production staff.c. Develop technical sound effects to enhance the meaning of a play.d. Understand theatre spaces and the different requirements for technical

elements.


Theatre 38

4. Direct by organizing rehearsals for improvised and scripted scenes. (CP, C)

a. Know the responsibilities of the director in planning visual and aural elementsand in rehearsing improvised and scripted scenes.

b. Recognize the steps of the directing process from play selection to production.

5. Understand and identify individual and universal meanings perceived fromforms of theatre (classroom dramatizations, theatre, film, television, andelectronic media productions). (A, CA)

a. Articulate and support individual and universal meanings constructed fromdramatic performances.

b. Analyze the use of figurative language and imagery in dramatic texts.c. Know the relationship of plot, conflict, and theme in a play.

6. Synthesize discoveries from research in the creation of classroomdramatizations. (CA, CP)

a. Apply research from print and non-print sources to script writing, acting,designing, and directing choices.

b. Identify technical theatre requirements for a selected script.c. Demonstrate knowledge of legal issues regarding the use of others’ ideas.

7. Recognize that theatre can communicate the artistic and social values andaccomplishments cultures, times, and places. (HC, CA)

a. Analyze the social impact of historical and cultural events on theatre.b. Know that works of theatre from other cultures, times, and places convey

universal characters and situations.c. Know various theatre styles throughout other cultures, times, and places.d. Practice positive audience etiquette.e. Explain how culture affects the content and production values of dramatic

performances (7th Grade; non-Western theatre history, 8th Grade; Americantheatre history).

8. Study theatre and theatre artists in order to respond knowledgably to creativeproducts. (A, CA)

a. Understand criteria necessary to review a theatrical production.b. Understand how theatre evokes a range of responses and thoughts from an

audience.c. Describe and evaluate the effectiveness of students’ contributions (as

playwrights, actors, designers, and directors) of developing improvised andscripted scenes.


Theatre 39

9. Know that relationships exist between theatre, other arts, other subject areas,and everyday life. (CA, C)

a. Demonstrate the ability to use theatre skills to present content or concepts inother subject areas or everyday life.

b. Integrate other art forms into dramatic presentations.c. Utilize acting skills in delivering an oral presentation in other subject areas.d. Know how technology has affected theatre throughout history.e. Research the education and training required for theatre careers.


Theatre, Middle School Level III – IV

Theatre 40


SuggestedAssessment

1

2

3

a,b

c

d

a

b

c

d

e

a,b

c

Students work in collaborative groups and createscenes drawing on personal background and/orculture, such as a past experience, event fromheritage, or community (e.g., cleaning up a highwaysection, ethnic celebrations).

After viewing a live or taped play, studentsdistinguish structural elements (e.g., dialogue, scenebreaks, Act breaks, character goals, characterobstacles).

Students select an event of historic significance (e.g.,signing the Declaration of Independence) and refineand record dialogue and action.

Students interact as invented characters fromimprovised or actual characters from scripted scenes(e.g., invented: coach and player about practice,teacher and student about grades; actual: any scenefrom a published script).

After observing people in a public setting, studentsuse observed attributes to form a compositecharacter in an improvised scene (e.g., at the mall, asporting event, a dance).

Students perform character-based improvisations inscenes or monologues to enhance meaning (e.g.,have an improvised character portray an establishedrole from a scene or monologue of a published play).

Students utilize sensory recall, concentration, breathcontrol, diction, body alignment, and control of bodyparts in scripted or improvised scenes (e.g., useproper physical and vocal deportment).

Students perform monologues in mock interviewsituations (e.g., employer-prospective employee,father-daughter’s new boy friend).

Students work in cooperative teams andexamine/construct visual elements needed in ascene, fairy tale, or short story.

Students select music and sound effects for animprovised or scripted scene.

Teacher observationTeacher-made rubric

Teacher-guideddiscussion

Teacher observationTemplate


Teacher-made rubric


Teacher-guided practiceTeacher observation

Teacher-made rubric


Teacher observation



Theatre 41

4

5

6

7

d

a

b

a

b

c

a,b

c

a

b

c

d

Students select and create space specific scenery,properties, lighting, and sound for a scripted orimprovised scene.

Students work in small groups and plan scenery,lights, costumes, and sound and rehearse scriptedand improvised scenes.

Students organize rehearsals for improvised andscripted scenes (e.g., day to day schedule, projecteddate for knowing lines, performance date).

Students discuss the choices made in presenting ascene (e.g., setting, movement, costumes).

Students define and explain use of words and wordchoice in a given scene (e.g., denotation andconnotation, use of slang, regionalisms).

After viewing a live or taped play, students identifystructural elements (e.g., plot-setting, rising action,crisis falling action; conflict-goals versus obstacles;theme-main idea, central concept).

Students work in cooperative groups and makedecisions about production methods of a scene(s).

Students identify the skills, knowledge, and disciplineused to build theatre professionals' careers (e.g.,actor training, artistic direction, design, playwriting).

After viewing scenes/plays by Mississippiplaywrights, students identify possible historicalelements (e.g., political, social, regional).

After examining one era of American history (e.g.,World War I, World War II), students look at a play orplays, and write a report on the era’s possibleinfluence on theatre.

Students read scenes from different cultures andtime periods and compare/contrast similarities incontent or plot in a written report (e.g., characterrelationships, character situation, plot structure).

Students view plays and exhibit appropriate socialbehavior.

Teacher observation

Teacher-guided practiceTeacher-made rubric

Teacher observation

Teacher observation

Teacher-made rubric


Teacher-made rubricTeacher observation


Teacher observation

Teacher observation

Teacher-made rubric

Teacher observation



Theatre 42

8

9

e

a

b

c

a

a

b

c

d

e

7th Grade Students - Examine culture specific social,political, and universal themes in world theatre (e.g.,Henrik Ibsen, August Strindberg, Bertolt Brecht,George Bernard Shaw, William Shakespeare).8th Grade Students - Examine culture specific social,political, and universal themes in American theatre(e.g., Tennessee Williams, Arthur Miller, LanfordWilson, Lillian Hellman, S.N. Berman).

Students work in cooperative groups and construct acriteria list to critique plays.

After viewing a taped play, students write responsesto its emotional content and effect (e.g., pathos,humor).

Students work in small groups and discuss theeffectiveness of student-led classroomdramatizations of scripted scenes (e.g., setting,costumes, actor movement, text interpretation).

Students perform a scripted scene from a currenttextbook for an English class.

Students role play historical figures for a socialstudies class through improvised scenes ormonologues.

Students perform an improvised or scripted scenewith percussion and music, an improvised or scriptedscene utilizing visual arts in design, and animprovised or scripted scene with dance.

Students role-play historical figures in reports ontheatre history.

After examining technology education clusters,students determine their effect on theatre (e.g.,manufacturing, electrical, desktop publishing,Internet).

Students listen to a live or taped theatre professionaltalking about his/her career.

Teacher-made test


Teacher template

Teacher-guideddiscussionTeacher observation

Teacher-guided practice

Teacher observation

Teacher-guided practiceTeacher observation

Teacher observation

Teacher-guideddiscussionTeacher-made test



Theatre 43

THEATRE


High school students’ cognitive structures are like those of an adult. The abilityto problem solve in systematic ways is supported by the ability to reason conceptually,understand methodology, and formulate hypotheses. Theoretical reasoning skillssupport thought about possibilities and abstractions such as “justice.”

Students in grades 9-12 learn to view and construct dramatic works asmetaphorical visions of life that embrace connotative meanings, juxtaposition,ambiguity, and varied interpretations. By creating, performing, analyzing, and critiquingdramatic performances, students develop a deeper understanding and acceptance ofpersonal issues and a broader world-view that includes international issues. Sincetheatre in all its forms reflects and affects life, students should learn aboutrepresentative dramatic texts and performances, the places of that work and thoseevents in history, as well as the impact of those events on the past and present. Inaddition, students continue to make connections between what they learn in theatrearts with other curricular areas.

At this level, students’ interests and abilities in theatre arts vary widely and willdetermine the direction pursued by each student. Courses include opportunities for thedevelopment of original work, designs and performances in informal and formal theatresettings. Important aspects of the program are acting, directing, playwriting, designingand producing in all areas of theatrical presentation, including the accompanyingaspects of arts management and arts organization.

The high school theatre framework is divided into different programs of studythat can be used to develop curriculum for a variety of courses listed in the ApprovedCourses for the Secondary Schools of Mississippi. In order to accommodate the varietyof scheduling formats throughout Mississippi schools, some arts courses are availablefor 1 or 1/2 credit. Those courses that are offered for 1/2 credit must cover all thecompetencies in the designated program of study. Those courses earning 1 credit willcover all the competencies, but in greater depth and breadth than the1/2 credit courses.A listing of these courses and the corresponding program of study to be used indeveloping curriculum for those courses follows.

Theatre Course: Theatre Program of Study:

Theatre I (Proficient) High School Level ITheatre II (Proficient) High School Level IITheatre III (Advanced) High School Level IIITheatre IV (Advanced) High School Level IV (Formerly Advanced Dramatic Techniques)Performing Arts Special Course (Advanced) High School Level IVTheatre Production (Advanced) Theatre ProductionHigh Tech Video Production High Tech Video ProductionDramatic Criticism and Performance Dramatic Criticism and PerformanceOral Interpretation/Readers’ Theatre Oral Interpretation/Readers’ Theatre


Theatre 44

Course Descriptions

THEATRE I, Proficient (1/2 or 1 credit)based on High School Theatre Level I program of study.

This proficient level course examines the correlation and development of theatrehistory, structure, literature, acting, production, and criticism. Students will experiencethe stimulation of creative thinking, problem solving, and goal setting as they build onconcepts and skills acquired in the elementary and middle level courses. A heightenedsense of responsibility will be developed through individual and cooperative work.

THEATRE II, Proficient (1/2 or 1 credit)based on High School Theatre Level II program of study. Prerequisite: Theatre I.

This proficient level course continues the development of knowledge and skills asstudents explore the theatrical process as an art form. Building on concepts and skillsacquired in the prerequisite course - Theatre I, students continue to increase theirknowledge of designing, creating, producing, performing and critiquing original andpublished works.

THEATRE III, Advanced (1/2 or 1 credit)based on High School Theatre Level III program of study. Prerequisite: Theatre Iand II.

Theatre III is designed to enable students who are interested in theatre to continueexploring and perfecting their abilities at a higher level of proficiency than the twoprerequisite courses - Theatre I and II. An introduction to the importance of ensembleand the notion of research to inform artistic decisions creates opportunities for excitingcollaboration as well as individual creativity.

THEATRE IV, Advanced (1/2 or 1 credit)based on High School Theatre Level IV program of study. Prerequisite: TheatreI, II, and III.

Theatre IV is designed to provide students with a broad-based in-depth learningexperience through independent study and increasingly demanding levels of analysisand practical application. Building upon concepts and skills gained in the prerequisitecourses - Theatre I, II, and III, students will develop and produce original work andincrease their level of expertise with the possible goal of specialized study at theuniversity level and/or entry into a theatre career track.

THEATRE PRODUCTION (1/2 or 1 credit)based on High School Theatre Production program of study. Prerequisite:Theatre I and II.

Theatre Production accommodates districts that want to offer specialized in-depthinstruction in theatre to meet the individual needs of advanced students, working at asophisticated level, as they pursue specialty areas in dramatic production. Students willapply their knowledge of production, critical analysis, history, and culture, aesthetics,connections among the arts, other content areas, and everyday life in the production ofa theatrical work.


Theatre 45

HIGH-TECH VIDEO PRODUCTION (1/2 or 1 credit)based on High School Theatre High-Tech Video Production program of study.

High-Tech Video Production explores the process of video taping as an art form.Students will concentrate on creating, producing, taping, and critiquing original andpublished video and film.

DRAMATIC CRITICISM AND PERFORMANCE (1/2 or 1 credit)based on High School Theatre Dramatic Criticism and Performance program ofstudy. Prerequisite: Theatre I and II.

Dramatic Criticism and Performance is designed to enable students who are interestedin the theatre arts to pursue an in-depth exploration of the interrelationships ofaesthetics, criticism, and performance.

ORAL INTERPRETATION/READERS’ THEATRE (1/2 or 1 credit)based on High School Theatre Oral Interpretation/Readers’ Theatre program ofstudy.

Oral Interpretation and Readers’ Theatre are designed to provide the student with aconcentrated study of the voice as an acting tool, giving students the opportunity todevelop their vocal skills through individual and group interpretation and performance.The study of related academic and technical skills will also be applied.

PERFORMING ARTS SPECIAL COURSE (1/2 or 1 credit)based on High School Theatre Level IV program of study.

This course accommodates districts that want to offer specialized in-depth instruction intheatre to meet the needs of advanced students participating in a highly specializedarea of theatre. Curriculum for this course must be based on the competencies in theHigh School Level IV program of study. Districts may tailor those competencies to meetthe specific focus of the course they are designing, but all competencies must beaddressed. A sample of strategies showing adaptation of the Theatre Level IV programof study to the Performing Arts Special Course is presented after the High schoolTheatre Level IV program of study.


Theatre 46

THEATREHIGH SCHOOL LEVEL I

(Proficient)


Students will recognize theatre as an art form that encompasses all the arts andis representative of life at all levels. They will examine the correlation and developmentof theatre history, structure, literature, acting, production, and criticism. Students willexperience the stimulation of creative thinking, problem solving, and goal setting. Aheightened sense of responsibility will be developed through individual and co-operative work. This program of study is to be used in developing theatre curriculum forhigh school students in the following:

High School Theatre I





Theatre 47

THEATREHIGH SCHOOL LEVEL I

(Proficient)

CONTENT STRANDS:



1. Write scripts based on personal experience and heritage, imagination,literature, and history.

(CP, HC)

a. Understand the essentials of dramatic structure (plot, character, thought, diction,music, and spectacle).

b. Recognize the genres and distinguishing characteristics of drama (tragedy,comedy, melodrama, and mixed forms).

c. Understand the organizational processes of script development (cause to effect,basic idea, climactic order, dramatic structure).

2. Develop and communicate characters through acting in improvisations andinformal productions. (CP)

a. Demonstrate techniques to train the mind, body, and voice for performance.b. Analyze the physical, emotional, and social dimensions of characters found in

dramatic texts from various genre and media.c. Understand the audition process.d. In an ensemble, create and sustain characters that communicate with

audiences.

3. Design and produce environments utilizing elements of technical theatre.(CP, CA, A)

a. Know the duties of the production staff.b. Know the different types of stages and basics of theatre architecture.c. Know the basic properties of and investigate the integral relationships and

effects of scenery, props, lights, sound, costumes, and makeup to a production.d. Acquire and employ a vocabulary of technical theatre terms.


Theatre 48

4. Direct by organizing and conducting rehearsals for formal and informalproductions. (CP, C)

a. Know the responsibilities of a director.b. Understand the directing process.c. Effectively communicate directorial choices to a small ensemble for improvised

or scripted scenes.

5. Understand the impact of personal experience and construct meaning fromclassroom dramatizations and from theatre, film, television, and electronicmedia productions. (CA, A)

a. Analyze how personal experience influences an individual’s interpretation.b. Understand and apply criteria for evaluating theatre.

6. Know how to apply discoveries to support classroom dramatizations throughresearch. (HC, CA, C)

a. Understand the origin of theatre.b. Understand that storytelling serves as a foundation for early performance

experience.c. Understand the requirements and artistic considerations inherent in the

production of theatrical performance.

7. Study context by analyzing the role of theatre, film, television, and electronicmedia in other cultures, times, and places. (CA, HC, C)

a. Recognize major developments in theatre history of particular cultures.b. Analyze the effects of social, moral, and cultural practices of various cultures,

times, and places on theatre.c. Compare how similar themes are treated from various cultures, times, and

places and how theatre can reveal universal concepts.d. Appreciate the effect of the cultural experience on individual dramatic work.

8. Express meaning and value as a response to works of theatre and theatreartists on the basis of aesthetics. (CA, A)

a. Understand and appreciate the relationship between individual philosophy andthe production of theatre and theatre-derived media.

b. Interpret the meaning and value of a dramatic work.


Theatre 49

9. Understand connections between content in theatrical experiences and otherart disciplines, subject areas, and everyday life. (HC, CA, C)

a. Understand the basic nature, materials, elements, and means of communicatingin theatre, dramatic media, musical theatre, dance, music, and the visual arts.

b. Know professional standards for theatre professionals.c. Understand that theatre is a synthesis of all the arts.



Theatre 50


SuggestedAssessment

1

2

a

b

c

a

b

a,b

c

Students read and discuss excerpts from Aristotle’sPoetics. Discuss content and definitions pertainingto dramatic structure.

Students explain rationale for categorizing selectedfilms and/or plays into differing types of dramaticgenre (comedy, tragedy, melodrama, mixed form).

Students adapt a classic fairy tale into a scriptutilizing organizational processes of scriptdevelopment such as cause to effect, basic idea,climactic order, and/or dramatic structure.

Students collaborate to improvise a suitable endingafter hearing or reading only the first part of a scenefrom a story or play.

Students learn and practice vocal and physicalwarm-ups (e.g., tongue twisters, exercises forbreath and volume control, isolated movements andstretches of individual body parts).

Students develop vocal and movement techniquesto portray character, thought, and feeling.

Students practice concentration and cooperationexercises (e.g., mirror reflections with a partner,changing something about your appearance and/orenvironment and others having to guess change,trust-falls).

Students write a character analysis while playing orstudying a play. It should include externalcharacteristics (physical description, occupation,physical quirks, habits) and external characteristics(personality, mentality, fears, desires, moralstandards, personal goals, motivation, etc.).

Students choose a one-minute monologue topresent and perform in class. Use constructivefeedback from teacher and classmates to modifyperformance.

Students conduct a mock audition with classmatesalternating the roles of director and auditionees.Develop an audition sheet containing theinformation that will be needed for production.

DiscussionParticipation checklist


Written workRubric

Teacher observation

Test

Teacher observationPeer evaluation

Teacher observation

Rubric

Rubric created by teacherand students

Teacher observationParticipation, written work



Theatre 51

3

4

5

d

a,c,d

b

c,d

c,d

a

b

c

a

Students participate in a very short play or scenewith the goal of communicating a particular feelingor emotion to the audience. Discuss the level ofcommunication and perceived results.

Students work on a selected technical aspect of aninformal performance (e.g., designing sound orlighting effects, building props or scenery,coordinating costumes and makeup). Communicateabout your area, using appropriate vocabulary, in atrue or mock production meeting setting.

Students draw simple diagrams of basic stagearrangements (e.g., proscenium, thrust, arena).Extend this activity by having students set upclassroom utilizing these floor arrangements for aninformal performance.

Students create a rendering for a set design(s) for aplay being studied. Extend the activity by building a3-D model. Discuss relationship of design todramatic action, playwright’s intent, etc.

Students create a rendering for a costume design(s)for a play being studied. Extend the activity byhaving student obtain samples of fabric from a fabricstore for the costume. Discuss relationship of designto dramatic action, playwright’s intent, etc.

Students interview a director on the topic of his/herresponsibilities. Extend an invitation to speak toclass.

Students direct partner in short scene. Includedirection in character work, blocking, floor plan, etc.

Students role-play a director speaking to cast and/orcrew (class) at some selected point in the directorialprocess (first read-through, blocking rehearsal,production meeting, opening night, addressingsome problem or conflict, etc.). Focus on clear andspecific communication and appropriate vocabulary.

Students analyze their level of empathy for acharacter in a live or recorded play. Studentsdiscuss the reasons why they identify or do notidentify with the character based on personalexperience.

Performance rubricDiscussion

Teacher observationRubric measuring level ofinvolvement and quality ofwork

Graded diagramParticipation checklist



Written work, preparatoryinterview questions andfinal observations

Teacher observationChecklist of taskscompleted

Rubric

Class discussionTest or report



Theatre 52

5

6

7

8

b

b

a

b

c

a,b

c

d

a

a

Students watch a live performance of a play andwrite a critique of the production, commenting onartistic and technical aspects.

Students demonstrate personal progress throughthe creation and use of a log of commentary andanalysis of theatre and other media.

Students research and write or dramatize a reporton theories of the origin of theatre.

Students memorize a short story (e.g., a fairy tale,fable, or tall tale) and deliver an animated oralpresentation of the story. Consider a trip to anelementary school for a period of storytelling.

In small groups, students plan and stage an informalproduction based on a researched topic such as ahistorical event or a scientific process.

In small groups, students research and prepare aninformal dramatic presentation on a specific era,country, style, genre, or artist in theatre history (e.g.,ancient Greek theatre, Italian commedia dell’arte,Japanese Kabuki drama, Shakespeare),emphasizing the cultural values associated with thetopic.

Students compare and contrast folktales of variouscultures (e.g., African, Native American, Greekmyths). Discuss universal themes inherent in thesestories.

Students view a video (the program Actor’s Studioon the Bravo television station is an excellentsource) of a professional actor discussing influenceson his/her craft. Discuss points pertinent to his/herindividual and/or cultural experience.

Students write a short script that expresses apersonal philosophical belief through the dialogueand action of the characters.

Students read and discuss a play dealing with anissue of social criticism such as A Raisin in the Sunor The Diary of Anne Frank. Comment (eitherinformally or in the context of an oral or writtenreport) on the writer’s social philosophy and expresstheir and your feelings on the issue.

Rubric

Critique of log

Rubric

Rubric

Teacher observationRubric measuring qualityof production and level ofknowledge of topic

Rubric awarding a groupgrade

Discussion

Discussion

Rubric

Class discussionRubric to grade oral orwritten report



Theatre 53

8

9

b

a,b

c

Students present an oral or written analysis of aplay that has been read or seen. Point out strengthsand weakness and interpret the intentions of thetheatre artists involved and the impact on theaudience for which it was written as contrasted withtoday’s audience.

Students interview a professional in theatre or afield related to theatre (e.g., theatre managementpersonnel, professional actor, storyteller, puppeteer,costume designer, TV news reporter or cameraman,hair stylist) and find out what steps and experienceare vital to that field.

Students choose an art form other than acting andapply it to the interpretation of a play or story. Forexample, write a song, choreograph a dance, drawa plan for scenery or costumes, build a significantprop, etc.

Teacher-made rubric

Checklist

Rubric


Theatre 54

THEATREHIGH SCHOOL LEVEL II


This course continues to explore the theatrical process as an art form. Studentswill have the opportunity to build on skills learned in Level I. Students will concentrateon designing, creating, producing, performing, and critiquing from original andpublished works. This program of study is to be used by the Theatre Specialist and orthe Classroom Teacher in developing theatre curriculum for high school students in thefollowing:

Theatre II





Theatre 55

THEATREHIGH SCHOOL LEVEL II

(Proficient)

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (C/A)History/Culture (HC) Aesthetics (A)Connections (C)


1. Create scripts through improvising, writing, and refining scripts based onpersonal experience, heritage, imagination, literature, and history. (CP, HC)

a. Understand terms of plot structure (exposition, rising action, complication,climax, falling action, and denouement).

b. Know the evolution of play structure from Greek to contemporary drama.c. Collaborate with actors to refine scripts so that story and meaning are conveyed

to an audience.

2. Develop, communicate, and sustain characters through acting inimprovisations, formal, and informal productions. (CP)

a. Understand the physiology of the body and vocal production.b. Develop grace and physical coordination.c. Understand improvisation as an approach to developing character in scripted

materials.d. Demonstrate an understanding of the audition process from the perspective of

an actor.e. Demonstrate classical and contemporary acting techniques and methods.

3. Design and produce environments through investigation and analysis ofartistic interpretations. (CP, HC, A)

a. Analyze a variety of dramatic texts from cultural and historical perspectives todetermine production requirements.

b. Develop designs that use visual and aural elements to convey environments thatsupport the text.

c. Develop technical skills to design and create scenery, props, lighting, sound,costumes, and make-up that support the text.

d. Apply technical skills to collaboratively support formal and informal productions.e. Demonstrate safe use of tools used in technical theatre (e.g. light and

soundboards, lighting instruments, power tools, sewing machine).f. Design coherent stage management, promotional, and business plans.


Theatre 56

4. Direct by interpreting dramatic texts, and organizing and conductingrehearsals for formal and informal productions. (CP, C)

a. Comprehend the role of the director through expansion of theatre literacy.b. Understand the role of cooperation in production strategies for formal and

informal productions.c. Develop multiple interpretations and visual and aural production choices for

scripts and production ideas and choose those that are most interestingd. Justify selections of text, interpretation, and visual and aural artistic choices.

5. Respect and value the role that individual experience plays in classroomdramatizations and from theatre, film, television, and electronic mediaproductions. (CA, A)

a. Understand and develop skills to critique dramatic performance, usingestablished criteria.

b. Understand how interpretation can shape dramatic work.c. Demonstrate acceptable methods of delivering and receiving constructive

criticism.

6. Know how to apply discoveries to support classroom dramatizations throughresearch. (HC, CA, C)

a. Expand knowledge of theatre history through dramatic literature.b. Know the historical and cultural sources of various theatre experiences (e.g.,

tragedy, comedy, farce, musical theatre).c. Understand the influence of culture and history on a production.d. Identify and research cultural, historical, and symbolic clues in dramatic texts

and evaluate the validity and practicality of the information to assist in makingartistic choices for informal and formal productions.

7. Understand context and express meaning by analyzing the role of theatre,film, television, and electronic media in other cultures, times, and places.(CA, HC, C)

a. Understand that theatre employs similar themes from various cultures andhistorical periods that can reveal universal concepts.

b. Expand knowledge of theatre history, recognizing styles of theatre productionsand representative theatre artists.

c. Relate historical and cultural perspectives (social, political, artistic, religious) todramatic literature and production from various cultures, times, and places.


Theatre 57

8. Know ways that theatre elements are employed to produce an aestheticresponse. (CA, A)

a. Analyze individual reactions to theatre experiences.b. Understand the creative process.c. Determine factors that influence perception of meaning and value in theatrical

experiences.

9. Apply connections between content in theatrical experiences and other artdisciplines, subjects, and everyday life. (C, CA)

a. Understand how skills acquired in theatre may be applied to other content areas.b. Understand how skills in other arts disciplines, subjects and everyday life can

enhance theatre.c. Integrate several arts media in informal presentations.


High School Theatre II

Theatre 58


SuggestedAssessment

1

2

3

a

b

c

a

a,c

c

a,c

d

e

a,d

Students read a play in small groups and discusswhere the following elements can be identified:Beginning including exposition, point of attack,inciting incident, major dramatic question;Middle including complication, discovery, crisis;End including denouement, resolution.

Students identify, research, and compare/contrasthistorical and cultural texts for symbols anddramatic devices that reveal aspects of the era andregion.

Students create imaginative scripts and collaboratewith actors to refine scripts so that story andmeaning are conveyed.

Students study and describe skeletal structures andmusculature used to physically and vocally create acharacter.

Students exhibit physical deportment (walking,sitting, standing, etc.) that is specific to a characterbeing studied in a play or a person that has beenobserved in real life.

Students perform improvisations based on dramaticsituations in selected scripted scenes.

Students observe a person and physically recreatethat person conveying character and situation.Utilize recreations as a basis for characterdevelopment in an improvised or scripted scenework.

Students execute a formal in-class presentation of abrief, prepared, published audition monologue usingan established format (e.g., entering the auditionspace, stating name and/or number, stating thecharacter-playwright-play, monologue performance,leaving the audition space).

After viewing segments of live theatre or filmdemonstrating a variety of acting techniques andmethods, students discuss differences in actingapproach and style.

Students set a classical play in a different timeperiod, culture or locale. In small groups, presentoriginal design work (e.g., set, costume, makeup).Determine the impact on design and defend choiceswith regards to changes made.

Teacher-guidedDiscussion

Student written reportTeacher-made rubric



Teacher-made rubric

Teacher observation

Teacher observationSelf-assessment via videodocumentation


Discussion

Project gradeTeacher/student rubric



Theatre 59

4

5

6

b,c

e

a

b

c,d

a

a

b

c

a,d

a,d

Students study the physical and/or chemicalproperties of the technical aspects of theatre (e.g.,non-colored and colored light, electricity, paint,makeup). Describe the effects these propertieshave on setting, mood, and dramatic content ofscripted scene(s).

Students establish a safety checklist. Safely createfunctional scenery, properties, lighting, sound,costumes, and makeup for formal or informalproductions.

Students read scripts then view live or tapedperformances of them, identifying directorial choices(e.g., casting, setting, statement of theme).

Working in cooperative groups, students role-playdirector, lighting designer, set designer, costumeretc., each contributing to the creation of a mockproduction.

Students produce and develop a short performancepiece or video montage of an original poem ormonologue supported by music or sound.

Students construct a checklist of elements requiredfor an effective theatrical production (e.g.,consistency in directing/acting, visualappropriateness: scenery, costume, and lighting).

Students utilize checklist to critique a live or tapedproduction.

Students examine a scripted play and identifythemes that could be used as an overall productionconcept (e.g., social, psychological, cultural,emotional themes).

Students role-play positive and negative methods ofdelivering and accepting criticism.

Students examine plays (scripted or taped)representative of major historical eras (e.g., Greek,Roman, Middle Ages, Renaissance, Restoration,Commedia dell Arte, 19th Century, Modern,Contemporary) and identify elements that arerepresentative of the era.

Perform selected scenes from historical textsincorporating discoveries (e.g., language,costuming, music, social climate) gleaned fromresearch.

Teacher-made rubricStudent paper/oralreport/demonstration

Teacher checklistTeacher observationParticipation checklist

Student paper/oral report

Group written workPresentation

Project gradeStudent rubric

Teacher-guided discussionWritten work

Written critique


Teacher observation

Written work

Performance rubric



Theatre 60

7

8

9

a,d

a,d

b

c

a

b

c

a,c

c

c

Students view musicals from the mid-20th Century,late 20th Century, and 21st Century and compareand contrast.

Working in cooperative groups, students examineand research a specific musical production. Presentfindings to class in an innovative way.

Students examine a play from a historical era (e.g.,Japanese, African, Spanish, Canadian) and identifyelements that are representative of the culture.

Students perform selected scenes incorporatingdiscoveries.

Students examine plays and determine theinfluence of cultural and social climates andperformance styles.

Students examine and identify major historicalmilestones and determine the impact on thedramatic literature of the period.

Students view a live or taped performance andidentify individual likes and dislikes. Studentsdiscuss in small groups how he/she arrived at theirreaction.

Students interview live or view taped interviews ofplaywright(s) and/or actor(s) and identify elementsof the creative process.

Working in small groups, students brainstormfactors that influence how current generationperceives and derives value from a variety of media,live and electronic. Report back to class.

Students generate a list of work performed inproducing an informal play and identify areas thatare cross-curricular (e.g., scenerydesign/construction-math, visual arts, directing-management, lighting design-science, costuming-marketing, visual arts, publicity-advertising/marketing, house management-business). Extend this activity by incorporating otherarts media (music, dance). Discuss the effect ofexpanding play through incorporation of theseelements.


Group presentation

Written work

Teacher observation

Performance rubric


ResearchParticipation checklist


Discussion

Written workTeacher-guided discussion


Theatre 61

THEATREHIGH SCHOOL LEVEL III

(Advanced)


Theatre III is designed to enable students who are interested in theatre tocontinue exploring and perfecting their abilities at a higher level of proficiency. Anintroduction to the importance of ensemble and the notion of research to inform artisticdecisions creates opportunities for exciting collaboration as well as individual creativity.This program of study is to be used in developing theatre curriculum for high schoolstudents in the following:

High School Theatre III





Theatre 62

THEATREHIGH SCHOOL LEVEL III

(Advanced)

CONTENT STRANDS:



1. Create scripts with increased technical proficiency through participation inimprovisation and scripted scenes based on personal experience, heritage,imagination, literature, and history. (CP, HC, C)

a. Define and refine original scripts through individual writing or ensemble work.b. Comprehend the structures of various styles of drama from different historical

periods.c. Investigate and apply the techniques of asides, soliloquies, allegory, symbol,

mood, and metaphor to develop characters and plot.d. Create theatre, film, television, or electronic media scripts in a variety of traditional and new forms that include original characters with unique dialogue that motivates action.

2. Refine acting skills through study of technique and style. (CP)

a. Create and practice an individual physical and vocal warm-up routine.b. Develop and sustain clear-cut, consistent characters from representational and presentational plays.c. Develop awareness of the positive outcomes derived from ensemble work.d. Demonstrate an acting technique of non-Western theatre tradition.

3. Design and produce by conceptualizing and realizing artistic interpretations for formal and informal productions. (CP, C, A)

a. Develop, with the director, unifying concepts using the technical aspects of theatre, film, television, or electronic media production.b. Provide technical support (e.g., creating or running light or sound cues, building scenery or costumes) for performances.c. Recognize and identify technical needs of a particular dramatic text.d. Refine critical skills used to evaluate technical aspects of theatrical production.e. Expand knowledge and practice safety and efficiency in the use of tools in technical theatre.


Theatre 63

4. Expand skills necessary to direct formal and informal productions. (CP, C)a. Plan and implement auditions, rehearsals, and production meetings to achieve

desired production goals.b. Exhibit interpersonal skills necessary to lead a cast and crew to develop an

aesthetically unified production concept.

5. Analyze the intentions of the theatre artist in creating classroom dramatizations, theatre, film, television, and electronic media productions . (CA, A)

a. Examine the whole and the parts of a dramatic performance and suggestpersonal and traditional artistic choices for informal or formal production.

b. Monitor progress by updating personal portfolio.

6. Expand research resource capabilities to support classroom dramatizations and theatre production. (HC, CA)

a. Apply scholarly studies of production designs, technical elements, andperformances from various cultures to assist in making artistic choices forinformal and formal theatre, film, television, or electronic media productions.

b. Research the lives and work of theatre professionals (e.g., playwrights, actors,designers).

c. Prepare research for a director.d. Develop interpretive skills by reading, researching, viewing, and evaluating a

play.

7. Comprehend the meaning and know the function of specific theatrical conventions and forms in other cultures, times, and places. (CA, HC, C)

a. Compare and contrast the interpretive and expressive conventions of specificcultures or historical periods.

b. Compare and contrast traditional and non-traditional art forms. c. Analyze the development of dramatic forms and traditions across cultures and historical periods and explain influences on contemporary theatre and theatre- derived media.

8. Analyze and derive meaning from works of theatre and theatre artists on the basis of their aesthetic qualities. (CA, A)

a. Develop aesthetic knowledge base that results from understandings of cultural,societal, historical, and artistic theories and products.

b. Respond to deliberate attempts to change attitude, style, thought, etc., throughart.

c. Understand the impact of individual experience and philosophy on the assignment of meaning and value to theatre.


Theatre 64

9. Determine effectiveness and use of creative processes, principles, and techniques of theatre as they relate to other art disciplines, other subjects, and everyday life. (C)

a. Demonstrate an understanding of theatre as a collaborative art.b. Demonstrate an appreciation for skills crafted in theatre that carry over into other

professional areas. c. Demonstrate the integration of several arts and/or media in theatre, film, television, or electronic media productions.



Theatre 65


SuggestedAssessment

1

2

3

a

b

c

c

d

a

a

b

c

d

a,b

Utilizing group collaboration and improvisation,students create and perform a “montage” basedupon common themes emerging from individualjournal entries of ensemble.

Students compare and contrast plays with commonthemes and forms from different historical periods(e.g., Theme: “The Aging Patriarch”; Form: Tragedy;Plays: King Lear and Death of a Salesman).

Students create costume and set designs that aresymbolic, allegorical, or evocative of a particularmood or metaphor, such as Everyman.

Students demonstrate the correct execution of theaside onstage.

Students write an original television script for aclassroom video project based on a specifictelevision format (e.g., talk show, situation comedy,soap opera).

Students explore head to toe physical warm-uproutines in yoga, modern dance, martial arts, sports,etc. They also explore a variety of vocal warm-upsin speech and music.

Students develop a combination of the above todevelop into an effective standard warm-up routine.

Utilizing plays from different historical periods,students determine and demonstrate howcharacterization and acting styles differ inpresentational vs. representational plays (e.g.,melodrama– Switched at the Crossroads vs. realism– A Raisin in the Sun).

Students evaluate positive outcomes ofcollaboration.

Students research and view live or filmedperformance of Japanese Kabuki or Noh theatre.They select a contemporary Western play andadapt, perform, and videotape it in this style.

After selecting or creating a play, students performone or more technical tasks such as:� Constructing a scaled ground plan or a scale

model of a set.

Project gradeWritten workPeer and self-assessment

DiscussionWritten Work

Project grade

Teacher checklist

Project gradePeer and self-assessment

Participation

Teacher observation

Teacher-made rubricevaluating analysis andperformance

Discussion

DiscussionTeacher-made rubricevaluating analysis andperformance

Project grade



Theatre 66

4

9

6

4

4

9

5

c

d

e

a

a

d

a, b

b

a

a

b

� Hanging, focusing, and executing a lightingdesign.

� Designing colored renderings of costumes andmakeup for a play.

� Constructing or assembling costumes andmakeup.

Students determine the specific technical productionneeds of a designated play (e.g., costumerequirements for Guys and Dolls; set requirementsfor Our Town; prop requirements for The GlassMenagerie).

Students attend a live performance and determinethe efficacy of its technical elements.

Students correctly label a diagram of componentparts of a table saw and identify proper procedurefor use.Students demonstrate safe use of equipment.

In performing duties of directors for student-directedscenes and plays, students:� compile sample audition sheets, rehearsal

schedules and production meeting schedules.� conduct auditions for parts in scenes or a play.� develop and implement rehearsal and

production meeting schedules.� conduct play analysis by reading and re-

reading script, highlighting informationessential to the director (e.g., special technicalrequirements, plot points, charactermotivation, entrances, exits).

� note important information or questions into adirector’s notebook.

� determine the similarities and differencesbetween constructing a stage picture andconstructing a painting.

� block character movement and recordblocking notations in script.

� brainstorm problem solving techniques withcast members.

� conduct theatre games and group activitiesthat will solidify group.

Students view live performance, then propose viableoptions for setting the play in another place, time, orculture. They discuss the impact of such changes.

Students update resume, performance tapes,written and artistic work to place in portfolio.

Teacher Observation

Teacher-made rubric

Teacher-made rubric

Oral PresentationTeacher-made rubricTeacher checklist

Teacher-made rubricWritten work

Teacher-made test

Teacher observation

Teacher observationDiscussion

Teacher observationStudent ChecklistDiscussion

Written work

Thinking map

Observation, Discussion

Observation

Peer assessment

Discussion

Portfolio Assessment



Theatre 67

6

7

8

9

a

a, b

c

d

a

b

b

c

a

b

c

b

Students view documentary film of prominenthistorical figure to study physical idiosyncrasies andthen use what they have discovered in aperformance.

Students develop a monologue presentation basedupon research on a prominent theatre artist.

Students conduct research in historical costume orarchitecture for a period play.

Students determine stage worthiness of play for aparticular group based on pre-determined criteria.

Students research historical references to developcriteria for evaluating a play (e.g., Hamlet’s adviceto actors).

Students discuss traditional and non-traditionalcontemporary manifestations of artistic expressionin theatre (e.g., fashion, architecture, music,language, etc.).

Students discuss non-traditional forms that haveevolved into traditional forms (think invention,discovery).

Students research a topic that explores theevolution of a theatrical element and its influence oncontemporary media (e.g., opera to musical theatreto music video).

In small groups, students research and presentinformation on the concept of beauty and theatricalideals found in different cultures and/or historicalperiods.

Students study efforts by governments and/ortheatre or film artists to sway popular opinion (e.g.,Hitler’s film Triumph of the Will, U.S. war moviesduring WWII, Korean War, Vietnamese War, WarAgainst the Terrorists) to determine effect desiredand how and if achieved.

Students compare films and television shows thatare more popular with males to those more popularwith females. They discuss how gender influencesthe perception of value in a film or television show.

Students survey business leaders for desirable traitsfor various professions. Correlate these to desirabletraits found in theatre professions.

Written Analysis,PerformanceDemonstration

Performance rubric

Written work,Art work

Written workStudent-made rubric

Written work

Discussion

Discussion

Written work

Project

Discussion and/orWritten assignment

Discussion

Written workThinking map



Theatre 68

c Students choose a recent popular film to analyze interms of the presence of various art forms. Theydetermine and describe the roles of music, visualarts, kinesthetic arts (including, for example, combatchoreography), and theatre-derived elements (e.g.,acting, makeup, puppetry, set design) within thefilm.

Discussion and/orWritten assignment


Theatre 69

THEATREHIGH SCHOOL LEVEL IV

(Advanced)(Formerly Advanced Dramatic Techniques)


Theatre IV is designed to provide students with a broad-based in-depth learningexperience through independent study and increasingly demanding levels of analysisand practical application. Students will develop and produce original work and increasetheir level of expertise with the possible goal of specialized study at the university leveland/or entry into a theatre career track. This program of study is to be used indeveloping theatre curriculum for high school students in the following:

Theatre IVTheatre, Performing Arts Special Course





Theatre 70

THEATREHIGH SCHOOL LEVEL IV

(Advanced)(Formerly Advanced Dramatic Techniques)

CONTENT STRANDS:



1. Create and objectively evaluate scripts through improvising, writing, andrefining scripted scenes based on personal experience, heritage, imagination,literature, and history. (CP, HC, C)

a. Develop character, human interaction, conflict, and resolution through thecreation of monologues, scenes, or short plays.

b. Analyze the effect of personal, societal, and cultural influences on original work.c. Collaborate in the development of original dramatic pieces in a variety of

traditional and new forms that include original characters with unique dialoguethat motivates action.

2. Develop objectivity in appraising personal abilities and creative endeavorswhile acting in improvisations and formal and informal productions. (CP)

a. Assume responsibility for independent work.b. Understand the process that an actor experiences during planning, rehearsing,

and performing in plays from a variety of classical and contemporaryplaywrights.

c. Demonstrate artistic discipline to achieve an ensemble in rehearsal andperformance.

3. Conceptualize and realize a unified artistic design interpretation for formaland informal productions. (CP, HC, C, A)

a. Collaborate with the director and other designers/technicians to develop unifiedproduction concepts that convey the metaphorical nature of the drama forinformal and formal theatre, film, television, or electronic media productions.

b. Participate and assume leadership role as a technician in planning, rehearsing,and performing in a production for an audience.


Theatre 71

c. Develop the acumen to assess and evaluate one’s own work and/or work ofothers in technical theatre.

d. Research areas of technological advances and special effects and their impacton set, light, sound, makeup, and costume design in theatre, film, television, andelectronic media.

e. Create and reliably implement production schedules, stage management plans,promotional ideas, and business and front of house procedures for informal andformal theatre, film, television, or electronic media productions.

4. Evaluate the consequences of decisions made and actions taken in thedirecting process. (CP, C)

a. Analyze the contributions of writers, actors, directors, technicians, andmanagement personnel to a dramatic production.

b. Know different directing styles of well-known directors.c. Explain and compare the roles and interrelated responsibilities of the various

personnel involved in theatre, film, television, and electronic media production.

5. Evaluate production concept and dramatic interpretation in classroomdramatizations and from theatre, film, television, and electronic mediaproductions. (CA, C, A)

a. Develop resources to aid in developing and evaluating production concept andsupporting dramatic interpretation of theatre production.

b. Recognize that a production concept unifies theatre, film, television, andelectronic media productions.

6. Synthesize knowledge of researched material into the creation of a theatreproduction. (HC, CA C)

a. Conduct intensive individual work in a major area of interest in the theatricalproduction (e.g., design, technical, directing, acting, playwriting, management,electronic theatre derived media).

b. Research and describe appropriate historical production designs, techniques,and performances from various cultures to assist in making artistic choices forinformal and formal theatre, film, television, or electronic media productions.

7. Critically evaluate the role of theatre, film, television, and electronic media inother cultures, times, and places. (CA, HC, C)

a. Recognize the impact of new trends in theatre performance and/or technology.b. Develop a philosophy on the roles and function of theatre in society and culture.c. Research and identify cultural and historical sources that have influenced major

theatre movements and/or innovations.


Theatre 72

8. Critique and derive meaning from works of theatre and theatre artists on thebasis of aesthetics. (CA, A)

a. Recognize that aesthetic choices govern the way in which symbols, motifs,moods, and themes are revealed in a production.

b. Recognize factors that influence various audience and critic responses toproductions.

c. Compare the aesthetic qualities of traditional arts from various cultures andhistorical periods with contemporary new art forms (e.g., performance art).

d. Analyze the social and aesthetic impact of underrepresented theatre and filmartists.

9. Synthesize elements of all the arts, as well as internal and externalexperiences, into the creation of a theatrical production. (HC, CA, C)

a. Compare the interpretive and expressive natures of several art forms in aspecific culture or historical period.

b. Develop collaboration skills learned in theatre through group work in othercontent areas.

c. Investigate types of post-secondary training opportunities in theatre.d. Analyze personal growth as a theatre artist and student and assess internal and

external experiences that have contributed to that growth.


High School Theatre IV

Theatre 73


SuggestedAssessment

1

23

2

3

4

a,c

ac

b

c

a

b

d

e

a, c

Students participate in a workshop process (throughwriting, improvisation, brainstorming, performance,etc.) creating original monologues, scenes around acommon theme (e.g., the Millennium). They developscenes into a short play.

Students develop a set of criteria for self-evaluationand evaluate their own performance as actors andtechnicians in independent work.

Students research factors that have influenced otheractors who have portrayed a given character (e.g.,Hamlet, Eliza Doolittle) and produce a writtenanalysis of their varied approaches to the character.

Students perform together as a team anddemonstrate supportive behaviors (e.g., reinforcingone another’s ideas in improvisation, active listeningand reacting to one another in scenes).

Students design sets, costumes, makeup, or lightingaround a thematic idea expressed as a metaphor(e.g., the “unweeded garden” in Hamlet, the fragilityof innocence in The Glass Menagerie, the world asa pointless and erratic machine in The BaldSoprano).

Each student serves as a crew head in a technicalarea in a production.

Students read selected articles from technicaltheatre publications and give an oral presentation oftheir findings.

For a school production, students create andimplement one of the following:� a plan to promote and publicize a school production.� a plan for house management procedures.� a production schedule.� a stage management plan.

As theatre artists, students record observations andreflections during the research, rehearsal, andproduction phases of a designated work of theatre,noting the roles and contributions of eachparticipant.

Teacher observationWritten workTeacher-made rubric

Written work

Written work

Teacher observation

Art work

Teacher-made rubric

Teacher-made rubric

Written workTeacher observation

Log entries



Theatre 74

5

6

7

b

c

a

b

a

b

a

b

c

Students identify directorial style by viewing severalworks by a well-known film director and determinewhat makes his or her work unique.

Students are asked to do one of the following:� compare and contrast the role of the theatre

artist with a corresponding film artist (e.g.,theatre director and film director).

� compare and contrast the role of twooccupations within the same medium (e.g.,director and designer, actor and technician)

� investigate a film director with a theatricalbackground (e.g., Orson Welles, Elia Kazan,Ingmar Bergman, Julie Taymor) and indicatehow one medium influences the other in theartist’s work.

Students research other art forms (e.g., visual artstyles like surrealism, cubism, art deco) to deriveinspiration in the development of a productionconcept or interpretation.

Students view a live performance or a film of a liveperformance and discuss how unity was achievedthrough artistic treatment of all areas of theproduction.

Students will work in different roles on differentschool productions to be able to have experience inas many varied aspects of theatrical work aspossible (e.g., design, writing, directing, acting,technical crew work, management) and useresearch as well as instruction to inform theirperformance.

Students research historical clothing for a periodplay such as The Importance of Being Earnest.They relate a written report on the types of clothingrequired and/or draw costume sketches and/or buildcostumes for use in a production.

After doing research in technical publications,students list ways in which computer technology hasenhanced technical theatre.

Students create a work of art (e.g., collage, painting,sculpture) that reflects the role and function oftheatre in contemporary society.

Students create a timeline illustrating major theatremovements aligned with important historical orscientific events.

Discussion

DiscussionOral presentation, and/orWritten work

Student checklistArt work inspired byresearch

Discussion

Teacher observationSelf-assessment andPeer-assessment

Written workArt workTeacher-made rubric

Discussion

Oral critique

Project grade



Theatre 75

8

9

a

b

c

d

a

b

c

After viewing a film by a pioneer director, studentsdiscuss how artistic choices delineate a strongsense of style.

Students read two or more reviews of a Broadwayplay or a film and discuss the similarities anddifferences.

Students present a comparison of a traditional and acontemporary form of theatre (e.g., Greek comedyand stand-up comedy) in a class performance or awork of visual art.

Students research and report on the work of aminority playwright, actor, or director (e.g., AugustWilson, Sidney Poitier, Spike Lee), focusing onways in which that artist’s work has helped to breakground for others and influence society.

Students compare and contrast characteristics oftheatre of two historically related cultures (e.g.,Greek and Roman, Elizabethan and French Neo-Classical) and theorize how differences in thecultures impacted the theatre of each .

Students practice theatre games that supportcollaboration skills developed in theatre (e.g.,communication, cooperation, chain of command).Some examples of these types of games are:� Trust Game (Students close their eyes and fall

backwards, trusting others to catch them.)� Students verbally guide a blindfolded student

through an obstacle course.� Blindfolded students must navigate space

without touching one another. If they dotouch, they must stay stuck together.

� In teams, students must quickly improvisescenes around random words or unrelatedobjects. Or teams must create a physicalrepresentation of an object or machine withina time limit.

� Students improvise stories one word at a time;or they take turns adding segments to thestory. Then they find applications for theseskills in other subject areas (e.g., working asgroups or teams to do projects in English,foreign language, science, and historyclasses.

Invite local college representatives to presentopportunities in the arts offered by their schools.Students prepare questions to ask beforehand.

Discussion

Written report

Teacher-made rubric

Written report andDiscussion

Venn DiagramDiscussion and/orWritten report

Participation checklistDiscussionTeacher observation

Discussion



Theatre 76

d Students keep a journal of experiences throughoutthe year with a special emphasis on experiencesrelated to theatre. At the end of the year, theysynthesize observations from journal entries into areport which catalogues those experiences thatmost contributed to personal growth as a theatreartist.

Written work


Theatre 77

Theatre, Performing Arts Special Course, Level IV

The following strategies are examples that might be used for a course in Televisionand Film study in theatre.


SuggestedAssessment

1

2

3

a

a

a

Over an assigned period of time, video recordsegments of effective and/or ineffective writing fortelevision and/or film. Present to class and leaddiscussion on rationale behind responses.

Individually, perform a monologue or with a partner,a duo-scene, on videotape utilizing acting for filmtechniques.

Participate in a field trip to a local television stationand tour the facility focusing on technicalcomponents in television and film production. Attendand participate in a question and answer sessionled by a profession technician.

Teacher rubricClassdiscussion/participation

Performance rubric

Teacher observationParticipation


Theatre 78

THEATRETHEATRE PRODUCTION

(Advanced)


This program of study is designed to provide students with specialized, in-depthinstruction in theatre to meet the individual needs of advanced students, working at asophisticated level, as they pursue specialty areas in dramatic production. Students willapply their knowledge of production, critical analysis, history and culture, aesthetics,connections among the arts, other content areas, and everyday life in the production ofa theatrical work. This course is designed for the students who have successfullycompleted Theatre I and Theatre II. This program of study is to be used in developingtheatre curriculum for high school students in the following:

Theatre Production (Advanced)



For an explanation of the Content Strands, Competencies, and Objectives seethe General Introduction Section of the Mississippi Visual and Performing ArtsFramework. The Framework General Introduction, Literature Connections, TechnologyConnection, Resources, and Glossary are available online at the MississippiDepartment of Education web site: http://www.mde.k12.ms.us.


Theatre 79

THEATRETHEATRE PRODUCTION

(Advanced)

CONTENT STRANDS:



1. Demonstrate accomplished skills in the selection and use of written materialto produce a work of theatre, film, television, or electronic media production.(CP, C, CA)

a. Develop and expand repertory in dramatic literature.b. Participate in methods of editing and/or adapting literature for performance.c. Participate in a collaborative “workshop” effort to create an original script for

performance.

2. Effectively use the combined elements of body, voice, and intellect tocommunicate in a work of theatre, film, television, or electronic mediaproduction. (CP, CA)

a. Understand how to integrate the physical demands with the intellectualcomponent of portraying a character in a production.

b. Understand and appreciate the contribution and impact that an individualcharacter makes to a dramatic work as a whole in the communication of theplaywright’s intent.

3. Understand how to select specific media, techniques, and processes intechnical theatre, film, television or electronic media production to createparticular effects that evoke intended responses. (CP, CA, A)

a. Develop skills to conduct the research of pertinent facts/information required tosolve production problems and arrive at artistic decisions.

b. Participate in the collaborative process with a director and otherdesigners/technicians to arrive at unified concept for a theatrical production.


Theatre 80

4. Synthesize perceptual abilities with fully developed theatre vocabulary toinform judgments while directing a work of theatre, film, television, orelectronic media production. (CP, HC, CA, A)

a. Analyze dramatic literature in terms of historical intent and contemporaryapplication.

b. Understand how the synthesis of theatrical conventions and artistic choices withaccomplished theatre vocabulary skills enhances communication.

5. Understand a range of ways to critique theatre, film, television, or electronicmedia production through reading, writing, and speaking. (CA, A)

a. Research and apply theories of dramatic criticism when assessing theatricalproduction.

b. Recognize the various ways that the theatre and theatre derived media provideunique modes for the expression of thought, action, and emotion.

6. Synthesize and apply knowledge of researched material in the creation of awork of theatre, film, television, or electronic media production. (HC, CA)

a. Differentiate between and select primary and secondary sources of research tosupport artistic interpretation of a work of theatre or theatre-derived media.

b. Research the meaning of theatrical works in context to the culture in which itwas created and determine how meaning might change (i.e., lost, enhanced) ifcontext was changed.

7. Recognize the impact of culture, time, and place on the characteristics ofworks of theatre, film, television, or electronic media production. (CA, HC)

a. Understand the complex interrelationships between history, culture, media,meaning, and artistic intent in theatre and theatre-derived media.

b. Recognize the various ways that dramatic literature, theatrical conventions,design, and technology are impacted by factors of culture, time, and place.

8. Understand differences between various theories and philosophies ofaesthetics. (CA, HC, A)

a. Recognize how theatre and theatre derived media is valued differently accordingto aesthetic preferences.

b. Understand how concepts of beauty vary widely across cultures and throughouttime.


Theatre 81

9. Recognize how the meaningful integration of theatre concepts and skills withknowledge in other subject areas builds a strong foundation for the pursuit ofprofessional and arts-related careers. (CA, C)

a. Appreciate the broad range of options available in pursuing a career related tothe theatre arts or other professions.

b. Understand the integrated nature of the theatre arts in relation to other artsdisciplines, common concepts, historical and cultural features, and creativeprocesses.


High School Theatre Production

Theatre 82


SuggestedAssessment

1 b Students choose a creative way to share theirfindings from the assignment above (monologuepresentations, costume renderings, mask design,set design, etc.) with the rest of the class.

Presentation

15

cb

Students identify a common theme or newsworthyevent to create a montage of original poetry,monologues, duo-scenes, etc. Students writetransitional bridges to unify pieces and makechoices about common ground, important points,sequential order, etc. creating a script forperformance. Identify a director and create atechnical support team to address costume,makeup, set, lighting and sound design.

Classdiscussion/participationWritten work

2 a Students demonstrates through performance carefulanalysis of the inner life of a dramatic character(motivation, subtext, and text) combined with athoughtful movement study (external characteristics,idiosyncrasies, physical carriage, movementpatterns, etc.).

Written workPerformance rubric

b After identifying the theme of a dramatic work,students identify the role that each character playsin the support or detriment of that theme.Determine ways that focus during performance canbe given to that character in moments through avariety of directing, acting and technical techniques.

Written play and characteranalysis

3 a After identifying a particular production problem,students create a journal or sketchbook todocument the process of arriving at an artisticchoice and/or solution to the problem.

Written work/sketchbook

4 a Students extend historical aspects to application intoday’s world by creating and performing a skit.

Performance rubric

b Students locate and read review on theatre, film, ortelevision identifying terms that are exclusive to theart form. Define any new or unfamiliar terms.

Written work/discussion

45

ba

Students write a review on an attended play or filmutilizing vocabulary appropriate to the art form.

Written work


High School Theatre Production

Theatre 83

6 b Students study and analyze a character forexample, Electra in Greek tragedy, Richard Strauss’opera Elektra and Eugene O’Neill’ws MorningBecomes Electra) treated by differentplaywrights/composers over several historicalperiods of time.

Project grade

7 a,b Analyze how the character above is treated andexplain variations in treatment due to genre, point ofview, history, culture, etc. Students choose acreative way to share their findings from theassignment above (monologue presentations,costume renderings, mask design, set design, etc.)with the rest of the class.

Written work, discussionPresentation

8 b Using the common theme the concept of “beauty”through the ages, students create a project basedon their development of the theme.

Project gradeProduction rubric

9 a Students select a theatre career to investigate andcreate a report and visual artifact(s) on the specificcareer.

Written work/artifactProject grade

b Working individually or in groups, students produceand perform a “performance art” piece on a topic ofown choosing that integrates all of the artsdisciplines. Other disciplines can be included also(literary, psychology, sciences, etc.).

ParticipationPerformance rubric


Theatre 84

THEATREDRAMATIC CRITICISM AND PERFORMANCE


This program of study is designed to enable students who are interested in thetheatre arts to pursue an in-depth exploration of the interrelationships of aesthetics,criticism, and performance. This course is designed for the students who havesuccessfully completed Theatre I and Theatre II. This program of study is to be used indeveloping theatre curriculum for high school students in the following:

Dramatic Criticism and Performance



For an explanation of the Content Strands, Competencies, and Objectives seethe General Introduction Section of the Mississippi Visual and Performing ArtsFramework. The Framework General Introduction, Literature Connections, TechnologyConnections, Resources and Glossary are available on line at the MississippiDepartment of Education web site: http://www.mde.k12.ms.us.


Theatre 85

THEATREDRAMATIC CRITICISM AND PERFORMANCE

CONTENT STRANDS:



1. Develop and critique dramatic scripts through improvising, writing andrefining, based on personal experience and heritage, imagination, literature,and history. (CP, HC, C, CA)

a. Develop dramatic writing skills for various media including stage,television/radio, and short scripts for performance or publication.

b. Develop dramatic writing skills for various media based upon groupcollaboration and collective creation.

2. Develop, communicate, and critique characters in improvisations and formaland informal productions. (CP, CA)

a. Analyze the problems and techniques of acting in period and stylized dramaticpieces.

b. Analyze character development processes based on the theories of importanttheatre practitioners (e.g., Constantin Stanislavsky).

3. Design and produce by conceptualizing and realizing artistic interpretationsfor informal and formal productions and critiquing the same. (CP, C, A)

a. Develop set designs for various media, including stage, film and television,and/or non-traditional performance spaces.

b. Understand the interdependence of the elements of design and the action of theplay or story.


Theatre 86

4. Direct by developing a critical analysis and interpretation of dramatic texts,and by organizing and conducting rehearsals for formal and informalproductions. (CP, CA)

a. Understand the role of the director as a creative team leader.b. Develop analytical, critical, and organizational skills involved in a director’s

preparation, and the application of these discoveries to the rehearsal andpresentation of any scene, play, or improvisation.

5. Analyze and understand personal preferences and construct meanings fromclassroom dramatizations and critiques drawn from theatre, film, television,and electronic media. (CA, A)

a. Learn to analyze and express one’s own creative processes in theatricalendeavors.

b. Learn to analyze and express one’s own personal response to a theatricalevent.

6. Research topics, analyze and critique findings, and apply discoveries tosupport classroom dramatizations. (HC, CA C)

a. Analyze representational and presentational plays for academic and productionpurposes.

b. Analyze the historical, social, and cultural contexts of the themes and ideasexpressed in the dramatizations.

7. Understand and critique context by analyzing the role of theatre, film,television, and electronic media in other cultures, times, and places. (CA, HC,C)

a. Evaluate and critique selected plays from various historical periods to thepresent through such elements as action, style, character, structure, andlanguage.

b. Evaluate and critique selected plays or dramatic presentations in the light ofrelevant themes and ideas and their relationship to the students’ community andculture.

c. Evaluate and critique selected plays or dramatic presentations in the light ofrelevant themes and ideas and their relationship to the source community and/orculture.

8. Derive meaning from works of theatre and theatre artists from the point ofview of theatre criticism and aesthetics. (CA, A)

a. Understand the connection between aesthetics and the art of the theatre.b. Learn to analyze and express aesthetic concepts in response to selected

theatrical performances, including plays, films, television, or improvised works.


Theatre 87

9. Demonstrate and critique connections among content in theatricalexperiences and other art disciplines, subject areas and everyday life. (HC,CA, C)

a. Understand the eclectic nature of theatre as an art form and demonstrate how itmakes use of other artistic disciplines and subject areas including dance, music,the visual arts, literature, and creative writing.

b. Understand and demonstrate how theatre addresses its subjects through theuse of metaphor, symbol, and image.

c. Understand and critique how specific theatre content connects with themes andexperiences of everyday life.


High School Dramatic Criticism and Performance

Theatre 88


SuggestedAssessment

1

2

3

4

a, b

a, b

a

a

b

a, b

a, b

Individually, students write a comedy scene and atragedy scene that involves a small number ofcharacters. Enter reactions and process in ajournal. Extend by having a reading of work byclassmates, followed by a class critique. Discusschoices, successes, and difficulties.

Working as individuals or partners, students writeand present a short play. Carefully develop dialoguethat is indicative of character and plot that advancesaccording to sound principles of dramatic structure.Develop appropriate action and situation. Castclassmates as characters and stage work in aninformal classroom setting.

Analyze the writing formats of radio, television, andfilm scripts. Students produce scripts for radio andtelevision.

Observe period or stylized acting in liveperformance or on video. After an analysis anddiscussion of style, technique, and any inherentproblems, student will research an appropriateperiod scene for performance, emulating historicalcostume as closely as possible.

Students research the following “schools of acting”on the Internet and create oral reports focussing onthe character development process inherent in:� The “Method”� External method of acting� Internal method of acting� Stanislavsky approach

Extend the activity by approaching performance of atwo-character scene utilizing one of the actingmethods. Include in classroom critique discussionon differences between emotional and technicalacting and personality versus character acting.

Students design a unit set for a proposed summerrepertory season of at least 3 plays. Build a scalemodel and present design and how it will work for all3 shows.

Students develop written plan and lead a cast in aregimen of theatre games and warm-ups that willcontribute to a desired outcome in the performanceof a play.

Written work, teacher-made rubric, journalentries, discussion,participation

Written work, teacher-made rubric, participation,self critique

Discussion, teacher-maderubric

Teacher-made rubric

Rubric evaluating qualityof research, oral report

Performance rubricClassroom discussion

Project grade

Written WorkTeacher Observation


High School Dramatic Criticism and Performance

Theatre 89

5

6

7

8

9

a,b

a,b

a,c

a, b

a, b

a, b

Students design a set, costumes, and lighting basedon response to selected music, work of literature, orwork of art. Orally present the process leading tocompletion of design rendering, including personalmotivation/response.

In small groups, students analyze a play in terms ofexposition, plot, character, and theme.� Analyze a comedy (e.g., The Inspector

General)� Analyze a tragedy (e.g., Death of a Salesman)

Present your findings to other classmates in aninnovative way.

Students write a culminating research paper onselected topic:Suggestions include…� Explain the influence of Aristotle and the 17th

Century Neo-Classicists on dramatic structure.� Explore and explain the various types of

comedies.� Distinguish between classic and modern

tragedy.� Discuss various styles of theatre.

Present and discuss highlights of research to classduring a research “forum” of eminent theatrescholars.

Students attend the performance of a play, thenprepare a written critique of the play in performance.Teacher leads a discussion on the performance inclass.

Students compare and contrast the aestheticsportrayed in Zefferelli’s film production of Romeoand Juliet and the later version featuring Leonardode Caprio. Discuss, using specific examples. Howdoes history and culture inform the aesthetics ofthese films?

Students read and view a live or taped performanceof The Fantastiks. Point out how dance, music,visual arts, literature and creative writing combine tomake the production. Discuss the use of metaphor,symbol and image in the play. How does the contentrelate to themes and experiences of everyday life?

Project gradeTeacher-made rubric

Project gradeGroup presentation rubric

Written workTeacher-made rubric


Written workDiscussion

Written workDiscussion

DiscussionWritten response


Theatre 90

THEATREHIGH TECH VIDEO PRODUCTION


This course explores the process of video taping as an art form. Students willconcentrate on creating, producing, taping, and critiquing of original and publishedvideo and film. This program of study is to be used by the Theatre Specialist and or theClassroom Teacher in developing theatre curriculum for high school students in thefollowing:

High Tech Video Production



For an explanation of the Content Strands, Competencies, and Objectives seethe General Introduction Section of the Mississippi Visual and Performing ArtsFramework. The Framework General Introduction, Literature Connections, TechnologyConnections, Resources, and Glossary are available online at the MississippiDepartment of Education web site: http:/www.mde.k12.ms.us.


Theatre 91

THEATREHIGH TECH VIDEO PRODUCTION

CONTENT STRANDS:



1. Write screenplays by the creation of improvisations and scripted scenesbased on personal experience and heritage, imagination, literature, andhistory. (CP, HC, C)

a. Know the historical eras of film.b. Understand the dramatic elements of film.

c. Demonstrate screenplay writing techniques.

2. Develop acting skills to portray characters that interact in improvised andscripted screenplay scenes. (CP)

a. Recognize character motivation in film.b. Identify the difference between acting for stage and video.c. Demonstrate film-acting technique in improvised and scripted screenplays.

3. Design by developing environments for film and videotaped scenes. (CP, A)

a. Know technical requirements for film.b. Develop unifying concepts for the technical aspects of film.

4. Direct by organizing shoots for filmed and videotaped scenes. (CP)

a. Understand the audition, rehearsal, and production processes.b. Recognize principles of blocking for film.c. Demonstrate understanding of film technique.d. Know proper camera operating practices.

5. Analyze and explain personal preferences and construct meanings fromfilmed or videotaped classroom productions and film, television, andelectronic media productions. (CA, C, A)

a. Understand the importance of dramatic interpretation in film.b. Know the role of language in a screenplay.


Theatre 92

6. Know how to apply discoveries to support classroom film and videotapethrough research. (HC, CA, C)

a. Recognize the elements of production choices in design and direction.b. Know the impact of directing choices.c. Understand the role of research in video production.

7. Recognize that film can communicate the artistic and social values andaccomplishments of cultures, times, and places. (CA, HC, C)

a. Recognize the impact of Mississippi’s history on film.b. Analyze the social impact of historical and cultural events of film.

8. Analyze film and video and film and video artists in order to respondcognitively to creative products. (CA, A)

a. Specify review criteria of film.b. Understand the dramatic structure of film.

9. Identify relationships between film, other arts, other subject areas, andeveryday life. (HC, CA, C)

a. Understand the relationship between film skills and school curriculum andcareers.

b. Recognize the role of documentaries as a depiction of real life.


High-Tech Video Production

Theatre 93


SuggestedAssessment

1

2

3

4

a

b

c

a

b

c

a

b

a

b

c

d

Students view scenes from films covering varioushistorical eras.

Students work in cooperative groups and developscenes that create tension, suspense, and/orhumor.

Students develop a screenplay scene based onindividual experiences (e.g., prom, big sportingevent, classroom situation) using film writingtechniques (e.g., story outline, story board, shot list,dialogue).

Students view a film or selected scenes from a filmand identify the goals of the main characters.Cooperatively recreate identified goals in animprovised scene for videotaping.

Students perform scripted or improvised scenes forthe stage and for videotape and determine the mosteffective acting style for video.

Students perform scripted or improvised scenes forvideotaping (e.g., adapted from plays, existingscreenplays, improvised from student life orexperiences).

Students view a film and identify technical elementsand their use. Tape scripted or improvised scenesutilizing necessary technical elements.

Working in cooperative groups, students create adesign approach to a scene(s) based on a social,cultural, or emotional theme.

Working in cooperative production groups, studentsdesign audition, rehearsal, and productionschedules for a scripted screenplay.

Students tape scripted or improvised scenes andidentify effective movement patterns and business.

Students tape a scene(s) from an improvised orscripted screenplay.

Students tape a scripted scene and exhibitresponsible camera operator procedures (e.g.,camera care, composition of shots, response todirector’s cues).

Teacher-guided discussion

Participation checklistTeacher-made rubric

Teacher-made rubricProject grade

Teacher-guided discussionWritten workTeacher-made rubric

Teacher observationTeacher-guided discussion

Teacher observationTeacher-guided discussion


Teacher observationPresentation

Teacher observationWritten workPresentation

Teacher-made rubric

Teacher-made rubric

Teacher observation


High-Tech Video Production

Theatre 94

5

6

7

8

9

a

a

b

a

b

c

a

b

a

b

a

b

Students view a film and identify recurring themesand screenplay patterns.

Students create a production concept of ascreenplay using the above discoveries asexamples.

Students examine theme(s) of a screenplay andimplement selected theme(s) in the production of ataped scene(s).

After viewing a film, students write a responsefocusing on emotional impact, technical elements(e.g., lighting editing, special effects) and direction.

After viewing a film or reading a screenplay,students identify occurrences of figurative languageand imagery.

Students conduct intensive individual research in amajor area of interest of video production (e.g.,editing, music, narration, titles and graphics,audio/video mixing).

Students view films based on epochs of Mississippihistory and determine the accuracy of thedepictions.

Students view films representing variouscultural/historical eras and analyze the depiction ofculture and social climate.

Working in cooperative groups, students identifyelements of effective film.

Students examine a screenplay and distinguish therelationship between plot, conflict, and theme.

Students identify the skills used to produce a filmand make cross-curricular correlations (e.g.scenery-math, directing-management, lighting-science, camera operation-mechanics, advertising-marketing, costuming-marketing).

Students view documentaries of historical, social,and/or political importance, identifying majorthemes.


Teacher observationWritten work

Teacher guided discussionTeacher-made rubric

Teacher-made rubricPresentation

Teacher-made rubricWritten work/presentation

Teacher observationWritten workPresentation


Teacher-guided discussionStudent paperPresentation


Written workPresentation



All information covered inteacher-guideddiscussions can be usedas material for periodictests.


Theatre 95

THEATREORAL INTERPRETATION/READERS’ THEATRE


This program of study is designed to provide the student with a concentratedstudy of the voice as an acting tool, giving students the opportunity to develop theirvocal skills through individual and group interpretation and performance. The study ofrelated academic and technical skills will also be applied. This program of study is to beused in developing theatre curriculum for high school students in the following:

Oral Interpretation/Readers’ Theatre



For an explanation of the Content Strands, Competencies, and Objectives seethe General Introduction Section of the Mississippi Visual and Performing ArtsFramework. The Framework General Introduction, Literature Connections, TechnologyConnections, Resources, and Glossary are available online at the MississippiDepartment of Education web site: http://www.mde.k12.ms.us.


Theatre 96

THEATREORAL INTERPRETATION/READERS’ THEATRE

CONTENT STRANDS:



1. Write scripts for Oral Interpretation and Readers’ Theatre by the creation ofimprovisations and scripted scenes based on personal experience, heritage,imagination, literature, and history focused on vocal production. (CP, HC, C)

a. Understand the process of developing original Readers’ Theatre pieces.b. Understand how poetry, literature, and history can be used to create and

develop Readers’ Theatre and oral interpretation.

2. Develop vocal techniques to portray characters that interact in Oral Interpretation and Readers’ Theatre. (CP)

a. Convey complex mood and characterization through expressive use ofvoice.

b. Demonstrate familiarity with and ability to use selected foreign dialects..3. Develop and support environments for Oral Interpretation and Readers’ Theatre. (CP)

a. Apply technical support to individual/group performances (i.e., lighting, sound).b. Adapt available space into performance space.

4. Direct by organizing rehearsals for original and scripted scenes for OralInterpretation and Readers’ Theatre. (CP, C)

a. Understand the process of directing a Readers’ Theatre play.b. Adapt a speech, poem, short story, or other written work into a Readers’ Theatre

script or Oral Interpretation selection.


Theatre 97

5. Understand personal preferences and construct meanings from OralInterpretation and Readers’ theatre. (CA, A)

a. Realize that emotion impacts performance of Oral Interpretation and Readers’Theatre.

b. Understand the importance of relevance to occasion in determining scriptselection.

6. Research topics and apply discoveries from research to support OralInterpretation and Readers’ Theatre performance. (HC, CA, C)

a. Use understanding of vocal mechanism to project voice audibly, clearly,and without strain in various performance settings.

b. Relate historical perspectives to each Oral Interpretation or Readers’Theatre activity.

c. Recognize sources of published work focusing on Oral Interpretation andReaders’ Theatre.

7. Understand context by analyzing the role of history, the community, andother cultures in developing Oral Interpretation and Readers’ Theatre.

(CA, HC, C)

a. Know the extent to which vocal expression is shaped by culture, regional dialect,peer group pressure, technological change, and public example.

b. Understand how musical instruments and technology can support performanceof Readers’ Theatre and Oral Interpretation.

8. Critique and derive meaning from works of Readers’ Theatre and OralInterpretation on the basis of their aesthetic qualities. (CA, A)

a. Recognize the capability of the human voice and the spoken word to evoke avariety of responses.

b. Recognize that aesthetic choices govern the way in which moods and themesare revealed in a production.

9. Connect and apply content in Oral Interpretation and Readers’ Theatre toother art disciplines, subject areas, and everyday life. (HC, CA, C)

a. Apply scholarly studies to individual performances.b. Understand how collaboration skills learned in Readers’ Theatre contribute to

proficiency in communicating with others.


High School Interpretation/Readers’ Theatre

Theatre 98


SuggestedAssessment

1 a,b Students locate dramatic structure (exposition,rising action, complication, climax, falling action, anddenouement) inherent in each performanceselection.

Teacher-made rubric

2 a,b Students identify type of each performanceselection (high comedy, farce, drama, etc.).

Teacher-made rubric

a,b Students establish and improve control of vocalcharacteristics (inflection, articulation, tempo,pronunciation, expression).

Teacher-made rubric

a,b Students record or video performance to assist indeveloping correct pronunciation and diction habits.

Self evaluation

a,b Students use appropriate vocal characteristics toconvey emotion and understanding of a selectedpiece.

Demonstration

a,b Students notate director’s instructions and notes inactor’s script.

Written sample

a,b Students incorporate director’sinstructions/suggestions concerning position,movement and general performance.

Teacher observation

b Students portray characters from different countries,as they would speak the same lines.

Teacher-made rubric

3 a In small groups, students:� Recognize and identify appropriate

costume/prop pieces for individual characters.� Design appropriate lighting for performance.

Project grade

b Students create interesting set arrangements forReaders’ Theatre performances utilizing levels,actor placement and lighting.

Project grade

4 a Students create a time schedule and rehearsalchart.

Project grade

5 a Students select pieces that relate to personalexperiences.

Project grade

6 a Students demonstrate ability to project voice insuggested locations (auditoriums, gymnasiums,arenas, etc.).

Teacher observation


High School Interpretation/Readers’ Theatre

Theatre 99

6 c Students conduct an Internet search for publishedscript resources suitable for Oral Interpretation orReaders’ Theatre.

Checklist

7 a Students research and analyze how phraseologyand pronunciation are affected by geographicallocation.

Written report

b Students create a musical background and lightingeffects for an Oral Interpretation or Readers’Theatre performance.

Project grade

8 a Students use voice techniques to express differentemotions (excitement, anger, sorrow, happiness,etc.).

Demonstration

b Students analyze effects of light, color, set, sound,etc. on a particular selection to inform futureproduction decisions.

Written work

9 a,b After researching playwrights, authors, andhistorical periods that relate to their selections,students use the information to produce a work ofReaders’ Theatre or Oral Interpretation.

Teacher-made rubric

a Students write an introduction for each performanceselection.

Written work

b Students interact in a small group setting to producea public performance.

Teacher-made rubric


Theatre 100


THEATRE

The Literature Connections section is designed to serve as a guide and first-stopsource for making cross-curricular connections. The titles are not extensive and otherbooks should be used in the classroom.


Aliki FEELINGS, New York, Mulberry Books, 1986. Pictures,dialogs, and stories portray various emotions we all feel:jealousy, sadness, fear, anger, joy, and others.

Arkhurst, Joyce Cooper THE ADVENTURES OF SPIDER: WEST AFRICAN FOLKTALES, Boston, Little Brown, 1992. Presents six talesabout Spider, including those that explain how he got athin waist and a bald head and why he lives in ceilingsand dark corners.

Bailey, Debbie LET’S PRETEND, Willowdale, Ont., Annick Press, 1999.Photographs of children engaged in play by pretending.

Banks, Kate ALPHABET SOUP, New York, Random House, 1994. Aboy’s ability to spell words with his alphabet soup comesin handy during the magical journey he takes in his mindwith a friendly bear.

Bany-Winters, Lisa SHOW TIME!: MUSIC, DANCE, AND DRAMAACTIVITIES FOR KIDS, Chicago, Chicago Review Press,2000. Introduces the concepts of music, dance, andacting, suggesting how to create a musical productionthrough games and role-playing and describing allaspects of a show from auditions to curtain call.

Bryant-Mole, Karen PRETEND YOU’RE A COMMUNITY HELPER, DesPlaines, Heinemann Interactive Library, 1998. Brieflydescribes workers who provide services to the communityand shows children pretending to be a nurse, waiter,teacher, police office, fire-fighter, postal worker, vet,doctor, dentist and librarian. Also PRETEND YOU’RE ASPORTS PRO and PRETEND YOU’RE A STAR.

Carlson, Nancy L. LOUANNE PIG IN THE TALENT SHOW, Minneapolis,Carolrhoda Books, 1985. No-talent Louanne’s spirits dropas her friends prepare for the talent show, but then she iscalled upon to perform in a very special way.


Theatre 101

Cauley, Lorinda Bryan CLAP YOUR HANDS, New York, Putnam, 1992.Rhyming text instructs the listener to find somethingyellow, roar like a lion, tell a secret, spin in a circle, andperform other playful activities along with the human andanimal characters pictured.

Corbett, Pie, ed. THE KINGFISHER PLAYTIME TREASURY: ACOLLECTION OF PLAYGROUND RHYMES, GAMES,AND ACTION SONGS, New York, Kingfisher, 2000. Anillustrated collection of games, rhymes, and songsinvolving guessing, choosing, pretending, counting,clapping, and acting.

Daly, Niki BRAVO, ZAN ANGELO!: A COMMEDIA DELL’ARTETALE WITH STORY AND PICTURES, New York, Farrar,Straus, & Giroux, 1998. In Renaissance Venice, Angelo,longing to be as famous a clown as his grandfather,decides to do something special with his small part in hisgrandfather’s commedia dell’arte production duringCarnival.

Dedieu, Thierry THE BOY WHO ATE WORDS, New York, H. N. Abrams,1997. Gabby asks questions so fast that no one canunderstand him. When he loses his voice, he learns thathe can express himself through facial expressions,movements, and gestures.

DeSpain, Pleasant ELEVEN NATURE TALES: A MULTICULTURALJOURNEY, Little Rock, August House Pub. 1996.Presents eleven ancient stories, collected from countriesand people around the world, that address therelationship of all things, one to another. Some includehints for storytelling.

Dorros, Arthur ABUELA, New York, Dutton Children’s Books, 1991.While riding on a bus with her grandmother, a little girlimagines that they are carried up into the sky and fly overthe sights of New York City.

Gilman, Phoebe SOMETHING FROM NOTHING, New York, Scholastic,1992. In this retelling of a traditional Jewish folk tale,Joseph’s baby blanket is transformed into ever smalleritems as he grows until there is nothing left, but thenJoseph has an idea.

Goble, Paul IKTOMI AND THE BUZZARD: A PLAINS INDIANSTORY, New York, Orchard Books, 1998. Iktomi thetrickster tries to fool a buzzard into carrying him acrossthe river. Asides printed in italics may be used by thestoryteller to encourage listeners to make their ownremarks about the action, as in traditional Iktomi


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storytelling. Also IKTOMI AND THE BOULDER andIKTOMI AND THE COYOTE.

Hamilton, Martha and NOODLEHEAD STORIES: WORLD TALES KIDS CAN Mitch Weiss READ AND TELL, Little Rock, August House, 2000. A

collection of folktales from around the world, all featuringthe character of the fool, with tips for telling the storiesaloud, related activities, and source notes.

Hamilton, Virginia THE PEOPLE COULD FLY, New York, Knopf, 1993.Retold African American folktales of animals, fantasy, thesupernatural, and desire for freedom, born of the sorrowof the slaves, but passed on in hope.

Hamilton, Virginia A RING OF TRICKSTERS: ANIMAL TALES FROMNORTH AMERICA, THE WEST INDIES, AND AFRICA,New York, Blue Sky Press, 1997. Twelve trickster talesshow the migration of African culture to America via theWest Indies. Stories include “Buzzard and Wren Have aRace,” “Magic Anansi,” “Old Master Turtle Gets aWhipping,” and “How Chameleon Became a Ride.”

Hayes, Geoffrey PATRICK AND THE BIG BULLY, Hyperion Books, 2001.When Patrick Bear meets a bully on the way to the store,pretending to be a dragon helps him deal with thesituation.

Hoffman, Mary A FIRST BOOK OF MYTHS: MYTHS AND LEGENDSFOR THE VERY YOUNG FROM AROUND THE WORLD,New York, DK, 1999. Simplified retellings of Greek andRoman myths including the story of Icarus, the boy whosefather made him wings, and King Midas, who had thegolden touch. Also includes Native American, Norse,Australian, Indian, Japanese, and African myths.

Lobel, Arnold FROG AND TOAD TOGETHER, New York, HarperCollins, 1972. Five further adventures of two best friendsas they share cookies, plant a garden, and test theirbravery. Also FROG AND TOAD ARE FRIENDS.

Malka, Lucy FUN WITH HATS, Greenvale, New York, Mondo Pub.1995. Three girls explore the contents of a trunk ofcostumes, and as they don various hats, they imaginebeing a clown, a pirate, and a magician.

Martin, Rafe THE ROUGH-FACE GIRL, New York, G. P. Putnam’sSons, 1992. In this Algonquin Indian version of theCinderella story, the Rough-Face Girl and her twobeautiful but heartless sisters compete for the affectionsof the Invisible Being.


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Marzollo, Jean I’M A CATERPILLAR, New York, Scholastic, 1997.Provides a simple explanation of what happens as acaterpillar changes into a butterfly, from the caterpillar’spoint of view. Other books in the series include I’M ASEED, I AM PLANET EARTH, and I AM WATER.

Marzollo, Jean PRETEND YOU’RE A CAT, New York, Penguin Group,1997. Rhyming verses ask the reader to purr like a cat,scratch like a dog, leap like a squirrel, and bark like aseal.

Perry, Sarah IF–, Malibu, Children’s Library Press, 1995. Illustrationspresent such imaginative possibilities as worms withwheels, caterpillar toothpaste, and whales in outer space.

Rau, Dana Meachen A BOX CAN BE MANY THINGS, New York, Children’sPress. 1997. A girl and her brother retrieve a large boxfrom the garage and pretend that it is a cave, car, house,and cage.

Scieszka, Jon THE STINKY CHEESE MAN AND OTHER FAIRLYSTUPID STORIES, New York, Viking, 1992. Theseirreverent variations of traditional fairy tales are sure toentertain both children and adults.

Steig, William TOBY, WHAT ARE YOU?, New York, Joanna CotlerBooks, 2001. Toby has fun pretending to be a variety ofobjects and then asking his parents to guess what he is.

Swanson-Natsues, Lyn DAYS OF ADVENTURE, New York, Mondo, 1996. Twoyoung friends use their imaginations to make everydayobjects into the building blocks for fantastic adventures atsea, on a train, and on horseback.

Williams, Marcia BRAVO, MR. WILLIAM SHAKESPEARE, Cambridge,Candlewick Press, 2000. Presents the stories of sevenShakespeare plays including actual dialogue in theillustrations, summarizing the plots in picture captions,and showing the comments and actions of audiencemembers on the sides and bottom of the pages.

Middle School

Armstrong, Jennifer STEAL AWAY, New York, Scholastic, 1992. In 1855 two13 year old girls, one white and one black, run away fromthe southern farm and make the difficult journey north tofreedom, living to recount their story 41 years later to twosimilar young girls.


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Cushman, Karen CATHERINE, CALLED BIRDY, New York, Clarion Books,1994. The daughter of an English country knight keeps ajournal in which she records the events of her life,particularly her longing for adventures beyond the usualrole of woman and her efforts to avoid being married off.

Keith, Harold RIFLES FOR WATIE, New York, Harper Collins, 1957.The struggles and hard ships faced by Jeff Bussey on his300 mile escape route during the Civil War.

L’Engle, Madeleine A WRINKLE IN TIME, New York, Farrar, Straus andGiroux, 1999. Three extraterrestrial beings take Meg andher friends to another world.

Lowry, Lois NUMBER THE STARS, Boston, Houghton Mifflin, 1989.In 1943, during the German occupation of Denmark, tenyear old Annemarie learns how to be brave andcourageous when she helps shelter her Jewish friendfrom the Nazis.

McCullough, L. E. PLAYS FROM MYTHOLOGY: GRADES 4-6, Lyme,1998. Presents twelve original plays that are dramaticadaptations of myths from around the world.

O’Brien, Lisa LIGHTS, CAMERA, ACTION: MAKING MOVIES AND TVFROM THE INSIDE OUT, New York, Firefly Books, 1998.A step by step description of how a movie is made from achild actor’s perspective, including writing the script,casting and the audition process, filming, editing, andspecial effects.

Patterson, Katherine BRIDGE TO TERABITHIA, New York: Harper Collins,1977. The life of a ten year old boy in rural Virginiaexpands when he becomes friends with a newcomer whosubsequently meets an untimely death trying to reachtheir hideaway, Terabithia, during a storm.

Sinykin, Sheri HEATHER GOES TO HOLLYWOOD, Portland, MagicAttic, Press, 1997. Star-struck Heather decides that beinga movie star may not be as glamorous as it appears afterthe magic mirror transports her to 1940's Hollywoodwhere she is chosen to be a stand in for a missing childactress.

Taylor, Mildred D. ROLL OF THUNDER, HEAR MY CRY, New York, PuffinBooks, 1977. An African American family living in theSouth during the 1930’s is faced with prejudice anddiscrimination that its children do not understand.


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High School

Aesop FABLES OF AESOP, New York, Viking, 2000. Acollection of moral-based stories in which animals exhibithuman frailties.

Bunyan, John THE PILGRIM’S PROGRESS, New York, Signet Classic,1981. Depicts the journey of Christian and hiscompanions through mortal life to their entrance into theCelestial City.

Fleischman, Paul MIND’S EYE, New York, Holt, 1999. A novel in play formin which 16 year old Courtney, paralyzed in an accident,learns about the power of the mind from an elderly blindwoman who takes Courtney on an imaginary journey toItaly using a 1910 scrapbook.

Lester, Julius LONG JOURNEY HOME: STORIES FROM BLACKHISTORY, New York, Puffin Books, 1998. Presents sixstories about African Americans who contributed to themovement for freedom from slavery.

Poe, Edgar Allan THE TELL-TALE HEART AND OTHER WRITINGS, MassMarket Paperback, November, 1981. Collection ofwritings from the “Master of Macabre,” most notably “TheTell-Tale Heart.”

Saint Exupery, Antoine de THE LITTLE PRINCE, San Diego, CA, Harcourt, 2000.Translated from French. An endearing fantasy about anaviator and a young prince from a distant planet.

Wilder, Thornton OUR TOWN, New York, Harper & Rowe, 1985. A play inwhich inhabitants of a small town tell their life stories.


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THEATRE

The Technology Connections section is designed to serve as a starting point forinvestigation into using technology in the theatre instructional program. The MississippiDepartment of Education does not endorse or recommend purchasing the followingresources. Mississippi Department of Education suggests that all resources bethoroughly reviewed to accommodate the needs of individual districts. Please notetechnology changes on a daily basis, therefore, web sites, software, etc. which may becurrent on a given day may not be the next. Keep this in mind when using this as aresource.

RECORDINGS

Dialects:

All dialect books/tapes are available to order from any bookstore.

Dialect Books with Practice Tapes:Stage Dialects – Jerry BluntMore Stage Dialects – Jerry BluntDialects for the Stage – Evangeline MachlinActing With an Accent – David Alan Stern

Dialect Books without Practice TapesManual of American Dialects, for Radio, Stage, Screen, and Television – Lewis HermanManual of Foreign Dialects for Radio, Stage, Screen – Lewis HermanTeach Yourself Transatlantic: Theatre Speech for Actors – Robert HobbsDialects for the Theater – Edith Skinner

Readings:

Center for Cassette Studies, 919 Third Avenue, New York, NY 10022Listening Library, P. O. Box L, Greenwich, CT 06870

SOFTWARE

Storyboarding, Pre-Production Poanning and Design, Presentation

Astound http://www.astound.com/wc/pre/pres_008.htmlDirector http://www.macromedia.com/macromedia/proom/pr/2002/director_mx_ship.htmlHyperStudio http://www.hyperstudio.com/Keynote 1.0 Keynote 1.0 is a new generation of presentation software that brings the ability

to create stunning, professional-quality presentations to everyone. http://www.apple.com


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PowerPoint http://www.micosoft .comScreenplay http://www.screenplay.com/

Macintosh Software

Audio Playback

Sound ByteAllows multiple selections to be played simultaneously in the following formats: AIFF,WAV, AU, and MP3 http://www.blackcatsystems.com/software/soundbytehtml

MegaSegMusic mixing program that consolidates all DC’s on hard drive and enables mixingbetween songs for presentation without need for extra CD players or mixershttp:// www.macupdate.com/info.php/id/3990

Theatre SequencerShow control program for live sound engineersShows organized in a cue list and are triggered by a variety of sourcesCues can be looped, recalled sequentially or in random orderhttp://hompages.enterprise.net/micpool/S51.html

Audiofile v4.03A “Filemaker Pro” template that keeps track of music and SFX collectionshttp://homepages.enterprises.net/micpool/S51.html

Costumes

CostumePro v.4.0Adds a Custom Menu to MS Excel Menu BarFeatures breakdown pages, script changes, budgets and automatic updatinghttp://www.storygboardartist.com/cpnew.html

Drafting and Design

VectorWorks 10Integrates Object-Based design with precision 2D drafting, 3D modeling, high-qualityrendering, a linked worksheet function and flexible scripting languagehttp://www.nemetchek.net

LD AssistantCombine with VectorWorks or MiniCadOffers a full compliment of 2D and 3D symbols specific for lighting, sound, televisionstudio and set designhttp://www.design-drafting.com/

MacDraftLow cost, easy to use software for architectural/engineering design and drafting andtechnical illustrationhttp://www.microspot.com.uk

Touch 3-DAllows you to print and fold scale 3-D models of your work


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Script Writing

Final DraftDesigned for writing movie scripts, TV episodes, and stage playsCombines word-processing with professional script formatting in one easy to usepackagehttp://artzia.com/Arts/Theater/Software/html

Dramatica ProA story creation and analysis toolQuery System asks you questions about character, plot, theme and genreStory Engine shows how changes impact other aspects of storyCreate 4-D characters with motivation, methodology, purpose and means of evaluationhttp://www.dramatica.com/

ScriptThingBuilt in automation features formatting and page breaks, capitalization of sceneheadings, speed entering character names, correctly formatting transitions, and checkingfor typing and editing errorshttp://www.scripthing.com/frame_links_new.html

Theatrical Lighting – Design Software

Lightwright fror MacintoshManages lighting design paperwork, stores information for each instrument, organizes allstandard paperwork, counts instruments, templates, stock equipment, etc.http://www.mckernon.com/index.htm

BeamwrightAssists in selection of the right light for every situationhttp://www.mckernon.com/index.htm

MacLux ProDraw plots and manage paperwork with one programSet and preview cues and record and play them back as QuickTime movieshttp://www.macluxpro.com/mlphome2.html

LD AssistantCombined with VectorWorks/MiniCad, the lighting component shows beam spreads andphotometric dataIncludes a large library of symbolshttp://www.design-drafting.com/

Virtual Light LabExperiment with light, shadow and color effects in a simulated lighting studiohttp://www.westsidesystems.com/vll/vll.html

Theatrical Lighting – Control Software and Devices

The LanBoxTurns a Mac into a lighting controllerhttp://www.lanbox.com/


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Video and Multimedia Production Tools

Photoshop Image editing software http://www.adobe.comIllustrator Drawing software http://www.adobe.comPremiere Video “Editing software http://www.adobe.comAfter Effects Motions Graphics software http://www.abode.comFinal Cut Pro Video Editing software http://www.apple.comiMovie Video Editing software (free) http://www.apple.comiDVD DVD Authoring software http://www.apple.comPinnacle Studio 8 Video Editing software http://www.pinnaclesys.com

Turnkey Video Editing Sytems

Casablanca Prestige http://www.draco.comApplied Magic http://www.applied-magic.com/AVID DV Express http://www.avid.com/products/xpressdv/Canopus DV Storm 2 http://www.canopus.com/index.aspiMac System Elementary/High School http://www.apple.comG-4 Macintosh High School http://www.apple.com

VIDEOS, FILMS, AND FILMSTRIPS

Acting, Voice Training, Movement, Stage Combat, Script Analysis, Auditions, Makeup,Characterization, Lighting, Set Construction, etc.:

Arthur Cantor, Inc., 2112 Broadway,Suite 400, New York, NY 10023Audio Brandon Films, 737 Greenway Road, Wilmetter, IL 60096 (Shakespeare collection)Contemporary Films, New York, NY 10023

Teaching Videos:

National Video Clearing House’s The Video Source Book (1000+ titles available)R.R. Bowker’s Educational Film Locator (a university film center consortium)

WEB SITES

Arts Education Links:

American Alliance for Theatre and Educationhttp://aate.comArtsedgehttp://artsedge.kennedy-center.org/artsedge.htmlArtsgenesishttp://www.odesigh.com/artsgenesis/index.htmlArtsvisionhttp://www.artsvision.com


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Bigchalk Education Networkhttp://www.bigchalk.comBravo On with the Showhttp://www.bravotv.comThe New York Public Library for the Performing Artshttp://www.nypl.org/research/lpa/1pa.htmlSoutheast Center for Education in the Artshttp://www.utc.edu/SCEA

Technical Theatre Links:

The Costume Galleryhttp://www.costumegallery.comRoscohttp://www.rosco.comRose Brandhttp://www.rosebrand.comUSITT (U.S. Institute for Technical Theatre)http://www.usitt.org

Books and Recordings Links:

The Broadway Theatre Archivehttp://www.broadwayarvhive.com(video catalogue of Broadway productions and classics produced for television)Fynsworth Alleyhttp://www.fynsworthalley.com(CD’s, radio, and chat)LA Theatre Workshttp://www.latw.org/alivealoud/alivealound.html(audio recordings)Stage and Screenhttp://www.stagenscreen.com(theatre book club)

History and Criticism Links:

Art and Culturehttp://www.artandculture.comAisle Say-the Internet Magazine of Stage Reviews and Opinionhttp://www.aislesay.comAll Shakespearehttp://allshakespeare.comChanging Stages-A View of the Theatre of the Twentieth Centuryhttp://www.pbs.org/wnet/changingstagesMedieval Drama Linkshttp://www.collectorspost.com


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Performance and Production Links:

Actor’s Equityhttp://www.actorsequity.org/home.htmlThe Improv Pagehttp://www.improvcomedy.orgThe Puppetry Homepagehttp://www.sagecraft.com/puppetryU.S. Copyright Lawhttp://www.loc.gov/copyright/title17


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RESOURCES

THEATRE


BOOKS

All Levels

Currell, David PUPPETS AND PUPPET THEATRE, Wiltshire, CrowoodPress, 1999. A guide to making and performing withpuppets, providing an intro to puppet theatre; exploringthe designing and structure of stage types of puppets;looking at the materials and methods of creating heads;explaining construction techniques; and discussingstaging, writing, and sound for performance.

Schloz, Amiel THEATRE GAMES AND BEYOND: A CREATIVEAPPROACH FOR PERFORMANCES, Colorado Springs,Meriwether Publishers, 1998. Contains over 140 theatregames designed to stimulate creativity in actors of allages; includes activities on group orientation, trust, warmups, cooperation, reality, and other related topics.

Sivin, Carole MASKMAKING, Worcester, Davis Publishing, 1986.Instructions for making masks from various materialsprogress from simple to complex techniques. Includes asection for masks for young children.


Gerke, Pamela MULTICULTURAL PLAYS FOR CHILDREN; VOLUME 1;GRADES K-3, Lyme, 1996. Ten plays based onmulticultural folktales from such countries as Ghana,China, and Italy.

Marx, Pamela TAKE A QUICK BOW!, Glenview, Goodyear Books, 1997.Contains twenty-six short plays that may be easily stagedin the classroom on every subject from the seasons andholidays to American heritage, science, folk tales fromdiverse cultures, and more. Each play allows for a flexible


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number of characters, with enough roles for an entireclass.

Muir, Kathy, ed. CHILDSPLAY: A COLLECTION OF SCENES ANDMONOLOGUES FOR CHILDREN, New York, LimelightEditions, 1995. Selected from over fifty sources includingpublished and unpublished plays, blockbuster movie hits,independent films, foreign films, teleplays, poetry, anddiaries.

Sierra, Judy FANTASTIC THEATER: PUPPETS AND PLAYS FORYOUNG PERFORMERS AND YOUNG AUDIENCES,Bronx, H. W. Wilson Co., 1991. Thirty puppet playsadapted from nursery rhymes, folk songs, fables, poetry,folktales, and myths with instructional chapters on makingand using rod and shadow puppets and puppet stages.

Sierra, Judy NURSERY TALES AROUND THE WORLD, New York,Clarion Books, 1996. Presents eighteen simple storiesfrom international folklore grouped around themes like“Runaway Cookies,” “Slowpokes and Speedsters,” and“Chain Tales.” Includes background information andstorytelling hints.

Young, Ed and Hilary Beckett THE ROOSTER’S HORNS: A CHINESE PUPPET PLAYTO MAKE AND PERFORM, A UNICEF Storycraft book.A Chinese legend telling how the dragon tricks the roosterinto giving away his horns is accompanied by directionsfor making shadow puppets of the characters.

Middle School

Gerke, Pamela MULTICULTURAL PLAYS FOR CHILDREN: Volume II:GRADES 4 – 6, Lyme, 1996. Ten plays based onmulticultural folktales from such countries as Ghana,China, and Italy.

Plays, Inc. THE BIG BOOK OF FOLKTALE PLAYS: ONE ACTADAPTATIONS OF FOLKTALES FROM AROUND THEWORLD FOR STAGE AND PUPPET PERFORMANCE,Boston, Plays, Inc., 1997. A collection of 32 plays,including 5 suitable for the puppet stage, adapted fromfolk tales of various countries.

Slaight, Craigh; Esty, THE SMITH AND KRAUS PLAY INDEX FOR YOUNGJennifer & Monteleone, ACTORS GRADES 6-12, Lyme, Smith and Kraus, 1999.Elizabeth E., Editors An index of over 500 plays for middle and high school

students as well as a plot summary and information foreach play including author, style, cast size, and leasingagent.


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High School

Adams, Bob THE EVERYTHING LEADERSHIP BOOK: THE 20 CORECONCEPTS EVERY LEADER MUST KNOW, Holbrook,Adams Media Corp., 2001. Presents 20 concepts thatgood leaders must understand, covering such topics ascommunication, motivation, coaching, delegation, theteam concept, organization and time management,conflict resolution, problem solving, and acceptingchange.

Adler, Mortimer Jerome SIX GREAT IDEAS: TRUTH, GOODNESS, BEAUTY,LIBERTY, EQUALITY, JUSTICE: IDEAS WE JUDGE BY,IDEAS WE ACT ON, New York, Simon and Schuster,1997. Explores the concepts of truth, goodness, beauty,liberty, equality, justice as a basis for coping with thepolitical, moral, and social issues of the modern world.

Beard, Jocelyn, Editor SCENES FROM CLASSIC PLAYS, 468 B.C. TO 1970A.D., Newbury, Smith and Kraus, 1993. Sixty-eightclassical audition pieces from many of the world’s greatplaywrights.

Bloom, Harold, Editor W.E.B. DUBOIS, Philadelphia, Chelsea HousePublishers, 2001. Presents 12 essays that examine thewritings and influence of African American scholar W.E.BDuBois. Of particular interest: African American aestheticsand intellectual life.

Buckland, Warren FILM STUDIES, London, Hodder and Stoughton,NTC/Contemporary Publishers, 1998. An intro to theworld of film, offering an overview of key areas ofaesthetics, narrative, genres, and documentary films, andincluding discussions of the films of important directorsincluding Orson Welles, Alfred Hitchcock, QuentinTarantino, and others.

Cassady, Marsh THE THEATRE AND YOU: A BEGINNING, ColoradoSprings, Meriwether Publishers, 1992. An intro to thetheatre covering such topics as choosing a script, actingtechniques, directing, and more.

Clark, I.E. STAGECRAFTERS’ HANDBOOK: A GUIDE FORTHEATRE TECHNICIANS, Studio City, Players Press,1995. A handbook detailing the responsibilities of eachmember of a theatre technical crew.


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Cohen, Lorraine, Editor SCENES FOR YOUNG ACTORS, New York, AvonBooks, 1973. Contains over 60 scenes from the works ofTennessee Williams, Arthur Miller, William Shakespeare,Lillian Hellman, and a variety of other well known authors,elected with young talent in mind, for use in class ortheatre group study and performance.

Frensham, Raymond G. SCREENWRITING, Lincolnwood, NTC Publishing Group,1996. Offers advice on how to transfer a creative ideainto a screenplay, discussing presentation and layout,character development, structure, and other details of thewriting process; and includes information on the properway to submit stories for consideration.

Kehret, Peg ACTING NATURAL: MONOLOGS, DIALOGS ANDPLAYLETS FOR TEENS, Colorado Springs, MerriwetherPublishers, 1991. A Newberry Medal of Honor collectionof 60 original monologues, dialogues, and playlets forteens that need no special materials.

Moon, Samuel, Editor ONE ACT: ELEVEN SHORT PLAYS OF THE MODERNTHEATRE, New York, Grove, 1961. A collection of oneact plays from modern playwrights such as Strindberg,Yeats, Ionesco, and more.

Oates, Whitney J. & SEVEN FAMOUS GREEK PLAYS, New York, Vintage,O’Neill, Jr., Eugene, Editors 1950. Includes seven Greek plays by Aeschylus,

Sophocles, Euripides and Aristophones.

Papp, Joseph & SHAKESPEARE ALIVE!, New York, Bantam, 1988.Kirkland, Elizabeth Describes London during Shakespeare’s time,

Elizabethan theatre, how plays were produced, music ofthe time, where Shakespeare got his plots, and how hetransformed them.

Ratliff, Geral Lee INTRODUCTION TO READERS’ THEATRE: A GUIDETO CLASSROOM PERFORMANCE, Colorado Springs,Meriwether Publishers, 1999. An introduction toclassroom performance that provides information onselecting and analyzing literature, adapting readers’theatre literature, playing space and staging, classroomperformance exercises, and other related topics.

Ratliff, Geral Lee THE THEATRE AUDITION BOOK: PLAYINGMONOLOGS FROM CONTEMPORARY, MODERN,PERIOD, SHAKESPEARE, AND CLASSICAL PLAYS,Colorado Springs, Meriwether Publishers, 1998. Offersadvice on how to prepare auditions and selecting auditionmaterials. Contains 144 monologues for auditionperformances, grouped in historical periods and includes


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a collection on non-dramatic monologues adapted oredited from sources other than theatre play scripts.

Shulman, Michael & THE ACTOR’S SCENEBOOK: SCENES ANDMekler, Eva MONOLOGS FROM THE CONTEMPORARY PLAYS,

New York, Bantam, 1984. Collection of more than 80scenes from contemporary plays featuring monologues formen and women and scenes for two and three actors;includes a chapter on overcoming stage fright.

Silver, Fred AUDITIONING FOR THE MUSICAL THEATRE, NewYork, New Market Press, 1985. A New York vocal coachprovides tactics for auditions in musical theatre.

Slaight, Craigh & Sharrar, Jack MULTICULTURAL SCENES FOR YOUNG ACTORS,Lyme, Smith and Kraus, 1995. Fifty-five multiculturalscene selections for young actors.

Woofin, Ruper INTRODUCING ARISTOTLE, Totem Books, LTD, 2001.Presents an introduction to the thought of ancient Greekphilosopher Aristotle focusing on his theories of aestheticsand logic.

ORGANIZATIONS

Mississippi Alliance for Arts Education, 101 Carrie Rd. Hattiesburg, MS 39402 http://www.msartsalliance.comMississippi Arts Commission, 239 N. Lamar Street, Suite 207, Jackson, MS 39201

(601) 924-0131 http://www.arts.state.ms.usCenter for Special Education Technology, 1920 Association Drive, Reston, VA

22091, (800) 873-8255National Lekotek Center, 2100 Ridge Avenue, Evanston, IL 60204 http://www.lekotek.orgIBM National Support Center for Persons with Disabilities, P.O. Box 2150, Atlanta, GA 30055,

(800) 426-2133Very Special Arts, http://www.vsarts.org/programs/swta/index.html (“Start with the Arts” – an

instruction program for 4,5, and 6 year olds that uses the arts to assist young children,including those with disabilities, in exploring themes commonly taught in early childhoodclassroom.

PLAY PUBLISHERS

Anchorage Press Play, P.O. Box 2901, Louisville, KY 40201, www.applays.comBaker's Plays, P.O. Box 699222, Quincy, MA 02269, www.bakersplays.comBroadway Play Publishing, Inc., 56 East 81st St., New York, NY 10028

http://www.broadwayplaypubl.comI.E. Clark, P.O. Box 246, Schulenburg, TX 78956, www.ieclark.comDirect Plays, NuComm Marketing, 80 King St., 3rd Floor, St. Catharines,

ON, Canada L2R 7G, http://www.directplays.com


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Dramatic Publishing Company, 311 Washington St., Woodstock, IL 60098http://www.dramaticpublishing.com

Dramatists Play Service, 440 Park Avenue South, New York, NY 10016http://www.dramatists.com

Samuel French, Inc., 45 West 25th Street, New York, Ny 10010http://www.samuelfrench.com

Merriwether Publishing Ltd., 885 Elkton Drive, Colorado Springs, CO 80907http://www.meriwetherpublishing.com

Music Theatre International, 421 West 54th Street, New York, N.Y. 10019http://www.mtishows.com

New Plays Incorporated, PO Box 5074, Charlottesville, VA 22905http://www.newplaysforchildren.com

Pioneer Drama Service, Inc., PO Box 4267, Englewood, CO 80155http://www.pioneerdrama.com

Playscripts.com, http://www.playscripts.comRogers and Hammerstein Theatre Library, 229 West 28th Street, 11th Floor

New York, NY 1000, http://www.rnh.comSmith and Kraus, 4 Lower Mill Road, North Stratford, NH 03590

http://www.smithkraus.comTams-Witmark Music Library, Inc., 560 Lexington Avenue, New York, N.Y. 10022

http://www.tamswitmark.comTheatre Communications Group, Inc., 355 Lexington Avenue, New York, NY 10017

http://www.tcg.orgUSA Plays for Kids, Drury University, 900 North Benton Avenue, Springfield, MO 65802,

http://www.usaplays4kids.drury.edu

OTHER

Bob Kelly Cosmetics, 151 West 46th Street, New York, NY 10036Combat Video, 322 Northwest 175th, Seattle, WA 98177DVC, Inc., P. O. Box 40227, Indianapolis, IN 46240Films for the Humanities, P. O. Box 2053, Princeton, NJ 98543Insight Media, 121 West 85th Street, New York, NY 10024Metropolitan Opera Guild, "Creating Original Opera," 212-769-7023, David Dik, Program

DirectorOsesen Company, 1535 Ivar Avenue, Hollywood, CA 92024


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THEATRE GLOSSARY

an act – A section of a play, like the chapter of a book.

acting – Creating characters, see characterization.

aesthetics – Branch of philosophy dealing with beauty, especially as it is knownthrough the arts and literature; A personal reaction of drama based on a scale ofbeautiful to ugly.

allegory – A symbolic story in which everything represents something else (e.g., Everyman).

arena stage – A stage surrounded by the audience on all sides, like a stadium for a sports event; also sometimes called “theatre in the round.”

articulate – To express one's self clearly and distinctly.

aside – A line or lines spoken directly to the audience, presuming other characters onstage cannot hear.

audition – Tryout for a role in a play.

auditory/aural – Of or relating to the ear; hearing.

blocking – Creative process of deciding on all stage movement.

body language – Communicating through body posture and gestures without the use ofwords.

business (stage) – Small hand movements and actions performed by actors on stage.

casting – Choosing of actors for roles in a play.

character – A person, animal, or being in a story, scene, or play.

characterization – The creation of believable persona on stage.

climax – The point of highest dramatic tension, or a major turning point in the action.

collaboration – The act of working together in a joint intellectual effort.

commedia dell’arte – A professional form of theatrical improvisation developed in Italyin the 1500’s featuring stock characters and standardized plots.

communication – Verbal or non-verbal interaction between persons to share meaning.

conflict – A struggle between opposing forces.


Theatre 119

conventions – Special or traditional ways of doing things in theatre.

creativity – A way of thinking, acting, or making something that is original for the individual andvalued by that person or others; using the imagination.

critique – An evaluation of a theatrical piece based on standards for good drama.

costume – Actor's clothing worn on stage.

costume morgue – An illustrated collection of clothing and accessories.

cue sheet/flow chart – A chronological tabulation of entrances of actors, changes in lights,sound effects, props, etc., during the production of a play.

denouement – The final resolution of the conflict in a plot.

dialog/dialogue – Lines of a play spoken by characters.

director – Person in charge of shaping all aspects of a production into a finished product.

drama/play – Literary composition performed on stage.

drama/theatre –The study of the art form through performance-based activities that include thestudy of theatre history, literature, acting techniques, stage craft, play writing, playproduction, theatre attendance, aesthetics, and criticism.

dramatic/plot structure – The organization of a script or story line that includesexposition, rising action, climax, falling action, and denouement.

duet – A scene involving two people.

electronic media – Any medium that uses electrical current such as video, radio dramas,television production, animation, computer, etc.

elements of drama – Plot, character, theme, dialogue, music, and spectacle.

empathy – To experience vicariously the sensual and emotional state of anotherperson.

energy – The enthusiasm that gives life to a performance.

ensemble – The harmonious workings of many artists to complete a theatrical performance.

environment – The visual, auditory/kinesthetic elements of a production.

exposition – Detailed information revealing the facts of the plot.

external characteristics – The physical traits and appearance of a character; those things thatan audience sees.


Theatre 120

Five “W’s” – Who? (establish characters), What? (create a plot), Where? (decide on asetting), When? (choose a time period), and Why? (motivate the characters’ actions).

form – The overall structure or shape of a work that frequently follows an established design.

formal drama – Those activities designed to be presented to an audience.

full-length play – A literary composition in 2, 3, 4, or 5 acts.

genre – Literally “kind” or “type.”

house management – The individuals who oversee ticket sales, ushers, and audiencecomfort.

improvisation/improv – Impromptu portrayal of character or a scene without rehearsal orpreparation.

inflection – Highs and lows of the human voice, the rising and falling of speechpatterns.

informal drama – Activities not designed for presentation to a paying audience.

internal characteristics – Establishing how a character thinks and feels; the personality of acharacter.

interpretation – The art of determining the meaning.

Kabuki – A traditional form of Japanese theatre.

kinesthetic – Use of body language to communicate.

level – The height of an actor’s head as determined by his/her body position (e.g.,sitting, lying, standing, or elevated by artificial means).

lighting – Illumination of the stage with special lighting equipment.

live theatre – Any performance before an audience in a theatre setting rather than a video ofthe production.

magic if – Stanislavsky’s method, acting using the emotional approach.

makeup – Material applied to an actor's face or body to enhance or change the appearance ofthe face or body.

makeup morgue – An illustrated collection of facial expressions and body design.

metaphor – A type of figurative language that describes one thing in terms of another (e.g., “Apollo’s fiery chariot” meaning the sun).

monologue – Speech given by a single character.


Theatre 121

montage – A collection of diverse elements (e.g., scenes, skits, etc.).

mood – The feeling a work of art gives.

motivation – The reason behind a character's behavior, the "why"?

multicultural – Composed of many different cultures or nationalities.

musical – A script in which the characters' thoughts and emotions are sung or scored bymusic.

new art forms – The novel combination of traditional arts and materials, emerging technology(e.g., performance art, videodisks, virtual reality).

non-verbal communication – Communication without words, using facial expressions,gestures, and body language.

non-Western theatre – Theatre not originated in Europe or the United States, such as theatrecreated and developed in Africa or Asia.

objective – A character’s goals or intentions.

one-act play – Literary composition in one act.

oral expression – The ability to communicate with words.

pantomime – Acting without words, using only body language to convey a message or story.

performance space – Anywhere that actors produce a performance.

plot – The structure of the action of the play.

portfolio – A collection of audition pieces, scenes, resumé, and photos of an actor.

presentational – Style of performance delivered directly to the audience.

props (properties) – Stage properties (e.g., set furnishings, and any items used by theactors).

proscenium – The arch that frames the traditional stage; also the type of stage that theaudience faces on one side only.

puppetry – The animation of objects, ranging from hands and paper bags to dolls, enactingcharacters in dramatic situations.

readers’ theatre – A performance created by actors reading a script rather than working frommemory.

rehearsal – Period of time used to prepare a play presentation.


Theatre 122

representational – Performing a play where actors give the illusion that the audience iswatching a representation of life.

role – A character in a play or scene.

rubric – Assessment instrument used for evaluation that includes criteria and scored levels ofperformance.

script – Written text of a play.

script development – Creating a text that includes the elements of drama.

scene – Small segment of a play within an act of a play.

scenery/set – Physical environment for a play that is built on the stage.

soliloquy – A speech by a single character on stage speaking his/her thoughts aloud.

spectacle – All that is seen or heard on stage such as lights, sound, set, props, costume, andmakeup.

stage directions – Instructions given in the script relating to movement and stage business.

style – The way a play is written, acted, or produced.

subtext – The underlying meaning behind the word or phrase used as a reason/motivation formovement and interpretation.

tableau – A silent and motionless depiction of a scene created by actors, often from a picture.The plural is tableaux.

technical theatre – Aspects of theatre connected with lighting, sound, scenery, costumes, etc.

technique acting – Tyrone Gutherie’s school of acting, using the rules of acting as theguideline.

tempo – The pacing (speed) of an entire speech or theatrical performance.

theatre heritage – Theatre history.

theatre management – The administrative aspects of theatre (e.g., hall rental, publicity,audience developments, ticket sales).

theatre production – Staging of a play for an audience.

theme – The central thought, idea, or significance of action with which the story or play deals.

thrust stage – A narrow stage that juts out into the audience. The audience surroundsthe stage on three sides, in the shape of a horseshoe.


Theatre 123

verbal – That which is spoken.

vocal characteristics – The traits of one's voice.

VISUAL ARTS “Behind the daily storm of conflict and crisis,

the artist continues the quiet work of the centuries,

building bridges of experience between peoples, reminding man of the universality of his feelings,

desires, and despairs, reminding him that the forces that unite

are deeper than those that divide.”

- John F. Kennedy

Visual Arts 1



Visual Arts 2

VISUAL ARTS

TABLE OF CONTENTS

Introduction…………………………………………………………………………………4

Benchmarks………………………………………………………………………………...5

Grades K-4 Introduction ......................................................................................... 10

Kindergarten........................................................................................................... 11

First Grade ............................................................................................................. 18

Second Grade ........................................................................................................ 24

Third Grade ............................................................................................................ 30

Fourth Grade .......................................................................................................... 37

Middle School Introduction ..................................................................................... 45

Middle School Level I ............................................................................................. 47

Middle School Level II ............................................................................................ 54

Middle School Level III ........................................................................................... 60

Middle School Level IV ........................................................................................... 67

High School Introduction ........................................................................................ 73

High School Level I................................................................................................. 80

High School Level II................................................................................................ 88

High School Level III............................................................................................... 96

High School Level IV…………………………………………………………………….105

Ceramics I………………………………………………………………………………...115

Ceramics II………………………………………………………………………………..121

Drawing I……………………………………………………………………………...…..128


Visual Arts 3

Drawing II…………………………………………………………………………………135

Painting I………………………………………………………………………………….140

Painting II…………………………………………………………………………………145

Photography……………………………………………………………………………...152

Literature Connections…….…………………………………………………………….158

Technology Connections………………………………………………………………..178

Resources………………………………………………………………………………..183

Glossary…………………………………………………………………………………..188


Visual Arts 4

VISUAL ARTSINTRODUCTION

“The visual arts are extremely rich,” and have documented human expressionacross cultures, times, and places. “They range from drawing, painting, sculpture, anddesign to architecture, film, video, and folk arts.” Involving, “a variety of tools,techniques, and processes,” students engage their minds and hands in the explorationof the visual world. In an increasingly complex, technological world, study in the visualarts helps students develop visual literacy skills for use in decoding, analysis, andevaluation throughout their lives.

When students are provided opportunities through the implementation of aqualitative and sequential curriculum based on this framework, the visual arts providefor meaningful self-expression of all students. In addition to involving studentsintellectually, personally, and emotionally, the knowledge of the content learned assistsstudents in developing skills that will transfer to other disciplines and life situations. Thecompetencies integrate production, problem solving, aesthetics, art history, criticism,and career opportunities in the visual arts. Although formulated for visual artsspecialists, these competencies, objectives, and assessments combine with those ofother subject areas in the curriculum. Visual arts educators will use this rich array ofcontent to design curriculum to enable students to meet these standards at differentgrade levels.

To reach the expected levels of learning, “students must learn vocabularies andconcepts associated with various types of work in the visual arts and must exhibit theircompetence at various levels in visual, oral, and written form."1 From kindergartenthrough the early grades, children experiment and learn to make choices that enhancethe communication of their creative ideas. "Through examination of their own work andthat of other people, times, and places, students learn to unravel the essence ofartwork and to appraise its purpose and value."

In the middle levels, students are expected "to apply the knowledge and skills inthe visual arts to their widening personal worlds. . . As they consider examples of visualart works within historical contexts, students gain a deeper appreciation of their ownvalues, of the values of other people, and the connection of the visual arts to universalhuman needs, values, and beliefs."

In grades nine through twelve, students create more complex and profoundworks of visual art that reflect the maturation of their creative and problem-solvingskills. "Although visual arts classes involve varied tools, techniques, and processes,students must understand the interplay of different media, styles, forms, techniques,and processes in the creation of their own work." Students recognize that the visualarts have intrinsic worth and are fundamental in the lives of all educated persons.

1 Ideas and selected quotations in this introduction are from the National Standards ForArts Education: What Every Young American Should Know and Be Able to Do in theArts, pages 33, 49, and 69.

2003 Visual and Performing Arts Framework

VISUAL ARTS BENCHMARKS

*the equivalent of 1 Carnegie Unit Visual Arts 5

Goal 1: Students will communicate ideas and feelings by creating and performing works of art through thevisual arts.


BENCHMARKS


By the end of Grade 4, students will: By the end of Grade 8 (Middle LevelIV), students will:

By the end of one year of study (HighSchool Level I),* proficient studentswill:


Know fundamental skills in using avariety of media, techniques, andprocesses to produce and study worksof art

Know and use fundamental skillsrelated to media, techniques, andprocesses to create and study worksof art

Apply proficient skills in the selectionand use of various media, techniques,and processes to create and studyworks of art

Demonstrate accomplished skills inthe selection and use of variousmedia, techniques and processes tocreate and study works of art

Know how to apply the elements andprinciples of design through media,techniques, and processes tocommunicate ideas, actions, andemotions

Apply with increasing skill andunderstanding the elements andprinciples of design in creating worksof art that communicate feelings,ideas, and experiences

Understand how the use of theelements and principles of designapplied through media, techniques,and processes relate tocommunication of meaning

Understand how to effectively use theelements and principles of design andmedia, techniques, and processes tocommunicate intended meaning

Know that use of various media,techniques, and processes results indifferent effects in works of art

Apply knowledge of how the use ofvarious media, techniques, andprocesses results in different effects inworks of art

Understand how media, techniques,and processes create effects thatevoke a range of responses

Understand how to select specificmedia, techniques, and processes tocreate particular effects that evokeintended response




Goal 2: Students will respond to, describe, analyze, interpret, and evaluate the complex characteristics of thevisual arts.


BENCHMARKS





Develop perceptual skills and usevisual arts vocabulary while creatingand studying works of art

Develop perceptual skills and useincreased visual arts vocabulary tomake judgments while creating andstudying works of art

Use perceptual skills and applyexpanded visual arts vocabulary toinform judgements while creating andstudying works of art

Synthesize perceptual abilities withfully developed visual arts vocabularyto informed judgements while creatingand studying works of art

Recognize critical processes(response, description, analysis,interpretation, and evaluation) usedfor the examination of works of art anddesign through reading, writing, andspeaking

Understand that there are variouscritical processes for examining thecharacteristics of works of art anddesign through reading, writing, andspeaking

Know various theories of criticalanalysis for studying thecharacteristics of works of art anddesign through reading, writing andspeaking

Understand a range of ways tocritique works of art and designthrough reading, writing, and speaking




Goal 3: Students will understand the roles and functions of artists and visual arts in cultures, times, and places.


BENCHMARKS





Recognize roles, functions, andpurposes of artists, works of art andvisual arts careers in cultures, times,and places

Understand that roles, functions, andpurposes of artists, works of art andvisual arts careers vary acrosscultures, times, and places

Know that context is a factor indetermining roles, functions andpurposes of the visual arts acrosscultures, times, and places

Understand the impact of context onroles, functions, and purposes of thevisual arts across cultures, times, andplaces

Recognize subject matter, symbols,and forms in works of art and designacross cultures, times, and places

Recognize subject matter, themes,and forms that recur in works of artand design across cultures, times, andplaces

Know universal themes, concepts,forms, and functions that recur inworks of art and design acrosscultures, times, and places

Understand how universal themes,concepts, forms, and functions maybe interpreted differently in works ofart and design across cultures, times,and places

Know that the characteristics of worksof art and design differ in relation tocultures, time, and place

Know that factors of culture, time, andplace affect the characteristics ofworks of art and design

Understand how factors of culture,time, and place affect thecharacteristics of works of art anddesign

Understand the impact of culture,time, and place on the characteristicsof works of art and design




Goal 4: Students will perceive, understand, and appreciate the diverse meanings and value of the visual arts.


BENCHMARKS





Know that there are different answersto the question, “What is art?”

Understand different concepts aboutwhat constitutes art

Know different theories of aesthetics Understand different theories andphilosophies of aesthetics as appliedto art forms

Know that people respect, value, andderive meaning from art differently

Understand that multiple factors affecthow people respect, value, and derivemeaning from art

Understand how contextual factorsaffect how people respect, value, andderive meaning from art

Understand the complexities ofcontextual factors and their dynamicinterrelationships with perceived orcommunicated meaning in works ofart




Goal 5: Students will make valid connections among the arts, others subject areas, and everyday life.


BENCHMARKS





Recognize that visual arts conceptsand skills are integrated withknowledge in other subject areas foruse in everyday life

Recognize how the meaningfulintegration of visual arts concepts andskills with knowledge in other subjectareas provides essential tools foreveryday life

Understand that the meaningfulintegration of visual arts concepts andskills with knowledge in other subjectareas provides essential tools foreveryday life

Recognize how the meaningfulintegration of visual arts concepts andskills with knowledge in other subjectareas builds a strong foundation forthe pursuit of professional careers

Recognize ways that major concepts,technologies, media, and processes ofthe visual arts relate to those in othersubject areas – within and outside thearts

Understand ways that major concepts,technologies, media, and processes ofthe visual arts relate to those in othersubject areas – within and outside thearts

Understand how common concepts,technologies, media, and processes ofthe visual arts relate to those in othersubject areas – within and outside thearts

Understand how common concepts,technologies, media, and processes ofthe visual arts, and those in othersubject areas – within and outside thearts, are prerequisite tools forpursuing professional arts-relatedcareers


Visual Arts 10

VISUAL ARTS

ELEMENTARY INTRODUCTION(Kindergarten through Fourth Grade)

Designed for Kindergarten through Fourth Grade, these competencies “providea framework for helping students learn the characteristics of the visual arts by using awide range of subject matter, symbols, meaningful images, and visual expressions, toreflect their ideas, feelings, and emotions; and to evaluate the merits of their efforts.[These competencies] promote acquisition of and fluency in new ways of thinking,working, communicating, reasoning, and investigating. They emphasize studentacquisition of the most important and enduring ideas, concepts, issues, dilemmas, andknowledge offered by the visual arts. They develop new techniques, approaches, andhabits for applying knowledge and skills in the visual arts to the world beyond school.”

“The visual arts are extremely rich and range from drawing, painting, sculpture,and design, to architecture, film, video, and folk arts. They involve a wide variety oftools, techniques, and processes. [They] are structured to recognize that manyelements from this broad array can be used to accomplish specific educationalobjectives. For example, drawing can be used as the basis for creative activity,historical and cultural investigation, or analysis, as can any other fields within the visualarts.”

To achieve these competencies, “students must learn vocabularies andconcepts associated with various types of work in the visual arts and must exhibit theircompetence at various levels in visual, oral, and written form. In Kindergarten-Grade 4,young children experiment enthusiastically with art materials and investigate the ideaspresented to them through visual arts instruction. They exhibit a sense of joy andexcitement as they make and share their artwork with others. Creation is at the heart ofthis instruction. Students learn to work with various tools, processes, and media. Theylearn to coordinate their hands and minds in explorations of the visual world. Theylearn to make choices that enhance communication of their ideas. Their naturalinquisitiveness is promoted, and they learn the value of perseverance.”

“As they move from kindergarten through the early grades, students developskills of observation, and they learn to examine the objects and events of their lives. Atthe same time, they grow in their ability to describe, interpret, evaluate, and respond towork in the visual arts. Through examination of their own work and that of other people,times, and places, students learn to unravel the essence of artwork and to appraise itspurpose and value. Through these efforts, students begin to understand the meaningand impact of the visual world in which they live.”

Source: National Standards for Arts Education: What Every young American ShouldKnow and Be Able to Do in the Arts, 1994, p. 33


Visual Arts 11

VISUAL ARTSKINDERGARTEN


The Kindergarten program of study delineates what all students should knowand be able to do at the end of Kindergarten. Through the study of visual arts, growthoccurs in multiple domains—cognitive, physical, and socio-emotional—as studentsrespond to life experiences through images, structures, and tactile works of art anddesign. Kindergartners will learn the language of the arts and how to interpret visualsymbols. This program involves production, critical analysis, history and culture,aesthetics, and connections among the visual arts, other content areas, and everydaylife. Kindergarten Visual Arts begins the K-12 sequence of knowledge, concepts, andskills to be learned in the visual arts. This program of study is to be used by the VisualArts Specialist and or the Classroom Teacher in developing visual arts curriculum forkindergarten students in the following:

Elementary Visual ArtsArts Integrated in the Elementary Classroom





Visual Arts 12

VISUAL ARTSKINDERGARTEN

CONTENT STRANDS:



1. Use a variety of basic materials and art media to produce works of art. (CP)

a. Begin to work cooperatively in producing works of art.b. Use art materials, equipment, and facilities in a safe and responsible manner.c. Select the appropriate tools and materials to produce a particular work of art.d. Demonstrate manipulative skills by performing a variety of tasks (e.g., cutting,

gluing, arranging, constructing, sorting, tracing, rubbing, folding, bending,modeling, coloring, painting, drawing, scribbling).

e. Experiment with different media (e.g., paint, clay, ink, crayons, finger-paint,chalk, markers, pencil).

f. Create symbols for common objects (e.g., people, vegetation, houses, animals).g. Produce drawings to create original, meaningful images.h. Produce works of art that express a personal experience or feeling.

2. Apply color, line, shape, texture, and pattern in works of art to communicateideas. (CP)

a. Name and find examples of primary colors (red, yellow, blue) in works of art andin the environment.

b. Name and utilize basic shapes (circle, square, rectangle, triangle) in works of artand in the environment.

c. Name and utilize different kinds of lines in works of art and in the environment.d. Create original works of art using different colors, shapes, and lines.e. Identify examples of texture and pattern in the environment, and begin to use

them in artwork.

3. Know that different art media produce different effects. (CP)

a. Create works of art using a variety of different processes.b. Utilize different materials to obtain various effects.


Visual Arts 13

4. Recognize basic art vocabulary. (CA)

a. Utilize basic art vocabulary in describing student’s own work and others.b. Utilize basic art vocabulary in describing art materials and processes.

5. Respond to different works of art through oral description. (CA)

a. Describe feelings and moods evoked while observing works of art (e.g.,sadness, anger, loneliness, happiness, fright, friendliness, excitement,peacefulness).

b. Describe action in works of art (e.g. walking, running, falling, skipping, jumping).

6. Recognize the roles of artists in the community. (HC)

a. Recognize artists and art forms produced in family and community.b. Recognize that artists create art as a profession and/or a hobby.

7. Recognize subject matter found in works of art and design. (HC, CA)

a. Recognize symbols often found in works of art (e.g., cross, crown, star, logos,flags).

b. Recognize similar subject matter in works of art (e.g., people, buildings, animals,plants).

8. Recognize that environments affect art. (HC)

a. Recognize that works of art are created in different places.b. Identify differences among works of art and recognize that sometimes art is

different based on where it is made.

9. Recognize art objects. (A)

a. Identify differences between art and everyday objects.b. Know that people all over the world and all through time have made art.c. Know that different people have different ideas about what art is.

10. Recognize that people value art. (A)

a. Know that works of art evoke a variety of different feelings.b. Know that people have different opinions about art.

11. Recognize that the visual arts are a part of everyday life. (C)

a. Identify examples and uses of art and design in the classroom, school, andhome.

b. Identify and name, images, and symbols used in communication, familytraditions, and celebrations.


Visual Arts 14

12. Recognize that the visual arts relate to other art disciplines. (C)

a. Identify one connection between the visual arts and another subject area inschool.

b. Identify one connection between the visual arts and another arts discipline.


Visual Arts, Kindergarten

Visual Arts 15


SuggestedAssessment

1

2

2

3

4

a,g

a

b

a

a,b

Students discuss ways they look alike and waysthey look different from their friends. Each studentdraws or paints a self-portrait. Students discussappropriate behavior for working together on agroup project, then mount the self-portraits on craftpaper to create a class quilt or a mural.

Students experiment with color mixing during finger-painting activities. Students discuss how all thecolors around us are made from the three primarycolors. Students create new colors by mixing two ofthe primary colors. Students describe how theymade the colors, name the colors they mixed andnew colors that resulted. Students experiment withmixing other colors to see what happens.

Students identify shapes cut from constructionpaper. From given shapes, students match toshapes in the classroom and to displayed artreproductions. After the shapes are found, studentsdraw a number of shapes on construction paper andcut or tear them out, arranging the shapes on alarge sheet of paper to create a collage. When thearrangement is pleasing, students use glue tosecure the shapes. When the glue is dry, usemarkers, pencil, sequins, found objects, etc. toembellish the work. Students give the work of art atitle.

Following teacher explanation that art materials areused to create artwork and the processes are theway materials are used. Students view art prints ofdrawings, paintings, sculpture, mobiles, collages,weavings, etc. by various artists. Students analyzeart materials, identify and describe processes used.Students create original art using some of thematerials and processes studied.

From reproductions of works of art, students answerthe questions: What colors do you see? Whatshapes do you see? Do you see more than one ofthe same shape? What kinds of lines does the artistuse? Do you see texture? Does the artist use thesame shape to paint different objects? Studentspoint out other things they see, then create originalartwork using those elements.

Teacher observation ofstudent ability to workcooperatively

Fixed responseChecklist

Teacher observation ofstudent ability to arrangeneatly and follow directions

Teacher observation toevaluate understanding

Checklist – Student ability tounderstand color, shape,and line as used in art



Visual Arts 16

5

6

7

8

9

10

11

a

b

a, b, c

a

b

a

a, b

a

After viewing examples of artwork, students discusshow the art makes them feel or what it makes themthink of. Discuss the effect of color on mood. Frommusic that is playful and cheerful in character,students paint the way the music makes them feel.

From action pictures, students look at the waysartists create movement. Students answerquestions about movement. (How are differentparts of the body used when we walk, run, hop, andskip?) Students assume poses of different activitiesthey enjoy, then draw each other on large paper.

Students answer questions: How do artists help ourcommunity? Students identify ways that artistsmake our communities better places. Studentsdiscuss why this is important to our lives.

Students look for symbols used in artworks, anddiscuss the symbols and what they mean, whysometimes symbols are used instead of words.From examples of Native American artwork thatuses symbols, students discuss how they candevelop their own symbols. Students createsymbols and explain meaning.

Students are provided with art work from variousplaces and cultures. After researching informationabout the prints, students label the place of origin ona world map.

Different types of artists are invited to visit theclassroom with examples of their work. Studentsdiscuss the questions they would like to ask theartist. After the visit, students make art inspired bythe ideas they discussed with the artist. Video theclassroom visit.

Place students in groups of three. Each studentdisplays one of his/her own works of art. The otherstudents identify and tell about their favorite thing inthe work of art. Students explain the importance ofrespecting the artwork of others, even when it isdifferent. Students explain why it is important tomake original, individual works of art.

Students find pictures in magazines of familiar logosused by businesses. Students tell where they haveseen the logos. Students tell why they think thelogos were designed to look as they do. Studentscreate a logo for themselves, school, or family.

Checklist—Student ability totell what emotion is beingexpressed in artworks theydisplay and ability to expressfeeling in work

Student ability to understandbody parts and create,recognize a figure in action

Open response and listeningrespectfully to otherscommunicating their ideas

Students ability to recognizesymbols and understandsymbols as a form ofcommunication

Student ability to locateplace of origin of various artworks

Teacher observation ofstudent listening skills

Peer evaluation

Open responseStudent ability to usevocabulary of elements ingiving examples



Visual Arts 17

12 a

Students look around the classroom or walk aroundthe school locating art and design used in everydaylife.

Students discuss how the visual arts relate to otherareas of study, by giving examples (e.g., book,illustrations, building designs), and explaining howart is used to create those objects.

Student ability to recognizehow art is important to otherdisciplines


Visual Arts 18

VISUAL ARTSFIRST GRADE


The First Grade program of study delineates what all students should know andbe able to do at the end of First Grade. Through the study of visual arts, growth occursin multiple domains—cognitive, physical, and socio-emotional—as students respond tolife experiences through images, structures, and tactile works of art and design. FirstGraders will learn the language of the arts and how to interpret visual symbols. Thisprogram involves production, critical analysis, history and culture, aesthetics, andconnections among the visual arts, other content areas, and everyday life. First GradeVisual Arts builds on the knowledge, concepts, and skills developed in Kindergarten.This program of study is to be used by the Visual Arts Specialist and or the ClassroomTeacher in developing visual arts curriculum for first grade students in the following:






Visual Arts 19

VISUAL ARTSFIRST GRADE

CONTENT STRANDS:



1. Develop fundamental skills in using art media and processes to produceworks of art. (CP)

a. Practice cooperative skills while creating works of art.b. Use art materials and tools in a safe and responsible manner.c. Select the appropriate tools and materials to produce a particular work of art.d. Demonstrate manipulative skills by performing a variety of tasks (e.g., cutting,

gluing, arranging, constructing, sorting, tracing, rubbing, folding, bending,modeling, coloring, painting, drawing, scribbling, blending, stitching, wrapping,tearing, weaving).

e. Use various media (e.g., paint, clay, ink, crayons, finger-paint, chalk, markers,pencil) to express different emotions in a work of art.

f. Combine recognizable symbols for common objects (e.g., people, vegetation,houses, animals) to create an original expressive work of art.

g. Produce drawings to create recognizable and expressive images.h. Know and apply media, tools, techniques, and forming processes (e.g., coil clay,

produce a monoprint, mix primary colors to make secondary colors) to create anexpressive work of art.

2. Apply color, line, shape, texture, balance, and pattern in works of art tocommunicate ideas. (CP)

a. Identify and name examples of primary colors and secondary colors in works ofart and in the environment.

b. Associate foreground, background, and middleground with a work of art.c. Identify examples of color, line, shape, balance, texture and pattern in works of

art and design as well as in the environment.d. Create original works of art using color, line, shape, balance, texture and

pattern.


Visual Arts 20

3. Recognize the different effects obtained by using basic art media andprocesses. (CP)

a. Name the materials and processes that are used to create works of art.b. Select appropriate processes to produce a particular work of art.

4. Understand and use basic art vocabulary. (CA)

a. Utilize art terms in speaking and writing to describe their own art work and workof others.

b. Utilize art terms in speaking and writing to describe materials and processes.

5. Know that different works of art that evoke various descriptions andresponses.(CA)

a. Know that works of art depict certain feelings.b. Understand and respond to how an artist may have chosen to depict certain

feelings.c. Describe how the student’s own work depicts certain feelings.

6. Recognize that art varies throughout cultures, times, and places. (HC)

a. Demonstrate ability to select from a display of artwork, those works from thesame culture.

b. Recognize that artwork can reflect the influence of its culture of origin.

7. Know that similar subject matter is found in works of art and design. (HC, CP,CA)

a. Identify examples of similar subject matter in works of art.b. Create artwork using subject matter from examples of art and design.

8. Know characteristics that identify works of art from a particular place. (HC)

a. Identify differences in artwork from various places.b. Identify similarities in artwork from various places.

9. Recognize art in various forms. (A)

a. Know that forms can be similar or different according to the materials used.b. Know that forms can be similar or different according to the purposes intended.


Visual Arts 21

10. Recognize differences in how people value art. (A)

a. Know how to communicate likes and dislikes concerning works of art.b. Understand the importance of showing respect for own work as well as the work

of others.c. Know some places where artwork is displayed.

11. Recognize ways the visual arts are used as a part of everyday life. (C)

a. Identify examples and uses of visual arts in the school, home, and community.b. Identify and name visual images used in daily life.c. Identify various roles of artists (e.g., architect, sculptor, painter, graphic

designer) in the community.d. Know how the work of various types of artists is different.

12. Recognize ways the visual arts relate to other disciplines. (C)

a. Recognize that the visual arts are used in other subject areas.b. Recognize that the visual arts are used in other arts disciplines.


Visual Arts, First Grade

Visual Arts 22


SuggestedAssessment

1

2

3

4

5

6

7

a,d,e

a

b

a

a,c

a

a

After viewing examples of collage murals by HenriMatisse, students produce a class collage bycutting or tearing colored paper, then arranging theshapes on large paper to create a mural. Studentsmay add other media, such as, crayon, markers, orpaint.

From an overhead projector on a screen or whitewall students project the following: In a clear glasscontainer or on a transparency, students createprimary colors using water based paint. They adddrops of water to create movement. Students taketurns dropping the colors. After each mixture, theliquid is blotted with a white paper towel.

From a display of scissors, colored paper, paint,brushes, markers, crayons, scrap materials, glue,clay, etc., students select tools and materials toproduce a work of art. Discuss the different effectsobtained by different art materials.

From a list of art terms that students know and use,appropriate terms are added and defined. Studentsdiscuss the terms and view examples of terms.Students use art terms to describe their own artworkor the artwork of a famous artist. Students create awork of art using the media and processes studied.

Students create a work of art that expresses acertain feeling. After students complete the artwork,they discuss how each work of art makes them feeland why. It is explained that color can be used toconvey feelings and emotions. Read My ManyColored Days by Dr. Seuss. Students discussfeelings and how visual elements and principlesaffect feelings. Students choose what they want toexpress through an artwork and what element orprinciple will do that.

From a display of artwork from a particular culture,time, or place, using prints or museum visit,students create a work of art that has a similar ideato one they see for their own purposes (e.g., potteryfor an everyday use, quilt to record memories).

From magazines, catalogs, and newspapers,students find advertisements that use the sametheme in a different way. Students make individualcollages using the pictures.

Teacher observation ofstudent ability tocooperate, use differentmanipulative skills, anddifferent media

Teacher observation ofstudent understanding ofcolor

Checklist – Student abilityto understand artprocesses

Checklist – Student abilityto use appropriatevocabulary to describeartwork – Check studentartwork for reflection ofchosen concept

Open response –Compare student plans tostudents’ responses towork

Observation of studentability to recognize similarartworks from the sameculture, times, or place

Teacher evaluation ofstudent ability to identifysimilar subject matter fromadvertisements


Visual Arts, First Grade

Visual Arts 23

8

9

10

11

12

b

a

a,b,c

a,b

a

After viewing pictures of totem poles made byNative Americans, students make totem polesrepresenting events in their lives and family history.Students think of ways they can represent theirfamily history. Have them ask relatives about theirhistory.

From examples of works by artists such as MaryCassatt, Claude Monet, Picasso, Jackson Pollock,Jacob Lawrence, van Gogh, etc., students discusshow the artwork is different and how it is similar.Students visit a museum exhibit. Discuss the worksdisplayed.

Each student displays one of his/her works of art.The other students identify their favorite thing aboutthe work of art and give reasons. Students thenorganize an art exhibit and invite guests to anopening.

Students identify shapes and forms that enhancethe environment (e.g., shrubbery, flowers, shutters,window boxes, trim). Students discuss and nameshapes and forms that communicate meaning in thecommunity (e.g., safety signs, street signs,advertisements). Students discuss the importanceof shapes and forms.

After analyzing artwork by Vasarely or Escher,students choose an image or symbol and repeat itaccording to a number pattern studied in math.

Observation of studentability to identifysimilarities in the totempoles they make to theones used by NativeAmericans

Observation of studentability to recognizesimilarities and differencesin the styles of artworksthrough discussion

Teacher and peerevaluation – student abilityto recognize that peoplevalue art differently

Open response – studentability to identify examplesof visual arts used ineveryday life

Evaluation of art – workstudent's ability torecognize how the visualarts relate to other subjectareas


Visual Arts 24

VISUAL ARTSSECOND GRADE


The Second Grade program of study delineates what all students should knowand be able to do at the end of Second Grade. Through the study of visual arts, growthoccurs in multiple domains—cognitive, physical, and socio-emotional—as studentsrespond to life experiences through images, structures, and tactile works of art anddesign. Second Graders will learn the language of the arts and how to interpret visualsymbols. This program involves production, critical analysis, history and culture,aesthetics, and connections among the visual arts, other content areas, and everydaylife. Second Grade Visual Arts builds on the knowledge, concepts, and skills developedin the First Grade. This program of study is to be used by the Visual Arts Specialist andor the Classroom Teacher in developing visual arts curriculum for second gradestudents in the following:




For an explanation of the Content Strands, Competencies, and Objectives, seethe General Introduction Section of the Mississippi Visual and Performing ArtsFramework. The Framework General Introduction, Literature Connections, TechnologyConnections, Resources, and Glossary are available online at the MississippiDepartment of Education web site: http://www.mde.k12.ms.us


Visual Arts 25

VISUAL ARTSSECOND GRADE

CONTENT STRANDS:



1. Begin to develop craftsmanship in a variety of additional media andprocesses to produce works of art. (CP)

a. Exhibit cooperative skills while creating works of art.b. Use art materials and tools in a safe and responsible manner.c. Know how to hold drawing and painting tools.d. Demonstrate manipulative skills by using a variety of media, techniques, and

processes.e. Produce works of art using different media and processes to communicate

feelings, ideas, experiences, and stories.

2. Demonstrate emerging understanding of the use of the elements of art andprinciples of design in works of art to communicate ideas and emotions. (CP)

a. Know how to mix primary colors to produce secondary colors.b. Identify foreground, background, and middleground in a work of art.c. Know how to overlap and position images on paper to show depth.d. Know how to combine line, color, shape, pattern, and texture to reflect a feeling

or express a particular idea.e. Recognize dominant element of art in art work. (e.g. line, color, shape, pattern,

texture)f. Name the basic three-dimensional forms and their corresponding shapes.

3. Identify different effects in works of art and the media, techniques, orprocesses used to achieve them. (CP)

a. Name the materials and processes that were used to create a work of art.b. Choose appropriate processes to produce a particular work of art.c. Know that certain colors are often used to represent emotional responses.


Visual Arts 26

4. Understand and use basic art vocabulary while creating works of art. (CA)

a. Apply correct art vocabulary in describing materials and processes used instudent’s own artwork and the artwork of others.

b. Utilize terms such as subject matter, color, line, shape, pattern, texture, andemotional response when discussing artwork.

5. Describe how different works of art evoke individual responses. (CA)

a. Identify art that tells stories and expresses ideas and feelings.b. Know ways that artwork and design communicate ideas, actions, and emotions.c. Use art terms when writing about personal artwork.d. When analyzing art, listen respectfully and restate the opinion of another.e. Understand that artwork can mean different things to different people.

6. Identify the contributions of artists in schools, homes, and communities.(HC)

a. Recognize roles of artists (e.g., folk, recreational, professional, technical) andhow they impact the community.

b. Identify ways the visual arts are used within the school environment.c. Identify various types of art found in the home and the community.

7. Recognize similar subject matter and symbols found in works of art anddesign in other cultures and places. (HC, CA)

a. Recognize that people from different places and times have made art for someof the same reasons (e.g. to tell about their culture, to tell stories, to documentevents, etc.)

b. Know that similar subject matter and symbols can be found in works of art anddesign from different cultures and places.

8. Recognize that environment and/or culture affects the characteristics ofworks of art.

a. Know that art has been made by people from different places and cultures fordifferent purposes.

b. Know that materials and processes used in artwork can be characteristic ofcertain cultures or geographic locations.

9. Recognize differences in the way individuals respond to art. (A)

a. Recognize that forms of art can communicate a variety of ideas, actions, andemotions to different people based on their knowledge, culture, experiences,etc.

b. Recognize that art is defined differently by individuals.


Visual Arts 27

10. Understand that people may value art in different ways.

a. Articulate preferences in works of art.b. Exhibit respect for own work as well as the works of others.

11. Understand that visual arts concepts and skills are represented in areas ofeveryday life. (C)

a. Know that some art is created to be functional.b. Know that art is a part of everyday life.c. Know that one can have a career in art.d. Recognize that artists come from different backgrounds, cultures, educational

experiences, etc.

12. Relate visual arts concepts and skills to the arts and other disciplines. (C)

a. Know that visual arts, music, dance, and theatre are present in the school,home, and community.

b. Recognize the differences and similarities among the arts disciplines.


Visual Arts, Second Grade

Visual Arts 28


SuggestedAssessment

1

2

3

4

5

6

7

8

d

e

c

a

d

c

a

a

After viewing demonstrations on how to cut, curl,and fold paper to make interesting shapes, studentscreate a collage by cutting various shapes andcolors of construction paper and folding, curling, orcutting them into interesting shapes and forms.

Students tour the room and school finding differenttextures and patterns (e.g., bricks, carpet,wallpaper, upholstery, fabric, sidewalks) thenidentify texture or pattern in selected artworks.Students create art using texture and/or pattern.

Students discuss feelings evoked by certain colorsand color combinations. Students then view someexamples of paintings discussing how dominantcolors and color combinations are used for differenteffects.

Using works of art either by the student or masterartists, students select, name, and describedirectional lines within the composition (e.g., curved,diagonal, horizontal, vertical, zigzag) and meaning.

After students complete a specific assignment on aparticular theme, they respond to all the artworksassessing how well the theme was expressed ineach.

Students bring items from home that they considerart. Discuss whether or not they are art works.Determine what makes an object art, (e.g., quilts,woven baskets, handcrafted furniture).

Introduce students to artifacts from various NativeAmerican cultures in the Mississippi Region.Students discuss the artwork of the NativeAmericans (e.g., beadwork, weaving, clothing,pottery, jewelry), and how personal items wereembellished. Students embellish some of theirpersonal items with their favorite colors andpatterns.

Students view prehistoric cave paintings, Stone Agecave paintings, and artworks picturing animals.Students discuss the use of animal motifs in artthroughout history (e.g., admired, revered, used assymbols of power). Students make a crayon-

Observation of ability tocut 3 out of 4demonstrated shapes orforms

Open response

Rubric, observation ofstudent discussion

Fixed response – studentidentification of directionallines

Peer evaluation, studentdescription of how ideas,actions, and emotions arecommunicated using artvocabulary

Self-evaluation, openresponse

Self-evaluation, openresponse

Checklist — ability ofstudent to know that arthas been made bydifferent people fromdifferent places fordifferent purposes


Visual Arts, Second Grade

Visual Arts 29

9

10

11

12

a

b

c

a

resist of an animal they choose, drawing crayonimages in the background and foreground, pressinghard to completely cover the colored area withcrayon. Then paint the foreground, background, andanimal with thin tempera or watercolor. Studentsthen title their works.

Show examples of paintings, photography, orsculpture. Students discuss how each work makesthem feel, and how each communicates differentemotions or sensations.

After discussing how others' art work is valuable,(although it might be different from their own),students describe how it might feel if othersdisrespect their work. Also students discuss how artby Monet and van Gogh was not valued during theirtime, but is now.

Artists are invited to class to discuss their role in thecommunity. Students illustrate a thank you cardwith a note to the guest artist thanking him/her forsharing with the class and expressing ideas aboutthe role of artists in the community.

Students view examples of dance, drama, music,and visual arts to students. Students identify eachexample and tell where they have seen orexperienced each. Students discuss differencesamong the arts and similarities to other areas.

Observation of studentdiscussion

Teacher observation ofawareness of necessity forrespectful behaviortowards others and theirartwork

Checklist: Student's use ofcreativity and imaginationin making card andexpression of artists'importance in thecommunity

Self-evaluation and abilityto be aware of differencesamong the arts and theirrelationship to othersubject areas


Visual Arts 30

VISUAL ARTSTHIRD GRADE


The Third Grade program of study delineates what all students should know andbe able to do at the end of Third Grade. Through the study of visual arts, growthoccurs in multiple domains—cognitive, physical, and socio-emotional—as studentsrespond to life experiences through images, structures, and tactile works of art anddesign. Second graders will learn the language of the arts and how to interpret visualsymbols. This program involves production, critical analysis, history, and culture,aesthetics, and connections among the visual arts, other content areas, and everydaylife. Third Grade Visual Arts builds on the knowledge, concepts, and skills introduced inthe second grade. This program of study is to be used by the Visual Arts Specialist andor the Classroom Teacher in developing visual arts curriculum for third grade studentsin the following:






Visual Arts 31

VISUAL ARTSTHIRD GRADE

CONTENT STRANDS:



1. Apply with increasing skills a variety of media, processes, and images toproduce works of art that communicate ideas. (CP)

a. Utilize democratic process to select content, media, and methods while creatinggroup projects.

b. Use art materials and tools in a safe and responsible manner.c. Develop increased manipulative skills while cutting, gluing, folding, drawing, and

painting.d. Increase understanding and use of unique properties and potential of media,

materials, and technologies while producing works of art.e. Understand the importance of cleaning tools and work area.f. Know the importance of recycling, conserving, and sharing art materials.

2. Demonstrate an increasing understanding of the use of the elements andprinciples of design through media and processes to communicate ideas,actions, and emotions. (elements—color, line, shape and form, texture, value,space; principles—balance, repetition, unity, contrast, proportion, emphasis) (CP)

a. Know primary and secondary colors on the color wheel.b. Know how to create depth (e.g., overlapping and placement, size, detail, color)c. Know how to select line quality to match purpose or feeling.d. Demonstrate thoughtful, selective use of elements and principles of art to

achieve a purpose.e. Know the difference between two-dimensional shapes and three-dimensional

forms.f. Create symmetrically balanced compositions.g. Know how to use combinations of figures/objects to express ideas, experiences,

stories, or feelings.h. Understand how to incorporate textures and patterns into artwork.i. Know how to use foreground, middleground, and background in a work of art.


Visual Arts 32

3. Know how to use various media, techniques, and processes to createdifferent effects in works of art. (CP)

a. Demonstrate ability to choose techniques, media, and processes to achieveintended effect.

b. Recognize various subjects, media, and techniques chosen by the artist in aspecific work of art.

c. Know which colors are used to evoke certain emotional responses (e.g., coolcolors, warm colors).

4. Understand and use visual arts vocabulary to make judgments while creatingand studying works of art. (CA)

a. Discuss artwork using art vocabulary, including names of artists, and styles ofart.

b. Discuss artwork in relation to design principles: balance, repetition, unity,contrast, proportion, and emphasis.

5. Describe how different works of art can be interpreted. (CA)

a. Know how to use reading, writing, and speaking skills to communicateinterpretation of art.

b. Know how to support an opinion about art with an example.c. Demonstrate ability to identify similar ideas represented in works of art.

6. Understand the importance of artists in different cultures, times, and places.(HC)

a. Identify the roles of artists from various cultures, times, and places.b. Identify the ways that artists contribute to the school environment.c. Recognize the effect of art in the home and the community.d. Know how artists affect the community in which they live (e.g., architects,

commercial artists, muralists, industrial designers, landscape architects).

7. Know common subject matter, forms, and symbols found in works of art anddesign from other cultures, times, and places. (HC, CA)

a. Identify subject matter in works of art and design found in selected cultures,times, and places.

b. Identify symbols in works of art and design found in selected cultures, times, andplaces.

c. Identify forms in works of art and design found in selected cultures, times, andplaces.


Visual Arts 33

8. Understand that artwork reflects the time and culture in which it was created.(HC)

a. Recognize that life experiences influence the creation of works of art.b. Identify personal and cultural factors that influence an artist’s work.c. Explain how time periods in which works are created affect the characteristics of

those works.

9. Know that there are different answers to the question: “What is art?” (A)

a. Understand that there are individual perceptions of art.b. Recognize that various cultures define art differently.c. Understand there is more than one way to appreciate art.

10.Know how people respect and value art differently. (A)

a. Recognize that there are different responses to specific works of art.b. Exhibit respect for own work as well as the work of others.c. Know ways in which galleries and museums are different.

11.Recognize that visual arts concepts and skills are integrated in other subjectareas for use in everyday life.

a. Identify ways that art, music, dance, and drama are used together in thecommunity.

b. Know examples of various careers that require art training.

12. Begin to understand ways that major concepts and technologies of the visualarts relate to those in the arts and other disciplines. (C)

a. Know similarities among all of the arts (i.e., music, dance, drama, visual arts),including vocabulary, concepts, and use of common themes.

b. Know that math, language arts, social studies, and science share concepts withthe visual arts (e.g., patterns in visual arts and math).


Visual Arts, Third Grade

Visual Arts 34


SuggestedAssessment

17

1

2

2

3

3

ca

f

h

i

b

c

After discussing the Fante people of Ghana, WestAfrica (or another selected culture), and the flagsmade by them, students create a flag using colorsand images that represent the values of the Fantepeople. Students cut out the flag from a large pieceof felt and glue a felt border in a contrasting color.The selected image is cut and glued to the flag,along with additional decorations. (Colored papercould be substituted for felt.)

After exploring the theme of recycling and its effecton the environment, students create hand-madebooks made of recycled paper about the importanceof recycling.

After viewing a work of Picasso, students discussuse of line and pattern for texture and produce aself-portrait using a variety of materials.

Students create a drawing of overlapping figures byoutlining the body with a dark crayon. Students drawaround the head, down for neck; out for shoulders;down for the arms; around for the hands; straightdown to the edge of the paper; repeating so thepeople are at different heights, overlapping thefigures. When paper is full, students carefully selectwhich figures will be in the foreground,middleground, and background; painting thosefigures in front a color; painting those in themiddleground a color, made from the first color andan additional color; painting those in the backgrounda different color.

After a discussion of the characteristics ofImpressionist paintings, students look at a variety offamous art, including Impressionistic paintings.Students then pick out the Impressionist paintingsand justify their decisions.

Students view works of van Gogh, discussing howhe used colors to express moods or feelings.Students explain that he put his paint on very thicklyand used thick bold strokes that swirl, curl, andspiral. After viewing his self-portrait, studentsdiscuss characteristics of the painting and create aself-portrait in the same rich style as van Gogh to

Teacher observation of thestudent’s ability to draw,cut, and glue

Rubric based on studentability to recycle paper andto communicate theimportance of recyclingmaterials

Teacher checklist to ratethe use of lines andpatterns to create texture.

Written response —student ability to describecolors as being used in theforeground or backgroundof their artwork

Teacher checklist —Student ability to identifyImpressionistic paintingsby recognizing techniquesassociated withImpressionism

Self-evaluation based onability to explain the use ofcolor to show emotion in aself-portrait



Visual Arts 35

3

4

5

6

6

7

c

b

a

a

a

d

a,b

show how they feel as well as look. They can use aphotograph of themselves or look at their face in amirror as they draw. Poster paint is mixed with flourand glue to make it thick and shiny.

Students view various artworks such as J.M.W.Turner’s Sunset Rouen, Claude Monet’s WaterLilies, or Van Gogh’s The Night Café. Studentsdiscuss how colors in these works create a mood orfeeling.

After discussing the design principles of balance,repetition, contrast, and emphasis, students make atissue paper collage on an animal they are studying.Draw the outline of the animal on white paper. Teartissue paper into thin strips. Glue these onto theanimal’s body. Cut out the animal and glue it ontosheet of colored paper. Create an environment forthe animal with the tissue paper, overlappingshapes to show depth and blend colors. Studentscritique the works using appropriate vocabulary.

On a day set aside for critiquing, a discussion ofacceptable critique practices, students volunteer toanalyze and critique works of art for the class,beginning with their own work. Emphasis is placedon the importance of paying attention andrespecting the opinions and works of others.

Students listen to reading of a favorite story, andview illustrations. Students then draw their favoritepart of the story and write a short poem about thestory. Students act out different parts of the story.

Students use the computer to research the differentroles artists play in the community (e.g., architect,video producer, package designer, fashion designer,fabric designer, landscape architect, sign painter,window decorator, and artist including folk artist).

Students discuss ways artists convey messages inour society (e.g., billboards, bus sides, TV,magazine ads, packaging, paintings, sculptures,quilts).

Using hands-on activities, such as “Art Memo” or“Art Lotto” games, students recognize artworkcreated with different styles and belonging todifferent cultures. Students discuss how times arereflected in the artworks. (Games can be made frompictures in art calendars.)

Teacher observation ofstudent ability to associatecolors with emotions

Teacher checklistevaluating student abilityto describe their use ofbalance, repetition,contrast, and emphasis

Peer evaluation based onstudent ability to orallycommunicate ideas,actions, and emotions in awork of art

Student journal — studentability to communicateabout artwork throughwriting

Rubric based on studentability to identify anddescribe an art-relatedprofession

Teacher observation ofstudent ability to describehow the work of art affectsour daily lives

Checklist — ability ofstudent to recognizeartwork from differentcultures and times



Visual Arts 36

8

9

10

11

12

a

a

a,c

a

a

From several examples of work by GeorgiaO’Keefe, such as Cow’s Skull, which represent herwork in New Mexico and other works by O’Keefe,such as her paintings of flowers. Students discusshow her experiences while living in New Mexicoaffected her work.

From various examples of fine art and crafts, andafter discussing characteristics of both types,students choose which they consider to be art andwhich are crafts. Students list three characteristicsof a craft and three of fine art.

From an informal art show of student work, inwriting, students complete the following prompt:“The best thing about ________’s work is…“.Following a review of comments about each picturein class, it is emphasized that students must showrespect for their own work as well as the artwork ofothers. It is stressed that individuals respond toartwork differently, based on their personalexperiences.

Students discuss various ways that arts are used incombination in the community, such as set andcostume design in plays; music, dance, and actingused in musical productions at community theatresand church productions. Small groups of studentsplan a short musical or puppet show for the class,using at least three major art forms.

Following a review of the definitions for line, shape,form, color, texture, value, space, balance,repetition, contrast, and emphasis, students selectthree words from the list and write about how eachof them relates to terms found in either writing,math, social studies, music, or science. Studentsshare their responses with the class.

Use a Venn diagram tocompare two works of artby Georgia O’Keefe, onethat represents her work inNew Mexico and one thatdoes not.

Teacher observation

Teacher observation andreview of written workindicating respectfulbehavior towards othersand their artwork

Rubric based on studentability to incorporatemusic, dance, art, and/oracting into a performancefor the school community

Rubric based on studentability to communicate therelationship of terms andideas found in art to thosefound in other subjectareas


Visual Arts 37

VISUAL ARTSFOURTH GRADE


The Fourth Grade program of study delineates what all students should knowand be able to do at the end of Fourth Grade. Through the study of visual arts, growthoccurs in multiple domains—cognitive, physical, and socio-emotional—as studentsrespond to life experiences through images, structures, and tactile works of art anddesign. Fourth graders will learn the language of the arts and how to interpret visualsymbols. This program involves production, critical analysis, history and culture,aesthetics, and connections among the visual arts, other content areas, and everydaylife. Fourth Grade Visual Arts builds on the knowledge, concepts, and skills introducedin the Third Grade. This program of study is to be used by the Visual Arts Specialistand or the Classroom Teacher in developing visual arts curriculum for fourth gradestudents in the following:






Visual Arts 38

VISUAL ARTSFOURTH GRADE

CONTENT STRANDS:



1. Know the differences between a variety of media and processes and use themto create works of art that communicate ideas. (CP)

a. Demonstrate ability to fulfill responsibilities in a cooperative manner within agroup with little guidance from the teacher.

b. Know how to practice safety, recycling, and conservation in the use of tools,materials, and equipment while creating original works of art.

c. Demonstrate increased manipulative skills by performing a variety of tasks (e.g.,cutting, gluing, arranging, constructing, sorting, tracing, rubbing, folding,bending, modeling, coloring, painting, drawing, scribbling, stitching, wrapping,weaving, tearing).

d. Know how to select media, tools, and techniques to communicate intendedpurpose and meaning.

2. Know how to use the elements of art and principles of design through media,techniques, and processes to communicate ideas, actions, and emotions.(Elements — color, line, shape and form, texture, value, space; Principles —balance, rhythm, repetition, unity, contrast, proportion, emphasis, and movement)(CP)

a. Know primary, secondary, and intermediate colors on the color wheel.b. Know ways to achieve emphasis in a work of art.c. Recognize that line quality can add meaning to work.d. Recognize the elements of art and principles of design in works of art (e.g., line,

two-dimensional shape, three-dimensional form, color, texture, value, andspace).

e. Use symmetrical and asymmetrical balance in creating art.f. Select subject matter, symbols, and ideas to communicate meaning.g. Know the difference between tactile and visual textures.h. Know how to produce tints, shades, and tones.


Visual Arts 39

3. Know that the use of various media, techniques, and processes result indifferent effects in works of art. (CP)

a. Understand why certain colors are used to evoke emotional responses.b. Recognize and employ techniques used to create actual or implied texture (e.g.,

roughness or smoothness.c. Describe how different materials, techniques, and processes can be used to

create different effects in works of art and apply to creation of art..

4. Develop perceptual skills and use visual arts vocabulary while creating andstudying works of art. (CA)

a. Utilize art vocabulary (e.g., color, shape, line, texture, balance, contrast,repetition, emphasis, proportion, unity) to describe or critique media, techniques,and processes in the environment and daily activity.

b. Develop observation skills through concentration and focus.c. Know the differences among visual characteristics and purposes of art in order

to convey ideas.

5. Recognize critical processes in the examination of works of art and design.(CA)

a. Know how to use reading, writing, and speaking skills to communicate ideas,actions, and emotions in artwork with fluency.

b. Recognize critical processes that are both knowledge-based and personalappraisals (e.g. objective and subjective).

c. Justify opinions about the merit of a work of art and design.

6. Recognize roles, functions, and purposes of artists, works of art, and visualarts careers in cultures, times, and places. (HC)

a. Know that visual arts careers have changed over time and vary from culture toculture.

b. Understand there are various purposes for creating works of visual art.

7. Recognize subject matter, themes, and forms that recur in works of art anddesign across cultures, times, and places. (HC, CA)

a. Select and use subject matter recurring in works of art and design acrosscultures, times, and places to communicate meaning.

b. Select and use symbols recurring in works of art and design across cultures,times, and places to communicate meaning.

c. Select and use forms recurring in works of art and design across cultures, times,and places to communicate meaning.


Visual Arts 40

8. Know that the characteristics of works of art and design differ in relation toculture, time, and place. (HC)

a. Know that there are differences and similarities among works of art and designfrom different cultures, times, and places.

b. Recognize the content of artworks of the past and present, focusing on thedifferent cultures and natural environment that have contributed to Mississippi’shistory and art heritage.

c. Analyze and describe how factors of time and place (such as climate, resources,ideas, and technology) influence visual characteristics that give meaning andvalue to a work of art.

d. Describe how people’s experiences influence the development of specificartworks.

9. Know that there are different answers to the question: “What is art?” (A)

a. Compare multiple purposes for creating works of art.b. Know and describe ways that various cultures define art differently.

10. Know that people respect, value, and derive meaning from art differently. (A,CA)

a. Know that there are different responses to specific works of art.b. Know that artwork has different meanings for different people.c. Recognize that good artwork does not necessarily evoke positive responses

from the viewer.d. Differentiate ways that works of art and design communicate ideas, actions, and

emotions.e. Know and describe ways that various cultures value art differently.f. Exhibit respect for own work as well as the work of peers and other artists.g. Know similarities and differences among galleries, museums, and exhibits.

11. Recognize that visual arts concepts and skills are integrated with knowledgein other subject areas for use in everyday life. (C)

a. Understand ways that the visual arts are used as part of everyday life.b. Identify various art forms found in the school, home, and community and how

they are used.c. Identify careers that require art training.d. Understand that art involves problem-solving skills.


Visual Arts 41

12. Recognize ways that major concepts, technologies, media, and processes ofthe visual arts are employed in arts and other disciplines. (C)

a. Know that various types of art (e.g., realistic, impressionistic, modernistic) relateto similar forms found in music and literature.

b. Describe ways that math, language arts, social studies, history, science, andtechnology are related to the visual arts, (e.g., the process of creating in the artsas well as through inventions, discoveries, and the development of ideas).

c. Understand how advances in art impact other areas (e.g., graphic design, movieindustry, advertising, landscape design, etc.).


Visual Arts, Fourth Grade

Visual Arts 42


SuggestedAssessment

1

1

2

2

2

3

a

b

b

e

h

b

When working in groups, students will be assignedspecific duties, (e.g., contact person tocommunicate with the teacher for the group, groupleader, person to collect and pass out materials,clean-up supervisor) and assume responsibility forstaying on task.

Students will create a design incorporating at leastthree recycled items.

Using art prints, such as van Gogh’s Self Portraitand Sunflowers, students analyze how emphasiswas achieved (e.g., through color, line, and/ortexture). Students create a still life of flowers in avase along with other objects on a table, usingstrategies to emphasize the most important part ofthe picture.

After a discussion of symmetry and the identificationof symmetrical designs in the classroom, studentsbegin a symmetrical design by folding a large pieceof drawing paper in half. Using a length of yarn thathas been dipped in tempera paint, the students willform a design with the yarn on one half of the paper.The paper is then closed and the yarn is drawn outof the paper with one hand while pressure is placedon top of the paper with the other hand. Once thepaper is reopened and the paint dries, the studentwill develop a picture that incorporates the paintedsymmetrical design.

Students sketch an outdoor scene or landscape,noticing the difference in color and value betweenobjects that are close and those that are far away.Crayons will be used to create a variety of shadesand tints of color to reflect the positions of theobjects.

After collecting a variety of materials, such as lace,leaves, toothpicks, and coins, students will arrangethe objects on their paper and cover them with asecond piece of paper, then create a rubbing bycoloring evenly across the entire surface withmedium to dark colored crayons. The rubbings maybe used as paper to cut and paste into a collage, ormulti-media work.

Peer and self-evaluation

Checklist: Use of threerecycled items to create adesign

Self evaluation – journalentry about theeffectiveness of his/heruse of emphasis in thework of art

Teacher checklist –student use of symmetry inartwork

Checklist: Student use ofcolor variation to showdistance in at least twodifferent types of objectsfound in the picture

Teacher Checklist – abilityto create impliedroughness or texture in awork of art



Visual Arts 43

4

56

5

7

8

9

a

ab

b

a

b

a

After discussing the principles of art, students selectmedia to create a self-portrait that reflects theartist’s personality. Students create the self-portrait,then write a description of their work, explainingtheir choice of media, techniques, and use of one ofthe principles of art.

Using a color advertisement from a magazine and apolitical cartoon from the newspaper, students use aVenn diagram to compare the purpose of the twoworks of art, the techniques used, and the media.Students create their own advertisement, choosingwording, graphics, and visual and organizationalcomponents that maximize the effectiveness of theadvertisement.

After reviewing several art prints of portraits,students select one to study. Students investigateand select three facts to share with the class aboutthe portrait as well as give three opinions about thework.

From examples of mandalas (circular designs thatrepresent the universe) found in various cultures,such as Japanese, American Indian, and African.Students each select a different culture, research it,and design a new mandala representative of thatculture.

After studying the Choctaw Indians, or anotherculture in Mississippi, students analyze how theenvironment and the cultural traditions influencedthe purpose of artworks and objects found in theirculture, as well as the materials used to producethem. Students gather materials from the naturalenvironment of the school campus or from homeand create an object to meet a specific purpose(e.g., bowl, musical instrument, or hair ornament),and explain how it could be part of a tradition.

After a class discussion about what visual art is,students work in small groups to brainstorm tenexamples of visual art found in the home and tenfrom the community. After writing each idea downon an index card, the class reviews the ideas on thecards and categorizes them according to thepurpose of the art (e.g., to inform, entertain,organize). Students will select a category orpurpose and draw/design an artwork or object toserve that same purpose.

Relevancy of appliedmedia technique andprinciple to communicatepersonality type

Venn Diagram giving atleast three examples in allthree areas

Checklist: three facts andthree opinions about aspecific work of art

Teacher evaluation ofability to identify andcreate a symbol thatrecurs in various cultures

Rubric based on thedesign, selection ofmaterials, writtendescription of the purposeof the object, and the partit plays in their tradition

Rubric based on student’sproduction of an art objectto meet a specific purpose,including theappropriateness of designand materials



Visual Arts 44

10

11

12

a

b

a

b

Students discuss the definitions of art and howdifferent people determine what qualifies as art.Working in small groups as if potential buyers at anauction, student groups critique three different artprints. Students rate each print with a score fromone to ten, with ten being the highest. Groupsreport and justify their scores. Students makejournal entry recording an explanation fordifferences in opinion regarding the artwork

Students ponder: “Is art an important part of yourlife?” Students break into small groups. Studentsdivide chart paper into three columns and record alltypes of art that can be found in school, home, andcommunity, as well as the purpose of the art (e.g.,to inform, influence, entertain). Groups post theircharts and compare information. Studentssummarize in journals the effect of art on theirschool, home, and community.

Students compare the use of light in impressionismto light used in literature and music (e.g., lightreflections on the water of Monet’s garden scenes,Debussy’s light, impressionistic music, and somehaiku poetry). Students will create a light,impressionistic work of art and write a haiku poemor compose impressionistic music describing theirwork.

Students will design a tourism ad depicting one ofthe regions of Mississippi. Students’ choice inmedia, design, and technique should reflect thegeographical nature of the region.

Teacher/peer journal entryevaluation

Rubric based on studentability to list at least threetypes of art found in theschool, home, andcommunity their purposeand effect

Rubric based on theevidence of light used inthe artwork and in thepoem or music

Rubric based on effectiveuse of media, technique,and design to represent aregion


Visual Arts 45

VISUAL ARTS


“Students in Grades 5-8 continue to need a framework that aids them in learningthe characteristics of the visual arts by using a wide range of subject matter, symbols,meaningful images, and visual expressions. They grow ever more sophisticated in theirneed to use the visual arts to reflect their feelings and emotions and in their abilities toevaluate the merits of their efforts. These [competencies] provide that framework in away that promotes the students' thinking, working, communicating, reasoning, andinvestigating skills and provides for their growing familiarity with the ideas, concepts,issues, dilemmas, and knowledge important in the visual arts. As students gain thisknowledge and these skills, they increase in their ability to apply the knowledge andskills in the visual arts to their widening personal worlds.

“These [competencies] present educational goals. It is the responsibility ofpractitioners to choose among the array of possibilities offered by the visual arts toaccomplish specific educational objectives in specific circumstances. The visual artsoffer the richness of drawing, painting, sculpture, and design; architecture, film, andvideo; and folk arts–all of these can be used to help students achieve thecompetencies. For example, students could create works in the medium of videotape,engage in historical and cultural investigations of the medium, and take part inanalyzing works of art produced on videotape. The visual arts also involve varied tools,techniques, and processes–all of which can play a role in students' achieving thestandards, as well.

“To meet the [competencies], students must learn vocabularies and conceptsassociated with various types of work in the visual arts. As they develop increasingfluency in visual, oral, and written communication, they must exhibit their greater artisticcompetence through all of these avenues.

“ In Grades 5-8, students' visual expressions become more individualistic andimaginative. The problem-solving activities inherent in art making help them developcognitive, affective, and psychomotor skills. They select and transform ideas,discriminate, synthesize, and appraise, and they apply these skills to their expandingknowledge of the visual arts and to their own creative work. Students understand thatmaking and responding to works of visual art are inextricably interwoven and thatperception, analysis, and critical judgment are inherent to both.

“Their own art making becomes infused with a variety of images andapproaches. They learn that preferences of others may differ from their own. Studentsrefine the questions that they ask in response to artworks. This leads them to anappreciation of multiple artistic solutions and interpretations. Study of historical andcultural contexts gives students insights into the role played by the visual arts in humanachievement.


Visual Arts 46

“As they consider examples of visual art works within historical contexts,students gain a deeper appreciation of their own values, of the values of other people,and the connection of the visual arts to universal human needs, values, and beliefs.They understand that the art of a culture is influenced by aesthetic ideas as well as bysocial, political, economic, and other factors. Through these efforts, students developan understanding of the meaning and import of the visual world in which they live.”

Source: National Standards for Arts Education: What Every young American ShouldKnow and Be Able to Do in the Arts, 1994, p. 49


Visual Arts 47

VISUAL ARTSMIDDLE SCHOOL LEVEL I


The Middle Level I program of study delineates what all students should know and beable to do at the end of the first of four middle level programs of study. Through thestudy of visual arts, students respond to life experiences through images, structures,and tactile works of art and design. Students will continue to learn the language of thearts and how to interpret visual symbols. This program involves production, criticalanalysis, history and culture, aesthetics, and connections among the visual arts, othercontent areas, and everyday life. Middle Level I builds on the knowledge, concepts,and skills introduced in the First through Fourth Grades. This program of study is to beused by the Visual Arts Specialist and or the Classroom Teacher in developing visualarts curriculum for middle school level I students in the following:

Middle School Visual ArtsArts Integrated in the Middle School Classroom





Visual Arts 48

VISUAL ARTSMIDDLE LEVEL I

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (CA)History/Culture (HC) Aesthetics (CA)Connections (C)

COMPETENCIES and Suggested Learning Objectives:

1. Describe and use fundamental skills related to media, techniques, andprocesses to create and study works of art. (CP)

a. Recognize and apply elements and principles of art and design in specificworks of art.

b. Practice safety and conservation in the use of tools, materials, and equipment.c. Identify and apply appropriate techniques for using specific tools.d. Work cooperatively with others.

2. Use basic skills to apply the elements and principles of design throughmedia, techniques, and processes to communicate ideas, actions, andemotions. (CP)

a. Create a work of art that expresses a specific message.b. Articulate the use of design principles to communicate ideas.c. Identify and use symbols in own works and the work of others.

3. Increase knowledge and use of various media, techniques, and processes increating different effects in works of art. (CP)

a. Demonstrate the ability to competently manipulate two-dimensional and three-dimensional media.

b. Examine a variety of art works and identify materials, techniques, andprocesses used to create them.

c. Plan and execute individual and group projects employing a variety of means toachieve different effects.

4. Develop perceptual skills and use increased visual arts vocabulary to makejudgments while creating and studying works of art. (CA)

a. Use correct art vocabulary to study works of art through oral and written means.b. Reflect on the process of creating individual works of art.c. Analyze how form and media contribute to meaning in works of art.


Visual Arts 49

5. Recognize critical processes (response, description, analysis, interpretation,and evaluation) used in the examination of works of art and design throughreading, writing, and speaking. (CA)

a. Identify effective use of form, media, and technique through oral and writtenanalysis.

b. Demonstrate beginning recognition of the difference between observing andstudying a work of art.

c. Identify and describe themes and subject matter commonly used in works of art.d. Contrast and compare the visual properties of works of art sharing common

themes and subject matter.

6. Recognize roles, functions, and purposes of artists, works of art, and visualarts careers in cultures, times, and places. (HC, C)

a. Investigate the roles of artists in a variety of cultures and time periods.b. Compare and contrast roles of visual artists in historical cultures to artists in

contemporary times.c. Become familiar with a variety of careers in visual arts.

7. Recognize similarities in subject matter, symbols, and forms in works of artand design across cultures, times, and places. (HC)

a. As a group, plan a series of images with a related theme or subject matter anddiscuss a variety of approaches.

b. Contrast and compare artworks by a diverse selection of artists with relatedmaterials, themes, and subject matter.

c. Compare and contrast similar themes and subjects in artworks from differenteras, cultures, and artists.

8. Know that cultural traditions, historical periods, and aspects of placeinfluence characteristics of works of art and design. (HC)

a. Compare similarities and differences in works of art between cultures, timeperiods, and geographic locales.

b. Research a chosen historical period and artist.c. Know that there are different cultural or ethnic traditions for creating works of

art.

9. Know factors that influence opinions about what constitutes art. (A)

a. Discuss factors that influence opinions.b. Identify a variety of beliefs about art held by groups of people and/or art experts.


Visual Arts 50

10. Understand the different ways people respect, value, and derive meaningfrom art. (A)

a. Identify a variety of ways that art can be valued.b. Identify individual perspectives on meaning in art.c. Understand the role of cultural traditions in the assignment of value and

meaning in art.

11. Know how visual arts concepts and skills are integrated with knowledge inother subject areas for use in everyday life. (C)

a. Identify ways in which the arts are integrated in the environment and daily life.b. Speculate upon similarities and differences between ways that artists, scientists,

and writers may view the world.

12. Know that major concepts, technologies, media, and processes of the visualarts relate to those in other subject areas within and outside the arts. (C)

a. Identify a variety of technologies related to art (e.g., the development of differentkinds of paint, grounds, pottery techniques, equipment).

b. Compare the historical evolution of art processes, media, and technologies withtechnological advances in other fields.


Middle School Visual Arts, Level l

Visual Arts 51


SuggestedAssessment

1 a Students think about a particular work of art andbrainstorm ideas and feelings evoked. Studentsselect an idea or feeling, then choose a media thatwould best help them to express it. Students createa work of art, then title the work.

Student portfolioClass critique

1 b Following teacher demonstration of safe tool andequipment use, students take turns demonstratingkey points of correct and safe usage.

Teacher preparedPerformance-basedinstrument

2 a, c Students identify a personal symbol in the form ofan animal, then discuss why some people might seethis as a desirable symbol and others might not.Each student chooses a personal symbol andcreates a series of works showing different aspectsof the symbol.

Student portfolioClass critique

3 b, c Students write (or draw) the steps involved in theprocess of creating a work of art from start to finish.Students compare effects created by differentmedia.

Log, journal, sketchbook

4 a, c, Students create cards identifying each element andprinciple. Students work in groups to analyze anddecide which elements and principles are the mostimportant in specific works of art. Students matchelements and principles cards to those works andjustify their decisions.

Teacher observation

4 b Students compare the works of artists such as JohnBiggers and Honore’ Daumier who use people assubjects in their artwork. Many of these works depictcafé scenes. Students have a "café talk" and sharetheir findings with other "artists" at their table.

Discussion and teacherobservation

5 a,b,c,d, Students use a prescribed approach to art criticism(e.g., Feldman’s: [Describe, analyze, interpret,evaluate], or Visual Thinking Strategies: ["What'shappening here?" "What makes you say that?"]).Students write about conclusions.

Discussion and teacherobservation, journal entry

6 b Students work as a class or in groups to discusstheir artwork. Panels of student judges, studentsanswer the questions: "What do I believe ishappening?" " What idea, mood or feeling does itsuggest?" "Is the artwork successful?" " Why orwhy not?" Students write essay on findings.

Rubric based on criteriafor essay



Visual Arts 52

6 a, b Students write an imaginary letter to a friend as anartist from a particular era would, telling someoneabout the progress of an artwork.

Rubric based on criteriafor letter

7 a Group projects might be developed in severaldifferent ways: (1) Each student creates an originalwork based on a similar theme and assemble theworks, (2) Each student creates one section of alarger work, or (3) Students work in small groups todesign and execute a single piece of art such as amural. Students assign tasks for each member anddemonstrate their ability to make consensusdecisions and work cooperatively as a group.

Self evaluation by groupTeacher observation

b After studying about several artists withrecognizable styles, students use a simple template(animal, letter, logo) to draw a shape in whichstudents recreate the "style" of one or more of theartists they have studied. Compare the work of thegroup and discuss differences in artistic "style" andhow each student can develop his/her own style.

Student portfolio

8 a, b, c Students compare and contrast the characteristicsof pottery from one culture to another, such as thePueblo or Hopi of the American Southwest,Japanese, Chinese, Mycenaean, Ancient Greeceand others. Students make a diary entry as thoughthey were the maker of a particular piece of potteryin one of these cultures.

Journal entry

9 a,b,c Using a collection of objects (ties, shoes, baskets,cups, etc.), students rank objects according to howthey might be valued (e.g., most colorful, most timeto make, most sentimental, most useful).

Teacher observation

10 a, b, Students choose a famous work of art that has lotsof information about the work from the artist and artcritics. Prior to sharing background information,have students discuss and give their opinions aboutthe artwork. Then share the comments of the artistand art critics. Students, then share the opinionsagain. Keep a before and after chart to see ifopinions change depending on how studentsunderstand the work.

Teacher observation ofrecord of chart, before andafter opinions to measurechange of opinionsDiscussion

c Students form groups to role-play the differentperspectives of people who might be selectingworks of art for a community project (accountant,mayor, artist, etc.). Students work together to selecta particular work of art from several examples andexplain their choices.

Discussion and critique



Visual Arts 53

11 a, b Students discuss the kinds of considerations thataffect design decisions. Students research some ofthose considerations before coming up with a plan.Students execute the plan in an appropriatemedium. Write about the process.

Rubric based on projectcriteria

12 a, b Students research the history of a technology (e.g.,photography, oil paint, bronze, ceramics, printing,mold casting). Students note changes that havetaken place over time.

Rubric based on teachercriteria for lesson


Visual Arts 54

VISUAL ARTSMIDDLE SCHOOL LEVEL II


The Middle Level II program of study delineates what all students should know and beable to do at the end of the second of four middle level programs of study. Through thestudy of visual arts, students respond to life experiences through images, structures,and tactile works of art and design. Students will continue to learn the language of thearts and how to interpret visual symbols. This program involves production, criticalanalysis, history and culture, aesthetics, and connections among the visual arts, othercontent areas, and everyday life. Middle Level II builds on the knowledge, concepts,and skills introduced in Middle Level I. This program of study is to be used by theVisual Arts Specialist and or the Classroom Teacher in developing visual artscurriculum for middle school level II students in the following:






Visual Arts 55

VISUAL ARTSMIDDLE LEVEL II

CONTENT STRANDS:



1. Differentiate among techniques and unique properties of media to determinethe expressive potential of each. (CP)

a. Understand and demonstrate appropriate handling of tools used in a variety ofmedia.

b. Understand the difference between two and three-dimensional media.c. Analyze what makes media, techniques, and processes effective in

communicating ideas.

2. Demonstrate increasing proficiency in using elements and principles of art tocommunicate ideas, actions, and emotions in creating and responding toworks of art. (CP)

a. Review elements and principles of art and their use in student art and otherspecific works of art through creating and responding.

b. Demonstrate increased proficiency in using elements and principles of design ina composition based on a feeling or idea.

c. Analyze and compare the communication of emotion in the work of others, andin own work.

3. Understand how the use of various media, techniques, and processes canresult in different effects in works of art. (CP)

a. Comprehend differences in structural components and uses for variousmaterials.

b. Select and combine appropriate materials to create a work of art expressingtactile or sensory qualities.

4. Develop perceptual skills and use expanded visual arts vocabulary to makejudgements while creating and studying works of art. (CA)

a. Know ways that artists use elements and principles to create meaning.b. Recognize and identify symbols, themes, and issues relating to a work of art.


Visual Arts 56

c. Compare artwork with similar themes to other work produced at the same time.d. Use expanded visual arts vocabulary to make judgements while creating and

studying works of art.

5. Begin to use critical processes in the examination of works of art and designthrough reading, writing, and speaking. (CA)

a. Compare and contrast the use of media between two different artists using thesame subject matter.

b. Identify how artists use different techniques with the same media to createdifferent affective responses.

c. Analyze works of art and design by using the critical processes.

6. Know roles, functions, and purposes of artists, works of art, and visual artscareers in selected cultures, times, and places. (HC)

a. Know various reasons and purposes for which art is made including economic,cultural, social, moral, psychological, and spiritual.

b. Know a variety of careers related to the visual arts, including architect, artteacher, graphic designer, fine artist, industrial designer, museum curator, artcritic, and illustrator.

c. Explain the roles of artists in ones own community and society at large.

7. Distinguish subject matter and themes that recur in works of art and designacross cultures, times, and places. (HC)

a. Identify recurring symbols, themes, and subject matter from our own culture andearlier cultures.

b. Predict how various cultures might represent the same theme, or subject matterdifferently.

8. Understand how factors of time and place (e.g., climate, resources, ideas,technology) give meaning or function to works of art and design.

a. Compare the characteristics and context of art from one culture to another, andfrom different types of art within a given culture.

b. Know ways in which characteristics of art are influenced by a particular aspect ofthe context in which they are created.

9. Understand that there are different individual opinions about what constitutesart. (A)

a. Know different ways that art can be defined and valued.b. Understand that aesthetic questions include “What is art?” “What are purposes

of art?” and “How do we value art?”


Visual Arts 57

10. Know that people can be influenced in the way they respect, value, and derivemeaning from art. (A)

a. Know that meaning in art can relate to the context in which it is displayed.b. Realize that there are preferences for either representational or non-

representational art.c. Know ways that people can be influenced in the way they respect and value art.

11. Recognize the importance of integrating visual arts concepts and skills inother subject areas for use in everyday life. (C)

a. Know ways that visual arts concepts and skills are integrated with othersubjects.

b. Identify the roles of contemporary artists in their own community and the world.c. Identify artists who demonstrate knowledge of multiple subjects in their artwork.

12. Understand ways that major concepts, technologies, media, and processes ofthe visual arts relate to those other subject areas within and outside the arts.(C)

a. Identify concepts and technologies used by people with art careers in thecommunity.

b. Know the kinds of careers available to people with backgrounds in the visualarts (e.g., television production, museum careers, publishing, designing,teaching, graphics, cartooning, computer art, illustration).

c. Identify art careers that relate to other subject areas.


Middle School Visual Arts, Level II

Visual Arts 58

Comp. Obj. Suggested Teaching Strategies SuggestedAssessment

1 b, c Students study selected works from a particularmovement, such as Expressionism, and determinetechniques and media used to communicate expressivecontent. Students chart findings.

Student created chart

2 a,b,c Using works exhibited in a school or local art show,students choose one or more works of art and answerthe question, “How is the work organized according tothe elements of art and principles of design?” Recordanalyses on forms designed to facilitate writtenresponses.

Teacher evaluation ofwritten studentresponses

3 a, b After studying works of art that illustrate how mediacreate different effects, students select media to createworks of art emphasizing textural qualities and thesense of touch.

Teacher questioningduring study session;rubric to evaluate artworks

4 b After studying symbolism and reviewing traditionalsymbols in art and animal symbols, students choosesymbols that represent them or the ideas they wish tocommunicate and create a work of art using thosesymbols in their art (e.g., school flag, class banner).

Rubric withpredetermined criteria

5 a,b Using artworks from various time periods and cultures,teams of students analyze and describe works that havecommon subject matter focusing on the impact thatmedia had in making the content look different. Directstudents to examine whether or not their responses tothe work are affected by the use of media.

Teacher observationand guided discussion

64

ab

Using reproductions of a broad range of works, havestudents choose a work and try to determine thepurpose for which the work was created (e.g., economic,social, psychological, political, religious). Students mayuse resource materials for research, then report theirjustifications for their conclusions orally or in writing,using correct art vocabulary.

Rating scaledelineating key itemsto be assessed

7 a Using works of art in a museum collection orreproductions of multicultural works, students classifythe works according to common subject matter, theme,or purpose.

Teacher observationand guidance

8 a, b Students examine works of arts from various cultures todetermine the impact of religion in specific contexts.How are religious traditions expressed differently acrosscultures? Students discuss findings,

Whole classdiscussion, teacherguidance in use ofcorrect art terminology


Middle School Visual Arts, Level II

Visual Arts 59

9 b Teams of students debate “What is a work of art?” usinga range of resources that might challenge somedefinitions (e.g., advertisements, authentic works of art,reproductions of artworks, clothing with art images), tothe question: “What is a work of art?”

Team debate, peerscoring using studentgenerated rating scale

10 b Using works that are realistic, abstract, andnonobjective, students write about or discuss theirpreferences giving sound reasons using correct artconcepts and vocabulary.

Teacher observationfor accuracy inapplication and use ofart terms

11 a Using visual arts concepts (e.g., balance, repetition,pattern, color) students identify ways that art andscience work hand-in-hand. Create a work of artsynthesizing principles of art and science.

Rubric generated byteacher and studentsworking collaboratively

12 a, b, c Students (or teams) to select a career for investigation,identify roles, work requirements, knowledge requiredfrom other subject areas, function, and purpose in theirwork. Students create a resource packet on the specificcareer including educational requirements, examples ofworks of art and design produced, etc. Use resourcepackets throughout the year as various artists andprocesses are studied.

Checklist of criteria forguiding research anddelineating quality


Visual Arts 60

VISUAL ARTSMIDDLE SCHOOL LEVEL III


The Middle Level III program of study delineates what all students should know and beable to do at the end of the third of four middle level programs of study. Through thestudy of visual arts, students respond to life experiences through images, structures,and tactile works of art and design. Students will continue to learn the language of thearts and how to interpret visual symbols. This program involves production, criticalanalysis, history and culture, aesthetics, and connections among the visual arts, othercontent areas, and everyday life. Middle Level III builds on the knowledge, concepts,and skills introduced in Middle Levels I and II. This program of study is to be used bythe Visual Arts Specialist and or the Classroom Teacher in developing visual artscurriculum for middle school level III students in the following:






Visual Arts 61

VISUAL ARTS MIDDLE SCHOOL LEVEL III

CONTENT STRANDS:



1. Use advanced techniques appropriate to the unique qualities of variousmedia to reach an original and artistic solution. (CP)

a. Demonstrate competence in fundamental skills related to specific media.b. Demonstrate safe and competent use of art materials and tools including

storage and clean up.c. Demonstrate originality in solving artistic problems.

2. Know how to use the elements of art and principles of design in a variety ofmedia, techniques, and processes to create original and expressive works ofart. (CP)

a. Articulate the expressive use of the elements and principles of art in their ownwork and the work of others.

b. Show increased proficient skill in using the elements of art in original andexpressive works of art.

c. Create works of art that reflect feelings, ideas, and personal experience in anexpressive way.

d. Understand and use symbols in their own work to convey specific ideas andthemes.

3. Increase knowledge of and ability to use various media, techniques andprocesses in creating different effect in works of art. (CP)

a. Create works of art using a variety of media resulting in various effects.b. Develop competency in specific techniques particular to one or two media.c. Contrast and compare the effect of a variety of techniques used in making their

own art and in the artwork of others.


Visual Arts 62

4. Develop perceptual skills and use correct visual arts vocabulary to makejudgments while studying works of art. (CA)

a. Analyze and interpret the use of visual elements to create meaning andcommunicate ideas in ones own work and the work of others.

b. Analyze and interpret the use of symbolism in their own work and the work ofothers.

5. Investigate different models of critical processes for use in the examination ofworks of art and design for reading, writing, and speaking. (CA)

a. Describe, analyze, interpret, and evaluate art works based on the visualelements and principles of art.

b. Understand the difference between “looking” at art and “studying” a work of art.c. Discuss and/or write a critical analysis of their own work and the work of famous

artists.d. Express individual conclusions and feelings about art verbally and through

writing.

6. Know that the roles, functions, and purposes of artists, works of art, andvisual arts careers are influenced by cultural, historical, and political issues.(HC)

a. Know careers in art that exist locally, regionally, and nationally.b. Compare and contrast well-known works of art based on the influence of

cultural, historical, and political issues.c. Understand how the functions and purposes of art reflect the issues and aspects

of cultures and times.

7. Identify universal themes, concepts, forms, and functions that recur in worksof art and design across cultures, times, and places. (HC)

a. Identify universal themes that transcend cultural, historical, and geographicboundaries.

b. Compare specific works of art or design exhibiting functions from other cultures,times, and places.

8. Understand that factors of culture, time, and place affect the characteristicsof works of art and design. (HC)

a. Know ways that art reflects our own culture.b. Identify and categorize at least four masterworks by culture.c. Understand the characteristics and context affecting a masterwork of art.


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9. Know that there are different concepts about what constitutes art. (A)

a. Investigate different opinions about what constitutes art.b. Realize that the issue of what art is may be based on current and past theories

about art.c. Compare and contrast opposing viewpoints about what makes art.

10. Know that multiple factors affect how people respect, value, and derivemeaning from art. (A)

a. Know that viewpoints on the value of art may be based on a theoretical stanceor individual understanding of the work.

b. Understand the role of compromise in-group decision making.c. Reflect on collaborative works of art based on students' viewpoints.

11. Know that the integration of visual arts concepts and skills with knowledge in other subject areas provides essential tools for everyday life. (C)

a. Demonstrate the use of mathematical concepts to create space and form inworks of art.

b. Relate visual arts concepts and skills to major literary or historical eventsillustrated in selected works of art.

c. Recognize the importance of planning a project involving the arts and a variety ofother disciplines.

12. Know that major concepts, technologies, media, and processes of the visualarts relate to those in other subject areas - within and outside the arts -throughout time. (C)

a. Express visual art concepts through other art forms (i.e., drama, music anddance).

b. Understand the evolution of technologies related to art (e.g., photography, paint,weaving, optics).


Middle School Visual Arts, Level III

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1 a, b All students create an original artwork based on thesame theme, using techniques and media increative and innovative ways. Works are displayedin a thematic exhibit.

Rating scale to determinehow well students usedmedia and techniques tocreatively solve theproblem

2 a Using the elements of line, shape, space, form andvalue, students draw the four basic shapes andtransform them into forms (cube, cone, cylinder,sphere). Students produce a composition using thebasic forms and design principles to express anidea. Students recreate these forms in a still life andother compositions. Students write an artist'sstatement to accompany each piece.

Rubric to assess visualand compositionalqualities and articulation ofartist's statement

2 d Students identify different kinds of symbols, (e.g.,mathematical symbols, scientific symbols, ones thatexpress concepts, identify specific groups, productsiconographic symbols, unusual alphabets).Students find examples of these kinds of symbols inworks of art from artists such as Klee, Magritte, (orsymbolic forms from other cultures, periods, orreligions). Students analyze how the artist has usedsymbols to convey an idea. Students suggestsymbols that might be appropriate for our own time,or their own interests. Students create aniconographic symbol that represents an idea or onethat has personal meaning and incorporate thatsymbol into the design of a separate work of art.

Teacher observation

3 a,b Students create a series of drawings exploring aparticular theme or symbol and reproduce it in threedimensions or create a 3-Dimensional (temporaryinstallation) work of art and decide how to reproduceit two dimensionally to give it permanence. Studentsdiscuss the differences between the twoapproaches and planning for each. What did theyhave to consider in the three dimensional materialthat they did not have to think about in the drawing?(weight, construction, depth, etc.) How did theyhave to adapt to compensate for the differencesbetween the two kinds of media? Would aphotograph of the installation qualify as a work ofart? Checklist to guide student work duringprocess.

Rubric based on identifiedcriteria

Checklist to guide studentwork during process



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3 c Students view works of art by artists who typicallywork in a variety of media (Pablo Picasso, HenryMoore, Andy Warhol, Jim Dine, Alexander Calder,Javacheff Christo, Andy Goldsworthy). Comparehow they have treated similar subjects in both twoand three dimensions.

Teacher observation andfacilitation

4 a Students select a work of art, then describe,analyze, and interpret that work in writing usingcorrect visual arts concepts and vocabulary.

Rubric to score shortessays

5 c After completing a work of art, students write acritique of the work describing meaning, artisticintent, problems in execution, and what they mightdo to make the work more effective.

Rating scale

6 a Students identify and interview local artists abouttheir careers and work, then create a directory oflocal artist resource people for use in studyingvarious art forms.

Rating scale based oncriteria set by the class

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ba

Students divide into groups. Each group selects anartwork, then collects information about thehistorical and cultural context of the artwork.Students create a collaborative work of artrepresentative of the aesthetic of the culture andexplain it to the class in a presentation about theculture and its art.

Checklist and Rating scalebased on predeterminedcriteria

7 a, b Students research some of the important themes inart (e.g., social commentary, portraiture, celebration,spirituality, etc.) Discuss how similar themes orsubjects are treated in their own lives or culture.Students isolate a particular area of interest andresearch what others have to say about a theme orsubject. Students respond to these ideas or themeswith their own experience or ideas.

Written report

8 b Students divide into teams. Using museumpostcards or other small reproductions, challengestudents classify works according to styles; Thefocus is changed by arranging works in a timeline,or by medium, or subject matter, etc. The team withthe most correct responses changes the focus andchallenges the next group. Students will add to thecollection from their resources at home.

Written identification testusing slides ortransparencies

910

a,ba

Students use familiar objects (bikes, shoes, cars,etc.) to discuss how people set value on thoseobjects,–as transportation, for design, for speed, forwhether they are designed for boys or girls.Students decide how they might value a piece of

Teacher observation



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artwork (cost, appropriateness, time it took to make,craftsmanship, beauty, meaning). After viewing agroup of artworks, students use a variety of criteriato select a piece that best exemplifies each criterion.Discuss why they have made their choices.Students then defend a perspective different fromtheir own. Begin a list of factors that determine howartwork can be valued.

11 a,b After exploring mathematical patterns such as drop,split drop, rotation, symmetry, students findexamples that are commonly used in everydaysurroundings. Study the works of Escher and createworks using tessellating patterns in a variety ofconfigurations.

Rubric based oncompositional criteria andmathematical principles

12 a After researching a particular artist, studentsdramatize the life and times of an artist using propsand costumes.

Rubric


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VISUAL ARTSMIDDLE SCHOOL LEVEL IV


The Middle Level IV program of study delineates what all students should know and beable to do at the end of the fourth of four middle level programs of study. Through thestudy of visual arts, students respond to life experiences through images, structures,and tactile works of art and design. Students will continue to learn the language of thearts and how to interpret visual symbols. This program involves production, criticalanalysis, history and culture, aesthetics, and connections among the visual arts, othercontent areas, and everyday life. Middle Level IV builds on the knowledge, concepts,and skills in Middle Level III. This program of study is to be used by the Visual ArtsSpecialist and or the Classroom Teacher in developing visual arts curriculum for middleschool level IV grade students in the following:






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VISUAL ARTSMIDDLE SCHOOL LEVEL IV

CONTENT STRANDS:



1. Use techniques appropriate to the unique qualities of various media to reachan original and artistic solution in creating works of art. (CP)

a. Exhibit competency in creating original works of art using a variety of two andthree-dimensional media.

b. Demonstrate ability to compare and contrast the effect of two and three-dimensional works in communicating ideas.

c. Demonstrate proficient use of art materials and tools including storage and cleanup.

2. Understand and apply with increasing skill elements of art and principles ofdesign to a variety of media, techniques, and processes to create original andexpressive works of art. (CP)

a. Create unified works of art through competent use of elements of art andprinciples of design to communicate intended meaning.

b. Know a variety of ways for creating the illusion of depth through spatialrelationships in expressive works of art.

3. Apply knowledge of how the use of various media, techniques, and processesresults in different effects in works of art. (CP)

a. Know how to select appropriate materials for creating works of art in both twoand three-dimensional media.

b. Demonstrate ability to use a variety of media techniques to create differenteffects in both two and three-dimensional works of art.

c. Demonstrate ability to select an effective medium to create a work of art thatcommunicates an intended meaning or function.


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4. Develop perceptual skills and use increased visual arts vocabulary to makejudgments while creating and studying works of art. (CA)

a. Know and use art vocabulary when talking about own artwork and the work ofothers.

b. Understand that appreciation results from thoughtful perception – seeing,responding to, studying, and judging works of art.

5. Understand, examine, and practice various critical processes in evaluatingworks of art and design. (CA)

a. Evaluate own work and work of famous artists based on the effective analysis ofform and content.

b. Understand how to critically analyze art from different cultures and time periods.c. Analyze works of art through writing and speaking.

6. Understand that roles, functions, and purposes of artists, works of art, andvisual arts careers vary across cultures, times, and places. (HC)

a. Understand that art reflects the experience of the viewer as well as the intentionof the artist.

b. Understand that different cultures bring different perspectives to the viewing andmaking of art.

c. Analyze different reasons for which art is made in various cultures, times, andplaces.

d. Demonstrate expanded concept of the role of art through the study of a widevariety of careers related to the visual arts.

7. Recognize subject matter, themes, and forms that recur in works of art anddesign across cultures, times, and places. (HC)

a. Determine the relationship between form and theme in works of art from one’sown culture and other cultures.

b. Compare recurring concepts and themes in art throughout cultures, times, andplaces.

8. Know that factors of culture, time, and place affect characteristics of works ofart and design. (HC)

a. Understand ways in which artists develop ideas.b. Interpret possible meaning in works of art by analyzing the effect of cultural,

geographic and historical perspectives that influence or give meaning to a workof art.


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9. Understand different concepts about what constitutes art. (A)

a. Understand that there are a variety of different ways in which art can beappreciated or valued.

b. Articulate a variety of reasons for the categorizing of specific objects as art.c. Realize that there are multiple purposes for creating works of art.d. Recognize a variety of rationales for the making of art.

10. Understand that personal experience affects how people respect, value, andderive meaning from art. (A) (CA)

a. Recognize that valid interpretations of a specific work of art can reflect morethan one point of view.

b. Recognize that viewers of art can interpret meaning in art based on their ownexperiences.

c. Recognize that the intent of the artist can be separate from the interpretation ofthe viewer.

11. Recognize how the meaningful integration of visual arts concepts and skillswith knowledge in other subject areas provides essential tools for everydaylife. (C)

a. Integrate terms, themes, and concepts of visual arts in other areas resulting inincreased understanding or new revelations.

b. Utilize a variety of disciplines to interpret a universal theme.

12. Understand ways that major concepts, technologies, media, and processes ofthe visual arts relate to arts and other disciplines. (C)

a. Recognize that technology involves innovation and is not specific to our owntime.

b. Identify a variety of different media and processes that have influenced thehistory of art.

c. Understand ways that major concepts of the visual arts relate to other subjectareas.


Middle School Visual Arts, Level IV

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1 b Students compare the idea of mother and child in a two-dimensional work and a three-dimensional work (e.g.,work of Mary Cassatt and Elizabeth Catlett).

Teacher Observation

2

2

a, b

b

Students brainstorm topics (e.g., communities of thefuture, an invented cityscape, hall of mirrors, self-portraitthrough objects). Students select a topic and using oneor two-point perspective create an illusion of theirchosen theme to include a variety of values (shading),textures, and line pattern.

Students cut out magazine photos showing dominanceof each element and each principle; combining pages tocreate a reference notebook.

Peer/Teacherevaluation

Teacher Rubric

3 b Students divide a paper into sections and experiment ineach section with creating different textures, values, andpattern with charcoal or ebony pencil. Use thesevalues, patterns, and textures in a composition.

Rubric/ Checklist

3 b, c Students select a word to interpret visually in a three-dimensional form. Use sketches to plan the work andcompare these to the final work.

Rubric

4 b Students divide into teams to critique artworkscollaboratively. Teams will submit a written descriptionincluding correct art terms and concepts. Students keepin mind when analyzing works of art, all opinions arevalid, and are able to provide logical explanations fortheir statements.

Rubric designed bystudents as a wholeclass

5 a Students will describe, analyze, interpret, and evaluatetheir own works as well as the works of others throughwritten and oral work, individually and collectively.

Rubric

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ab

Students will identify historical contexts for differentworks of art. Analyze them for meaning and compareand contrast style, media, conceptual orientation,aesthetic focus, and point of view. Students will write apostcard as if they were the artist and tell about thework, media used, and cultural or historical influences.

Teacher observationEvaluation of postcardusing rubric

7 b Students compare how different groups treat similarthemes. Compare how different symbols or styles mayillustrate the same theme or human condition. Discusshow their sense of style is similar or dissimilar.

Teacher questioningand observation



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9 a From a grouping of objects, (e.g., baskets, teacups, orquilts, etc.) students rank them in terms of a variety ofcriteria (e.g., the most expensive, well-crafted, mostattractive, the one they would like in their own home,took the most time to make, sentimental). Discuss thedifferent reasons that people might value things andhow they can change depending on context. Discusshow to establish different criteria for valuing art.

Checklist or ratingscale

9

10

b

c

Students debate what is art. Students bring in photos orother information about elephants or other animals thatmake art. After seeing the “art” discuss whether or notanimals can make art (express feeling, plan, what theydo, etc.). Discuss why people make art and discuss ifelephants or animals make “art” for any of the samereasons. Discuss the artists they have learned aboutand how elephants would compare. Students discusshow they would judge the quality of elephant art?Students discuss whether it has more to do with theirown preference or expertise?

Students write an artist's statement for their ownartwork. The artworks are then analyzed in a studentled critique for the differences between the interpretationof the viewer and the intent of the student artist.

Teacher observationwith guided questions

Teacher observation

11 a Students create a tableau of a famous painting. Discussthe characters and character development or what ishappening in the tableaux. Change the scene to onethat might have happened before or after the event inthe original work of art.

Student generatedscoring guide

11 a Students watch a dance and create a drawing tointerpret movement and the use of space in the dance.Students are encouraged to look at space as high andlow levels of body movement as well as depth.Students write an essay describing increasedunderstanding of dance resulting from integration ofvisual arts.

Written essay

12 a Students groups research the development of art mediaover time with a focus on the effects of increasedtechnology. Report findings using a research formdesigned to guide their investigations.

Rating scale based onessential componentsof the research form

12 c A copy of a famous painting is divided and cut into asmany pieces as there are students in the class. Numberthe sections and give each student one small section toreproduce in scale. Reassemble all the pieces to get a“recreated” color study of the original work. (math, scale)

Teacher/studentgenerated rubric



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scale).


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VISUAL ARTS


The visual arts competencies “establish proficient and advanced achievementstandards for Grades 9-12. The proficient level is intended for students who havecompleted courses of study involving relevant skills and knowledge” that are equivalentto one full year of study at the high school level. The advanced level is intended forstudents who have completed courses” equivalent to three to four years of study.“Students at the advanced level are expected to achieve the standards established forthe proficient as well as the advanced levels. Every student is expected to achieve theproficient level in at least one arts discipline by the time he or she graduates from highschool.

“In Grades 9-12, students extend their study of the visual arts. They continue touse a wide range of subject matter, symbols, meaningful images, and visualexpressions. They grow more sophisticated in their employment of the visual arts toreflect their feelings emotions and continue to expand their abilities to evaluate themerits of their efforts. These [competencies] provide a framework for that study in away that promotes the maturing students' thinking, working, communicating, reasoning,and investigating skills. They also provide for their growing familiarity with the ideas,concepts, issues, dilemmas, and knowledge important in the visual arts. As studentsgain this knowledge and these skills, they gain in their ability to apply knowledge andskills in the visual arts to their widening personal worlds.

“The visual arts range from the folk arts, drawing, and painting, to sculpture anddesign, from architecture to film and video -- and any of these can be used to helpstudents meet the educational goals embodied in these standards. For example,graphic design (or any other field within the visual arts) can be used as the basis forcreative activity, historical and cultural investigations, or analysis throughout thestandards. The visual arts involve varied tools, techniques, and processes, all of whichalso provide opportunities for working toward the standards. It is the responsibility ofpractitioners to choose from among the array of possibilities offered by the visual artsto accomplish specific educational objectives in specific circumstances.

“To meet the [competencies], students must learn vocabularies and conceptsassociated with various types of work in the visual arts. As they develop greater fluencyin communicating in visual, oral, and written form, they must exhibit greater artisticcompetence through all of these avenues.

“In Grades 9-12, students develop deeper and more profound works of visual artthat reflect the maturation of their creative and problem-solving skills. Studentsunderstand the multifaceted interplay of different media, styles, forms, techniques, andprocesses in the creation of their work.

“Students develop increasing abilities to pose insightful questions aboutcontexts, processes, and criteria for evaluation. They use these questions to examineworks in light of various analytical methods and to express sophisticated ideas aboutvisual relationships using precise terminology. They can evaluate artistic character and


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aesthetic qualities in works of art, nature, and human-made environments. They canreflect on the nature of human involvement in art as a viewer, creator, and participant.

Students understand the relationships among art forms and between their ownwork and that of others. They are able to relate understandings about the historical andcultural contexts of art to situations in contemporary life. They have a broad and in-depth understanding of the meaning and import of the visual world in which they live.”

Source: National Standards for Arts Education: What Every young American Should Knowand Be Able to Do in the Arts, 1994, p. 69.

The high school visual arts framework is divided into different programs of studythat can be used to develop curriculum for a variety of courses listed in ApprovedCourses for the Secondary Schools of Mississippi. In order to accommodate thevariety of scheduling formats throughout Mississippi schools, some arts courses areavailable for 1 or 1/2 credit. Courses that may be offered for 1/2 credit must cover all thecompetencies in the designated program of study. Those courses earning 1 credit willcover all the competencies, but in greater depth and breadth than the 1/2 credit courses.A listing of these courses and the corresponding program of study to be used indeveloping curriculum for those courses follows.

Visual Arts Course: Visual Arts Program of Study:

Visual Arts I (Proficient) High School Visual Arts Level IVisual Arts II (Proficient) High School Visual Arts Level IIVisual Arts III (Advanced) High School Visual Arts Level IIIVisual Arts IV (Advanced) High School Visual Arts Level IVVisual Arts Studio I (Proficient) High School Visual Arts Level IVisual Arts Studio II (Proficient) High School Visual Arts Level IIVisual Arts Studio III (Advanced) High School Visual Arts Level IIIVisual Arts Studio IV (Advanced) High School Visual Arts Level IVVisual Arts Individual Study (Advanced) High School Level III or IVCeramics I (Proficient) Ceramics ICeramics II (Proficient) Ceramics IIDrawing I (Proficient) Drawing IDrawing II (Proficient) Drawing IIPainting I (Proficient) Painting IPainting II (Proficient) Painting IIPhotography (Proficient) Photography

Advanced Placement Art History Advanced Placement CurriculumAdvanced Placement Studio Art - Advanced Placement Curriculum Drawing PortfolioAdvanced Placement Studio Art – Advanced Placement Curriculum 2-D Design PortfolioAdvanced Placement Studio Art - Advanced Placement Curriculum 3-D Design Portfolio


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Course Descriptions:

VISUAL ARTS I (1/2 or 1 credit)Based on High School Visual Arts Level I program of study.

This course involves a broad range of media, techniques, and processes. Students willcontinue to develop prior knowledge and skills in the creation and study of works of artand design, building on concepts and skills acquired in the elementary and middle levelcourses. Work will encompass both two and three-dimensional art forms.

VISUAL ARTS II (1/2 or 1 credit)Based on High School Visual Arts Level II program of study.

This course continues the development of knowledge and skills as well as the creationand study of works of art and design. Building on concepts and skills acquired in theprerequisite course—Visual Arts I, students continue to increase their knowledge ofproduction, critical analysis, history and culture, aesthetics, and connections among thevisual arts, other content areas, and everyday life. Prerequisite requirement may bewaived upon teacher recommendation based on a review of a body of workdemonstrating accomplishment of Visual Arts I competencies. Work will encompassboth two-dimensional and three-dimensional media, techniques, and processes.

VISUAL ARTS III (1/2 or 1 credit)Based on High School Visual Arts Level III program of study.

This course focuses on the creation and study of more advanced works of art andbeginning of the development of a body of work for inclusion in a portfolio. Building onconcepts and skills acquired in prerequisite courses—Visual Arts I, and II, or VisualArts I and Drawing—students will work at a more advanced level applying theirknowledge of production, critical analysis, history and culture, aesthetics, andconnections among the visual arts, other content areas, and everyday life. Prerequisiterequirement may be waived upon teacher recommendation based on a review of abody or work demonstrating accomplishment of Visual Arts I and II competencies.Work will encompass both two and three dimensional media, techniques, andprocesses.

VISUAL ARTS IV (1/2 or 1 credit)Based on High School Visual Arts Level III program of study.

This course focuses on the creation of a portfolio for use in the pursuit of highereducation or career opportunities. Building on concepts and skills acquired inprerequisite courses—Visual Arts I, II, and III, or Visual Arts I, Drawing and Painting—students will work at a sophisticated level applying their knowledge of production,critical analysis, history and culture, aesthetics, and connections among the visual arts,other content areas, and everyday life. Prerequisite requirement may be waived uponteacher recommendation based on a review of a body of work demonstratingaccomplishment of Visual Arts I, II, and II competencies. Work will encompass two andthree-dimensional media, techniques, and processes.


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VISUAL ARTS STUDIO I (1/2 or 1 credit)Based on High School Visual Arts Level I program of study. This course

accommodates districts that want to offer specialized instruction in the visual arts (e.g.,in a particular medium, style, or period). Visual Arts Studio I must be based on thecompetencies delineated in the High School Visual Arts Level I program of study.Districts may tailor those competencies to meet the specific focus of the course theyare designing, but all competencies must be addressed. A sample of strategiesshowing adaptation of the program of study to the studio application is presented afterthe High School Visual Arts Level I program of study.

VISUAL ARTS STUDIO II (1/2 or 1 credit)Based on High School Visual Arts Level II program of study. This course

accommodates districts that want to offer specialized instruction in the visual arts (e.g.,in a particular medium, style, or period). Visual Arts Studio Level II must be based onthe competencies delineated in the High School Visual Arts Level II framework.Districts may tailor those competencies to meet the specific focus of the course theyare designing, but all competencies must be addressed. A sample of strategiesshowing adaptation of the program of study to the studio application is presented afterthe High School Visual Arts Level II program of study.

VISUAL ARTS STUDIO III (1/2 or 1 credit)Based on High School Visual Arts Level III program of study.

This course accommodates districts that want to offer specialized instruction in thevisual arts (e.g., in a particular medium, style, or period). Visual Arts Studio Level IIImust be based on the competencies delineated in the High School Visual Arts Level IIIframework. Districts may tailor those competencies to meet the specific focus of thecourse they are designing, but all competencies must be addressed. A sample ofstrategies showing adaptation of the program of study to the studio application ispresented after the High School Visual Arts Level III program of study.

VISUAL ARTS STUDIO IV (1/2 or 1 credit)Based on High School Visual Arts Level IV program of study.This course

accommodates districts that want to offer specialized instruction in the visual arts (e.g.,in a particular medium, style, or period). Visual Arts Studio Level IV must be based onthe competencies delineated in the High School Visual Arts Level IV framework.Districts may tailor those competencies to meet the specific focus of the course theyare designing, but all competencies must be addressed. A sample of strategiesshowing adaptation of the program of study to the studio application is presented afterthe High School Visual Arts Level IV program of study.


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VISUAL ARTS INDIVIDUAL STUDY (1/2 to 1 credit per year)Based on High School Visual Arts Level III or High School Visual Arts Level IVprogram of study.

This course accommodates districts that want to offer specialized in-depth instruction inthe visual arts to meet the individual needs of advanced students in their third or fourthyear of visual art study. These students may have already completed prerequisitecourses—Visual Arts I, II, III, and IV or Visual Arts I, Drawing and Painting. In addition,they may have completed study in Ceramics and Photography. Admission to VisualArts Individual Study will be based on teacher approval after review of a portfolio ofwork and successfully meeting any other criteria required at the district level.Curriculum for Visual Arts Individual Study must be based on the competencies in theHigh School Visual Arts Level III or IV program of study, depending on the level of thestudent’s accomplishment. Although students will work independently while beingmentored by the teacher; the student will attend a regularly scheduled visual arts class.Working at a sophisticated level, students will apply their knowledge of production,critical analysis, history and culture, aesthetics, and connections among the visual arts,other content areas, and everyday life. Districts may tailor those competencies to meetthe specific focus of the course they are designing, but all competencies must beaddressed. A student may enroll in this course more than one time for a total of up to 2credits. A sample of strategies showing adaptation of the High School Visual ArtsLevel IV program of study to the Individual Study course is presented after the HighSchool Visual Arts Level IV program of study.

CERAMICS I (1/2 credit)Based on Ceramics I program of study.

This course focuses on knowledge and skills in three- dimensional design with clayand/or other plastic media. Work will be limited primarily to three dimensional media,techniques, and processes.

CERAMICS II (1/2 credit)Based on Ceramics II program of study.

This course builds on introductory level concepts and skills acquired in the prerequisitecourse, Ceramics I. Work will be limited primarily to three dimensional media,techniques, and processes.

DRAWING I (1/2 credit)Based on Drawing I program of study.

This course involves a broad range of drawing media, techniques, and processes. Inthis course, students will continue to develop prior knowledge and skills in the creationand study of works of art and design, building on concepts and skills acquired in theprerequisite course Visual Arts Level I. Work will encompass two-dimensional artforms rendered in wet and dry drawing media with an emphasis on working in blackand white and an introduction to color techniques.


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DRAWING II (1/2 credit)Based on Drawing II program of study.

This course involves a broad range of drawing media, techniques, and processes.Students will continue to develop prior knowledge and skills in the creation and study ofworks of art and design, building on concepts and skills acquired in the prerequisitecourses, Visual Arts Level I and Drawing I. Work will encompass two-dimensional artforms rendered and wet and dry drawing media with an emphasis on working in colorwith a continuation of skill development in black and white processes.

PAINTING I (1/2 credit)Based on Painting I program of study.

This course focuses on creation and study of painting and continues the developmentof a body of work for inclusion in a portfolio. It involves a broad range of painting media,techniques, and processes. Building on concepts and skills acquired in prerequisitecourses—Visual Arts I, and II, or Visual Arts I and Drawing—students will work at amore advanced level applying their knowledge of production, critical analysis, historyand culture, aesthetics, and connections among the visual arts, other content areas,and everyday life. Prerequisite requirement may be waived upon teacherrecommendation based on a review of a body or work demonstrating accomplishmentof Visual Arts I and II competencies.

PAINTING II (1/2 credit)Based on Painting II program of study.

This course focuses on advanced creation and study of painting and continues thedevelopment of a body of work for inclusion in a portfolio. It involves a broad range ofpainting media, techniques, and processes. Building on concepts and skills acquired inprerequisite courses—Visual Arts II, and III, or Painting I and Drawing I — students willwork at a more advanced level applying their knowledge of production, critical analysis,history and culture, aesthetics, and connections among the visual arts, other contentareas, and everyday life. Prerequisite requirement may be waived upon teacherrecommendation based on a review of a body or work demonstrating accomplishmentof Visual Arts I and II competencies.

PHOTOGRAPHY (1/2 credit)Based on Photography program of study.

This course focuses on developing in-depth knowledge and skills in two-dimensionaldesign with photographic media. Building on introductory level concepts and skillsacquired in middle level visual arts courses, students continue to increase theirknowledge of design as applied to photographic works, critical analysis, history andculture, aesthetics, and connections among the photographic arts, other content areas,and everyday life. Work will be limited primarily to black and white media, techniques,and processes.


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ADVANCED PLACEMENT ART HISTORY (1 credit)ADVANCED PLACEMENT STUDIO ART – DRAWING PORTFOLIO (1 credit)ADVANCED PLACEMENT STUDIO ART 2-D DESIGN PORTFOLIO (1 credit)ADVANCED PLACEMENT STUDIO ART 3-D DESIGN PORTFOLIO (1 credit)

The Advanced Placement course curriculum is administered by the AP Central CollegeBoard and developed by a committee of college faculty and AP teachers to cover thein-depth, “information, skills, and assignments found in the corresponding collegecourse.” http://apcentral.collegeboard.com. See the web site for detailed information.


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VISUAL ARTSHIGH SCHOOL LEVEL I

(Proficient)


This is an introductory program of study at the high school level that involves abroad range of media, techniques, and processes. In this course, students will continueto develop prior knowledge and skills in the creation and study of works of art anddesign. Building on concepts and skills acquired in the elementary and middle levelcourses, students will increase their knowledge of production, critical analysis, historyand culture, aesthetics, and connections among the visual arts, other content areas,and everyday life. Work will encompass both two and three-dimensional art forms.This program of study is to be used in designing curriculum for the following courses:

Visual Arts IVisual Arts Studio I





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VISUAL ARTSHIGH SCHOOL LEVEL I

(Proficient)

CONTENT STRANDS:



1. Apply proficient skills and craftsmanship in selecting and using variousmedia, techniques, and processes to create original expressive works of art.(CP, CA)

a. Create works of art that communicate original ideas using a variety of media,techniques and processes.

b. Know how the selection of media, technique, or process communicates theoverall idea in original works and works of others.

c. Understand that there are various ways to organize, compose, or design worksof art.

d. Practice safety and conservation in the use of tools, materials, and equipment inthe creation of works of art.

e. Integrate the use of new technology into individual works of art and design.

2. Understand how to select and use the elements of art and principles ofdesign applied through various media, techniques, and processes related tothe communication of meaning. (CP, A)

a. Integrate visual, spatial, and temporal concepts with subjects, themes, symbolsand ideas to improve communication of intended meaning.

b. Use new technology of art and design and understand how it affectscommunication of meaning in works of art.

c. Use appropriate visual art vocabulary related to technique and media as worksof art are created.

d. Utilize the elements of art and principles of design to create works of art thatcommunicate ideas.


Visual Arts 82

3. Understand how media, techniques, and processes create effects that evokea range of responses. (CP, CA)

a. Understand that visual effects produced through media, techniques andprocesses evoke a range of responses (e.g., dread, hope, despair, joy,pleasure, pain).

b. Understand that effects resulting from the use of media, techniques, andprocesses are factors that affect visual perception.

c. Recognize that the choice of media, techniques, and processes results from theartist's thinking about how best to achieve specific effects.

4. Utilize perceptual skills and apply visual arts vocabulary to make informedjudgments while creating and studying works of art. (CA, CP)

a. Effectively use visual arts vocabulary when critiquing their own works or those ofothers through the processes of speaking or writing.

b. Use appropriate visual art vocabulary related to technique and media as worksof art are created.

c. Utilize the visual and organizational components of art and design while creatingworks of art.

5. Understand that a wide range of critical analysis theories exist and providevalid methods for studying the characteristics of works of art and design.(CA)

a. Examine their own work and that of others to determine the intentions of theartist.

b. Recognize different aesthetic theories while examining works of art.c. Identify different ways the visual arts provide unique modes for expressing

ideas, actions, and emotions.

6. Know that context is a factor in determining the roles, functions, andpurposes of artists, works of art, and visual arts careers differently accordingto culture, time, and place. (HC)

a. Examine ways that culture is reflected in the roles and function of a work of art,and how these roles and function might be lost if the context were different.

b. Understand how technology combined with the context of the artist, the contextin which a work is created, the context of the viewer, and the context in whichthe work is viewed can impact the interpretation of the work.


Visual Arts 83

7. Know universal themes, concepts, forms, and functions that recur works ofart and design across cultures, times, and places. (HC)

a. Discuss possible meanings of works of art by examining how specific works arecreated and how they relate to historical and cultural contexts.

b. Identify different ways artists have conveyed common themes or issues acrosshistorical periods.

c. Discuss how universal themes differ in works of art, and describe how thesedifferences relate to history and culture.

d. Investigate the functions of visual arts in society and ways the visual arts impactsociety.

e. Determine the origin of possible subjects, themes, symbols, problems, or ideasfor use in creating works of art for an intended purpose.

8. Analyze how factors of time and the visual arts influence each other. (A)

a. Relate how factors of time and the visual arts influence each other.b. Describe the function and explore meaning of specific works of art within various

time periods.c. Examine characteristics and purposes of works of art from a variety of time

periods.

9. Know different theories of aesthetics. (A)

a. Examine broad aesthetic questions such as, “What is art?”b. Describe different aesthetic perspectives including intention of artists, context,

views, and experience.

10. Analyze how contextual factors affect the way people respect, value, andderive meaning from art. (A)

a. Determine how various individual responses to the characteristics of a work ofart can serve as a means for interpreting that work.

b. Analyze how the meaning of a specific work might change if it were transportedto another time frame and using different technologies.

11. Integrate visual arts concepts and skills with knowledge in other subjectareas to provide meaningful tools for everyday life. (C)

a. Recognize and understand how and why the arts enhance the quality of life incommunities throughout the world.

b. Recognize how the study of the arts impacts career choices.


Visual Arts 84

12. Understand how common concepts, technologies, media, and processes ofthe visual arts relate to those in other subject areas within and outside thearts. (C)

a. Compare the characteristics of the visual arts careers across history, time, andculture.

b. Understand the importance of technologies, media, and processes of the visualarts with those of other subject areas in pursuing arts related careers.

c. Compare the characteristics of the visual arts to the themes in the humanities,sciences, or other curricular areas as they apply to career choices.


High School Visual Arts I

Visual Arts 85


1 a,b Students study the work of a 20th Century Americanartist and create works in the same style and technique.

Critique sheet withquestions referring tomedia, process, andtechnique

3 d Students choose a social issue and create a work of artthat expresses the ideas and feelings of the artist.

Critique based onchoices made by theartist (media,technique, process) toevoke a particularresponse

2 d Students compare the sculpture of Donatello andMichelangelo (the Davids) and their work to that ofmodern sculptors, such as Duane Hanson.

Written report or oralpresentation

4 a,b Students study the works of several muralists anddiscuss medium, subject matter, symbolism, and style.Create a study for a mural in your town that incorporatesthe same thought processes.

Written report onselected muralscompared to their ownwork

5 b, c Students choose two artists from the same or differenttime periods and create a dialog between the two inwhich they discuss their own work.

Written report usingappropriate visual artsvocabulary

6 b Students study the works and artifacts of anotherculture, such as the Native American culture. Discussthe transformation from original intent (utilitarian,religious, etc.) to current status as museum objects.

Class discussion withteacher-guidedquestions

7 b, c Students study works from various cultures, times, andplaces, such as Ancient Egypt, the Middle Ages, theRenaissance, and modern times, in terms of religiousthemes and issues. Discuss the context in which theseworks were created and how society viewed themduring their time.


8

8

b

a,b

Students examine a work created in response to asocial or historical event, such as Picasso’s Guernica,and discuss how and why it was created.

Students examine the emergence of various artists(dance, drama, music, visual art) during a particularperiod or event, such as the Harlem Renaissance, anddetermine the impact they had on American culture.

Class discussion orwritten report onfindings

Class discussion withteacher guidedquestions

9 b Students write a personal reflection on how pastexperiences influence current tastes in art.

Written report basedon stated criteria


High School Visual Arts I

Visual Arts 86

10 a,b Students study the use of symbolism in early religiousart. Compare it to contemporary visual iconography interms of intent, significance, response, etc.


11 b Students make a list of careers that are art related,choosing three of interest and researching them (courseof study, salary, availability, etc.) Report findings to theclass.

Written or oral report toclass

12 a Students compare and contrast printing (graphics andtext) among cultures and times, determining significantdifferences and similarities.

Spreadsheetdelineatingcharacteristics


Visual Arts 87

High School Visual Arts Studio I

Strategies are to be developed from the High School Visual Arts Level I program ofstudy. The focus of the studio will determine the type of strategies used.The following strategies are examples of what might be used in a Visual Arts Studio Icourse focusing on Textile Design:


1 a Students create original works of art using the variousmedia, techniques, and processes of textile design(weaving, fabric printing, paper making, quilting, etc.)

Rubric based onassigned criteria

7 b Students analyze traditional patterns that arecharacteristic of textiles from a range of cultures, timeperiods, and geographic locations. Create a work usinga pattern that would represent symbols or images of the21st Century.

Rating scale generatedby students andteacher jointly

8 b Students conduct a critique of a range of textile piecesrepresentative of different historical and culturalcontexts. Discuss the works in relation to how thefunction or purpose is directly related to the history orculture.

Teacher observationwith probing questions


Visual Arts 88

VISUAL ARTSHIGH SCHOOL LEVEL II

(Proficient)


This program of study continues the development of knowledge and skills aswell as the creation and study of works of art and design. Building on concepts andskills acquired in the prerequisite course—Visual Arts I, students continue to increasetheir knowledge of production, critical analysis, history and culture, aesthetics, andconnections among the visual arts, other content areas, and everyday life. Prerequisiterequirement may be waived upon teacher recommendation based on a review of abody of work demonstrating accomplishment of Visual Arts I competencies. Work willencompass both two-dimensional and three-dimensional media, techniques, andprocesses. This program of study is to be used in designing curriculum for high schoolstudents in the following courses:

Visual Arts IIVisual Arts Studio II





Visual Arts 89

VISUAL ARTSHIGH SCHOOL LEVEL Il

(Proficient)

CONTENT STRANDS:



1. Demonstrate competency in selecting and using various media, techniques,and processes to create and study expressive qualities in works of art. (CP,CA)

a. Compare and contrast various media, techniques and processes to developcompetent skills, confidence, and sensitivity while creating works of art.

b. Demonstrate the ability to select appropriate media, technique, or process tocommunicate the overall idea through the creation and study of works of art.

c. Practice safety and conservation in the use of tools, materials, and equipment inthe creation of works of art.

d. Identify and define new technology in art and design as it is used incontemporary society and in own works of art.

2. Know how to use elements of art and principles of design applied throughvarious media techniques and processes to communicate meaning. (CP, A)

a. Analyze visual, spatial, and temporal concepts while integrating subject, themes,symbols, and ideas to improve communication of intended meaning in ownworks.

b. Identify and define new technology in art and design as it is used tocommunicate meaning.

c. Employ appropriate techniques and media as works of art are created andstudied.

d. Create complex works of art that utilize the elements of art and principles ofdesign to communicate ideas.


Visual Arts 90

3. Select and use various media, techniques, and processes to create works ofart that evoke a range of responses. (CP)

a. Understand that artists use media, techniques, and processes to produce a widerange of effects which affect viewers differently.

b. Recognize how artists select specific media, techniques, and processes toachieve intended effects.

c. Demonstrate an understanding of how artists use unique modes for expressingideas, actions, and emotions to solve specific art problems.

4. Utilize perceptual skills and apply expanded visual arts vocabulary to makeinformed judgments while creating and studying works of art. (CA, CP)

a. Effectively use expanded visual arts vocabulary through speaking, writing, orreading when critiquing their own works and works of others.

b. Use appropriate visual arts vocabulary related to new techniques and media asworks of art are created.

c. Demonstrate knowledge of the visual and organizational components of art anddesign while creating works of art.

5. Explore and evaluate theories of critical analysis for studying thecharacteristics of works of art and design through reading, writing, andspeaking. (CA)

a. Employ various theories of critical analysis to understand and analyze works ofart.

b. Analyze, using theories of critical analysis, different ways the visual arts provideunique modes for expressing ideas, actions, and emotions.

6. Understand the complex functions of artists in society and the impact of thevisual arts (e.g., social, political, economic, religious, individual.) (HC)

a. Differentiate between meanings in works of art by examining how specific worksare created and how they relate to historical and cultural context.

b. Compare and contrast the characteristics of works of art in context to the culturein which it was created and how meaning might be lost if context was changed.

c. Examine how the context of the artist, time in which work is created, the viewer,and the place and time in which it is viewed can impact the function of art.


Visual Arts 91

7. Understand how subject matter, symbols, themes, and purposes relate tomeaning in works of art and design across cultures, times, and places. (HC)

a. Employ various interpretations to understand and analyze works of art.b. Analyze different ways artists have conveyed common themes or issues across

historical periods.c. Compare how artworks differ visually, functionally, and by process, and describe

how these differences relate to history and culture.d. Compare and contrast the functions of art in society and the ways the visual arts

impact society.

8. Explain how geographic factors impact the media and the visual arts. (HC)

a. Analyze how factors of place affect the visual arts.b. Recognize a variety of historical and cultural contexts in terms of function,

purpose, and selection of media in works of art.c. Compare and contrast how geographic factors impacted the characteristics and

purposes of similar works of art.

9. Understand different theories of aesthetics. (A)

a. Recognize that there are multiple answers to broad aesthetic questions such as,“What is art?”

b. Explore different theories of aesthetics.

10. Begin to recognize contextual factors that influence how an individualrespects and values art. (A)

a. Investigate how specific images originated in works of art created for anintended purpose.

b. Analyze how various individual responses to the characteristics of a work of artcan serve as a means for interpreting that work.

11. Recognize how life decisions, such as career choices, can be influenced by ameaningful integration of visual arts concepts and skills with knowledge inother subject areas. (C)

a. Research the roles of contemporary artists in their own community and insociety.

b. Analyze career options in the visual arts.c. Recognize how the study of other subject areas impact career choices in the

arts.


Visual Arts 92

12. Distinguish how common concepts, technologies, media, and processes ofthe visual arts relate to those in other subject areas (C, CP)

a. Compare and contrast the creative process among the arts and within othercontent areas.

b. Compare the similarities and differences in the use of technologies, media, andprocesses of the visual arts with those of other arts disciplines.

c. Utilize the characteristics of the visual arts to enhance the study of themes in thehumanities, sciences and other subject areas.


High School Visual Arts II

Visual Arts 93


1 a Students choose a theme from a work of literature andconstruct a collage using natural and/or recycledmaterials.

Class critique usingguided questionsbased on objectives

2 a Students compare and contrast art media used inancient Egypt to communicate ideas with those usedtoday.

Spreadsheet

3 a Students study the work of William Hogarth andcompare it to political cartoons of today then create asatirical work of art based on a contemporary political orsocial situation.

Class critique withteacher guidedquestions

4 c Students choose three elements and two principles ofdesign and create a work of art that utilizes your choices

Class critique in whichclass identifies whichelements andprinciples are used

5 b Students choose one of several presented philosophiesof art (imitationalism, expressionism, formalism,instrumentalism) then create a work of art that meets thecriteria emphasized in that philosophy.

Rubric based onphilosophies of art andstated objectives

6 c Students identify at least two influences on NorthAmerican art from the following cultures: NativeAmerican, Asian, African, European, Hispanic. Chooseone and write a report.

Written report basedon stated criteria

7 d Students examine aborigine “Dreamtime” paintings, thefunction they serve in that culture, and the impact theyhave on society.

Written or oral reportbased on statedobjectives

8 a Students select three works of art from different culturalregions. Then describe the main differences in design,subject, materials, and provide reasons for thosedifferences.


9 b Students research different theories of aesthetics andapply them to a work of art.


10 b Students select a work of art they find appealing andreflect on the areas of subject matter as well as sensory,technical, formal, and expressive qualities.


11 a Students study the life and work of a Mississippi artistand the resulting impact he/she had on his/hercommunity.

Written or oral reportbased on objectives


High School Visual Arts II

Visual Arts 94

12 b Students compare the use of computer technology inthe visual arts and in other arts disciplines.



Visual Arts 95

High School Visual Arts Studio II

Strategies are to be developed from the High School Visual Arts Level II program ofstudy. The focus of the studio will determine the type of strategies used.The following strategies are examples of what might be used in a Visual Arts Studio IIcourse focusing on Printmaking:


1 a Students compare and contrast the various media,techniques, and processes of printmaking (silkscreen,block printing, intaglio, lithography, etc.). Studentsdesign a comparison chart for use in understanding thevarious printmaking processes and identify worksaccording to each category.

Checklist

2 d Students create original works of art using the variousmedia, techniques, and processes of printmaking(silkscreen, block printing, intaglio, lithography, etc.).Student is to pay particular attention to the visual andorganizational components of design as they work.

Rubric

7 c Following a teacher conducted a critique of a range ofprints representative of different historical and culturalcontexts. Students discuss the works in relation to howthe technique, style or images are directly related to thehistory or culture.

Teacher observationwith probing questions


Visual Arts 96

VISUAL ARTSHIGH SCHOOL LEVEL III

(Advanced)


This program of study focuses on the creation and study of more advancedworks of art and beginning of the development of a body of work for inclusion in aportfolio. Building on concepts and skills acquired in prerequisite courses—Visual ArtsI, and II, or Visual Arts I and Drawing—students will work at a more advanced levelapplying their knowledge of production, critical analysis, history and culture, aesthetics,and connections among the visual arts, other content areas, and everyday life.Prerequisite requirement may be waived upon teacher recommendation based on areview of a body or work demonstrating accomplishment of Visual Arts I and IIcompetencies. Work will encompass both two and three dimensional media,techniques, and processes. This program of study is to be used in developingcurriculum for high school students in the following courses:

Visual Arts IIIVisual Arts Studio III

Content strands include Creating/Performing, Critical Analysis, History/Culture,Aesthetics, and Connections. The competencies may relate to one or more of thecontent strands and may be combined and taught with other competencies throughoutthe school year. Competencies are not listed in order of importance and may be taughtin any order that is determined suitable by the school or district. Competencies providea general guideline of ongoing instruction, not isolated units, activities, or skills.




Visual Arts 97

VISUAL ARTSHIGH SCHOOL LEVEL III

(Advanced)

CONTENT STRANDS:



1. Demonstrate originality, superior skills, and craftsmanship in selecting andusing various media, techniques, and processes to create and evaluateexpressive works of art. (CP, CA)

a. Select and utilize various media, techniques, and processes to developadvanced skills, confidence, and sensitivity in creating works of art thatcommunicate ideas.

b. Comply with appropriate rules and regulations related to work habits, health, andsafety while creating works of art.

c. Refine and assess the use of media, techniques, and processes to createvarious art forms.

d. Utilize new technology in art and design while creating and studying own worksand works of others.

e. Know various methods of presenting works for public presentation and portfoliodevelopment.

2. Effectively use elements and principles of design and various media,techniques, and processes to communicate intended meaning. (CP, A)

a. Integrate visual, spatial and temporal concepts with subjects, themes, symbols,and ideas to improve communication of intended meaning in works of art.

b. Select appropriate technology to use in the creation of works of commercial artand fine art.

c. Employ appropriate visual arts vocabulary related to technique and media in thestudy and creation of works of art.

d. Solve challenging visual arts problems independently using selected media,techniques, and processes to communicate meaning.


Visual Arts 98

3. Effectively use various media, techniques, and processes to create works ofart that evoke a range of responses. (CP)

a. Understand how artists manipulate media, techniques, and processes to convertmental solutions to problems into visual effects that evoke different responses.

b. Understand that media, techniques, and processes have certain capabilities andlimitations for use in evoking responses.

c. Know how effects resulting from different media, techniques, and processescreate a variety of moods impressions, and artistic styles.

d. Analyze different ways the visual arts provide unique modes for expressingideas, actions, and emotions.

4. Utilize perceptual skills and fully expanded visual arts vocabulary to makeinform judgments while creating and studying complex works of art. (CA, CP)

a. Synthesize and select appropriate visual arts vocabulary through the criticalprocess.

b. Apply the visual and organizational components of art and design effectively increating works of art.

c. Understand that appreciating works of art involves using the eyes and mind,time, and viewer involvement.

5. Analyze the use of appropriate models of criticism for use when reading,writing, and speaking about works of art and design from different cultures,times, and places. (CA)

a. Know various theories of art criticism.b. Employ art criticism theories in analyzing their own works of art and works of

others.c. Use vocabulary of art criticism through reading, writing, and speaking while

studying works of art.

6. Analyze the impact of artists and the visual arts on society. (HC)

a. Research how the functions and impact of art changes as society changes.b. Assess the impact of visual arts on modern society.c. Understand that contemporary art is influenced by technological and artistic

developments in previous cultures and times.


Visual Arts 99

7. Analyze the connections among subject matter, symbols, themes, andpurposes in works of art and design across cultures, times, and places. (HC)

a. Compare and contrast different ways artists have conveyed common themesacross historical periods.

b. Identify common themes which cross cultures, times, and places.c. Understand that works of art provide evidence about human experience in

specific cultures, times, and places.

8. Understand the roles of critics, historians, aestheticians, teachers, and artistsacross cultures, times, and places. (HC)

a. Research the role of the critic, historian, aesthetician, teacher, or artists fromdifferent cultures, times, and places.

b. Compare and contrast a variety of historical and cultural contexts in terms offunctions and purposes in works of art.

9. Apply knowledge of aesthetics to develop personal aesthetic philosophies.(A)

a. Utilize different theories of aesthetics while discussing broad aesthetic questionssuch as, “What is art?”

b. Apply knowledge of aesthetics to develop a personal aesthetic philosophy.c. Understand the difference between aesthetic experience with a work of art and

responding aesthetically to non-art phenomena (e.g., watching a sunset,smelling a rose).

10. Understand that contextual factors influence how communities respect,value, and derive meaning from art. (A)

a. Identify the perceived purpose of works of art through the specific images withinthe works.

b. Utilize individual responses to the characteristics of works of art in interpretingand discussion of works.

11. Utilize the meaningful integration of visual arts concepts and skills withknowledge in other subject areas to explore options for career and lifechoices. (C)

a. Explore the role of the contemporary artist and the impact their work might haveon the community and society.

b. Research career options in the visual arts as a possible life choice.c. Synthesize knowledge of the visual arts and other subject areas to determine

possible career choices.


Visual Arts 100

12. Incorporate common concepts, technologies, media, and processes of thevisual arts and relate those to other subject areas to convey meaning in workof art. (C, CP)

a. Utilize the creative process of the arts and other content areas as they relate toeach other.

b. Utilize technology, media, and processes of the visual arts with those of otherarts disciplines.

c. Effectively utilize cooperative skills while creating works of art.


High School Visual Arts III

Visual Arts 101


1 d Students will create an original 2-D work of art, thenrecreate it in a graphics program on a computer.

Student assessment thatexplains the similarity anddifferences two processesused.

2 a Students maintain a journal or make daily entries ina sketchbook related to a work in progress,reflecting on their work from beginning ideas tocompletion.

Teacher/student designedrubric to assess work.

3 b After studying a range of works of art that clearlycommunicate the artist's intentions, students createa series of works to illustrate their own intentions,focusing on clearly communicating meaning throughmedia, techniques, and processes.

Rubric

4 a Students critique works of art using correct visualarts terminology and concepts; critiques can bedone individually, in small groups, or in a largegroup setting. Student knowledge can bedemonstrated orally or in writing.

Rating scale

Teacher observation andguidance

5 b Students analyze authentic works of art (orreproductions) using different perspectives (e.g.,formalist, postmodern, western, non-western).Compare the differences in viewpoints.

Teacher observation andguiding questions

6 a Students examine the works of various artists inrelation to the impact of geography on their work(e.g., media, subject matter, style). After studying arange of works, students write individual shortessays about works that they have not yetapproached in this manner.

Rubric based on criteriafor written analyses

7 a Students identify universal themes that occurthroughout time. In teams, students find images onthe internet illustrating the selected theme. Comparethe various images in relation to treatment of thetheme and complete a comparison chart forreporting to the class as a whole.

Rubric

8 b Students select a functional object to researchacross several time periods. Examine ways that theobject may have changed in relation to time, place,and culture. Consider whether or not the object isconsidered “art” in all contexts. Is the object alwaysfunctional? Create a work based on the objectaltering its function and purpose.

Rubric with criteria toassess research andqualities of the art work


High School Visual Arts III

Visual Arts 102

9 a After studying various theories of aesthetics,students bring in examples of “art” and “artifact.”Working in groups, each team classifies each objectto determine agreement among groups. Debatepoints of view.

Teacher observation andfacilitation

10 b Display a wide range of artworks (e.g., authenticworks, reproductions, calendars, clothing with artimages). Students individually write short essaysanswering: What is a work of art? What is mostvaluable? Does reproduction of the work affect itsvalue?

Teacher/studentgenerated rubric

11 a After a study of a broad range of visual arts relatedcareers, students investigate, in pairs, artists whowork in their communities. Interview the artistsrelated to their impact or contributions to the localcommunity.

Rating scale generated bystudents with teacherguidance

12 a, b Students create a multimedia presentation thatincorporates knowledge and skills from several artdisciplines as well as those in other content areas.

Student/teacher generatedrubric to assesspresentations


Visual Arts 103

High School Visual Arts Studio III

Strategies are to be developed from the High School Visual Arts Level III program ofstudy. The focus of the studio will determine the type of strategies used.The following strategies are examples of what might be used in a Visual Arts Studio IIIcourse focusing on sculpture:


1 a Students create a sculpture using a selected techniqueand/or process that exhibits advanced skills andoriginality and clearly communicates expression, suchas a three-dimensional relief sculpture of a facecommunicating a particular mood, expression, orfeeling.

Rubric on effectivenessof artistic choices andcommunication of idea

2

4

a

b

After studying a variety of sculptures, students analyzethe compositions to determine artistic choices made inrelation to communication of intended meaning.Students identify and integrate selected elements,principles, and media with themes and symbols tocommunicate meaning in a sculpture of their own.

Checklist based onassigned criteria

3 a Students study sculptures created from found materials,such as the work of Deborah Butterfield, analyzing howthe selection of materials contributes to thecommunication of ideas. Students then create asculpture from found materials to communicate aparticular idea or evoke an intended response.

Rubric on analysis ofsculptures studied andrubric on createdsculpture

5

6

b

a

Students study selected sculptures from a variety ofcultures, times, and places of interest to them. Studentscritique the works from two perspectives: one from thecontext of origin and another from the perspective of theculture of the student. Students prepare presentationson their conclusions.

Student and teacherevaluation ofpresentations basedon assigned criteria

7

2

a

a

Students select a universal theme and study sculpturesfrom a variety of cultures, times, and places, todetermine ways artists have conveyed the theme.Students then create a sculpture, informed by theirresearch, that conveys the selected theme, effectivelyintegrating visual, spatial, and temporal concepts.

Rubric on analysis ofsculptures and creationof sculpture. Studentand teacher evaluationof work.

8

9

a

b

Students select a sculpture from a culture, period, orplace of interest to them, and research the impact of thework on the culture or period of origin. Students justifywhy the piece is considered art and prepare apresentation to share findings with the class.

Student and teacherevaluation ofpresentation based onassigned criteria


Visual Arts 104

High School Visual Arts Studio III

10 b Students visit a sculpture exhibit, or create a virtualsculpture exhibit using computer images andphotographic reproductions of selected sculptures. Afterviewing the exhibit, students write a short response toeach piece. Students share their responses to theexhibit and identify factors that may account for thedifferences in responses to the works of art.

Student-generatedrating scale to evaluatewritten work and classdiscussion

11

2

a

c

Students study a selected public sculpture in their localarea (or a sculpture displayed publicly from another timeor place) and determine the impact on the community,locally and at large. Students then draw a design for apublic sculpture to communicate a specific theme oridea. Students present their creation and report orally ontheir findings.

Rubric with criteria toassess research,sculpture design, andvocabulary use

12

8

b

a

During the creation of a terra cotta sculpture, studentsresearch the firing process from a scientific perspective,understanding the physical and chemical changes thatoccur. Students study a variety of firing processes andhow they relate to the environment of origin.


Visual Arts 105

VISUAL ARTSHIGH SCHOOL LEVEL IV

(Advanced)


This advanced program of study focuses on the creation of a portfolio for use inthe pursuit of higher education or career opportunities. Building on concepts and skillsacquired in prerequisite courses—Visual Arts I, II, and III, or Visual Arts I, Drawing andPainting - students will work at a sophisticated level applying their knowledge ofproduction, critical analysis, history and culture, aesthetics, and connections among thevisual arts, other content areas, and everyday life. Prerequisite requirement may bewaived upon teacher recommendation based on a review of a body of workdemonstrating accomplishment of Visual Arts I, II, and III competencies. Work willencompass two and three-dimensional media, techniques, and processes. Thisprogram of study is to be used in developing curriculum for high school students in thefollowing courses:

Visual Arts IVVisual Arts Studio IVVisual Arts Individual Study

Content strands include Creating/Performing, Critical Analysis, History/Culture,Aesthetics, and Connections. The competencies may relate to one or more of thecontent strands and may be combined and taught with other competencies throughoutthe school year. Competencies are not listed in order of importance and may be taughtin any order that is determined suitable by the school or district. Competencies providea general guideline of ongoing instruction, not isolated units, activities, or skills.




Visual Arts 106

VISUAL ARTSHIGH SCHOOL LEVEL IV

(Advanced)

CONTENT STRANDS:



1. Demonstrate accomplished skills in the selection and use of various media,techniques, and processes to create and study works of art. (CP)

a. Understand how to select the most appropriate media, techniques, andprocesses to exhibit advanced skills, confidence, and sensitivity incommunicating ideas through original works.

b. Understand the importance of habitually complying with appropriate rules andregulations related to work habits, health, and safety while creating works of art.

c. Understand new technologies in art and design as media for communicatingmeaning through art and as a powerful tool for studying own works and works ofothers.

d. Knowledge of requirements for producing a portfolio of work including an area offocus for presentation in the pursuit of further study.

e. Knowledge of skills and requirements in exhibiting a body of work including artiststatements and interpretations.

2. Formulate ideas, plan, and integrate elements of art and principles of designwith subjects, themes, symbols or ideas using various media, techniques andprocesses to improve communication of intended meaning. (CP)

a. Understand how to integrate visual, spatial, and temporal concepts withsubjects, themes, symbols, and ideas to improve communication of intendedmeaning in compositions.

b. Understand how the synthesis of design with selected media and techniqueswithin the creative process enhances the communication of artistic intent.

c. Communicate a variety of ideas through the effective use of one media.


Visual Arts 107

3. Understand specific media, techniques, and processes to create particulareffects that evoke intended responses. (CP)

a. Understand how artists achieve a good relationship between medium, andsubject matter to successfully communicate expressive intent and influencepeople visually.

b. Understand which media, techniques, and processes best serve the artist’sintent (through experimentation and research) in a work of art.

c. Understand fully the various ways that the visual arts provide unique modes forexpressing ideas, actions, and emotions.

d. Research, plan, and solve advanced visual arts problems independently using avariety of media, techniques, and processes to produce intended effects.

4. Synthesize perceptual abilities with fully developed visual arts vocabulary toform judgments while creating and studying complex works of art. (CA)

a. Understand and consistently utilize a fully developed visual arts vocabularysensitively and completely when studying and creating works of art.

b. Understand how the synthesis of key visual arts concepts, skills, and processeswith accomplished vocabulary skills enhances communication about creatingand studying art forms through reading, writing, and speaking.

5. Understand a range of ways to critique works of art and design throughreading, writing, and speaking. (CA)

a. Internalize theories of art criticism and apply them when assessing own work orwork of others.

b. Apply the vocabulary of art criticism at an advanced level when reading, writing,and speaking about works of art.

6. Understand the impact of context on roles, functions, and purposes for thevisual arts across cultures, times, and places. (HC)

a. Understand the complex interrelationships between society and the role of theartist.

b. Understand the differences between western and non-western philosophies ofart and the way this affects how the artist is perceived.

c. Understand the impact that the visual arts have on society and how art isinfluenced by society.


Visual Arts 108

7. Understand how universal themes, concepts, forms, and functions may beinterpreted differently in works of art and design across cultures, times, andplaces. (HC)

a. Understand universal themes, symbols, and subject matter in works of art anddesign and how those characteristics may remain the same or evolvethroughout time.

b. Analyze works of art across time and culture as to what meaning is intendedthrough their use of symbols and themes.

8. Understand the impact of culture, time, and place on the characteristics ofworks of art and design. (HC)

a. Understand the various ways in which works of art and design are impacted byfactors of culture, time, and place.

b. Understand ways that history and culture affect the functions and purposes ofworks of art and how those may change over time.

c. Analyze common characteristics of art work over time and compare to their ownworks of art as it relates.

9. Understand different theories and philosophies of aesthetics. (A)

a. Understand ways to find meaningful answers to aesthetic questions in relation toculture, time, and place.

b. Understand how concepts of beauty vary widely across cultures and throughouttime.

c. Understand how art is valued differently according to aesthetic preferences.

10. Understand the complexities of contextual factors and their dynamicinterrelationships with perceived or communicated meanings in works of art.(A)

a. Understand how context impacts the communication of meaning in works of artand how work viewed out of context influences meaning.

b. Understand how the context and life experiences of the viewer impact perceivedmeaning from artworks.

11. Recognize how the meaningful integration of visual arts concepts and skillswith knowledge in other subject areas builds a strong foundation for thepursuit of professional careers. (C)

a. Understand the depth of content knowledge necessary for multi-sensorycommunication skills (images, words, sound, motion) to be a successful artist inthe 21st Century.

b. Understand the broad range of options available in pursuing a career related tothe visual arts.


Visual Arts 109

12. Understand how common concepts, technologies, media, and processes ofthe visual arts and those in other subject areas are prerequisite tools forpursuing professional arts-related careers. (C)

a. Understand the integrated nature of the visual arts in relation to other artsdisciplines, common concepts, historical and cultural features, and creativeprocesses.

b. Understand how the technologies, media, and processes of the visual arts cancomplement and enhance the meaning or effectiveness of those of other subjectareas.

c. Synthesize knowledge of the visual arts and other disciplines to explore artsrelated careers.


High School Visual Arts IV

Visual Arts 110


1 a,c Using the Internet for research, students locateworks of art based on a specific idea, topic, ortheme. Study the works to determine what theartists used to effectively communicate meaning.Students then create a work of their own using thecomputer, scanner, or other digital media incombination with traditional media.

Rubric designedcollaboratively by students

2 a,b,c Students demonstrate their knowledge of designwithin a composition that focuses on the use ofsymbols to communicate intended meaning.

Rubric or rating scale

3 a,b Using a sketchbook or journal for recording theirideas, students select media, techniques, andprocesses to produce a specific effect within acomposition. Record the thought processes,progression, and reflections on successesthroughout the piece.

Teacher evaluation ofjournal

Rubric for assessing artworks

4 a,b Students select a work of art (their own or a famouswork) write, and videotape an evening newscommentary announcing the unveiling of a “new”masterpiece. Focus on using correct art conceptsand vocabulary when writing the script for thebroadcast. Emphasize the importance of being ableto speak and write effectively about the visual arts.

Teacher assessment ofwritten commentary

Peer assessment usingrating scales for videobroadcast

5 a,b Students describe, analyze, interpret, and evaluatea work of art with which they are not familiar andone of which they have no background information.Conclusions must be based on evidence groundedin the artwork.

Teacher observation andguided questioning

6 b Students are introduced to examples of work frommultiple cultural traditions. Students examinedifferent ideas about creativity within westerntraditions as well as non-western. A classdiscussion is conducted, posing ethical questionsrelated to “copying.” How does context influencevarious perspectives in relation to unique, originalworks as opposed to those of carrying on centuriesof heritage in which generations of artists pass ondesigns, processes, and traditions?

Teacher observation

7

3

b

a

Students select multiple images from the media thatrepresent them as individuals. Select three andcombine them in a collage composition to create awork of art that represents them. The resultingworks will be illustrations of how visual culture hasimpacted their lives.



High School Visual Arts IV

Visual Arts 111

8

1

b

e

Students research the photograph of the FlagRaising at Iwo Jima (or other identified works).Investigate ways that the function and purpose ofthat photo have changed over time. Investigateother works whose function has changed over time.Create a group exhibition entitled “Change OverTime” with descriptive text for display in a publicarea of the school.

Teacher observation andguidance in research andmounting exhibit

Rating scale forassessment of exhibitcomponents

9 a,b,c Students research examples that illustrate ways thatpeople value art differently. Ask them to identify thefactors that determine the ways people honor art intheir lives. A group discussion is directed afterstudents have completed their work.

Teacher observation

10 a,b Students study examples from African and NativeAmerican cultures. Students discuss ways that theobjects taken out of context become somethingother than what was intended. Students areinvolved in a “scavenger hunt” to identify images,icons, and objects in their own communities thatmight take on new meaning and be misunderstoodin another setting.

Teacher checklist basedon research criteria

10

3

a,b

a

Students select multiple images from the media thatrepresent them as individuals. Select three andcombine them in a collage composition to create awork of art that represents them. The resultingworks will be illustrations of how visual culture hasimpacted their lives.


11 b Students select a visual arts career to investigateand create a report on the specific career. Studentsrender a work that would be produced by one in thatfield of work.

Checklist to guide studentinvestigations

Rubric to assess art work

12 a Students produce a multimedia, interdisciplinaryperformance piece illustrating a topic of their ownchoosing.

Rating scale for use inpeer assessment.


High School Visual Arts Studio IV

Visual Arts 112

Strategies are to be developed from the High School Visual Arts Level IV program ofstudy. The focus of the studio will determine the type of strategies used.The following strategies are examples of what might be used in a Visual Arts Studio IVcourse focusing on the art of jewelry making.


1 a After studying jewelry-making techniques from aparticular culture or period, such as Greek techniquesfrom the Minoan and Hellenistic periods, students selecta technique (i.e., repousse, intaglio, filigree, granulation)that can effectively be used in communicating an ideathrough creation of an original work.

Rubric on study oftechniques andcommunication of ideathrough work of art

2

4

b

b

Students create a work using a synthesis of decorativetechniques studied and used in prior jewelry projects,with focus on use of elements and principles of art thatwill improve communication of intended meaning.Students write an artist’s statement about the workjustifying their artistic choices.

Rubric on synthesis ofjewelry techniques andcommunication ofmeaning andevaluation of writtenwork

3

7

a

b

Students research how personal adornment is used toevoke specific responses in selected cultures and times,sharing their findings in a presentation. Students thencreate a jewelry work intended to evoke a particularresponse.

Rubric on analysis ofjewelry as personaladornment ,presentation, andcreated work of jewelry

5

6

10

2

c

c

b

a

After studying the use of jewelry as amulets in variouscultures and times, students select examples of amuletjewelry from two different cultures or times. Studentswrite a description of the pieces including the techniquesused, analysis of the symbol based on the context of theculture of origin, and how the work may be vieweddifferently from the other culture or time. Students reporton their findings to the class. Students then create anamulet symbolic of their hopes, desires, or values.

Checklist based onassigned criteria ofresearch, written work,and presentation

7

8

2

a

a

a

Student research ways artists have conveyed auniversal theme, such as deity or immorality, throughjewelry. They analyze the impact of cultures, times, andplaces on the characteristics of the works (i.e.,techniques, media), then create a realistic or stylizedwork in the same theme.

Rubric on research,analysis of jewelry, andcreation of work

9 c Students select two examples of jewelry from differentcultures, times, or places, and of the same function (i.e.,funerary, ceremonial, personal adornment) and analyzehow the pieces are valued differently according to theaesthetic preferences of the environment of origin.Students share findings in a presentation.

Student and teacherevaluation ofpresentation based onassigned criteria


High School Visual Arts Studio IV

Visual Arts 113

11

4

b

a

Students research the jewelry industry, includingeducational preparation, job descriptions, salaries,impact on society, and financial status and target marketof a selected company. Students prepare multi-mediapresentations to share with the class. (Group orindividual work)

Rubric with criteria toassess research,vocabulary use, andpresentation

12 a As part of a metal jewelry project, students research themining of metals in a specific place or culture for use injewelry making. As a connection to social studies,students determine how human actions modify theenvironment and changes that occur in the distributionof resources. Students prepare written or oral reports onfindings.

Student-generatedrubric on research andpresentation


High School Visual Arts Individual Study, Level IV

Visual Arts 114

The following strategies are examples that might be used for Julie, an advancedstudent who has already completed Visual Arts Level I-IV, Ceramics, Photography,Drawing and Painting. She is intrigued by possibilities that could be employed withmixed or multimedia works and experimental media.


1 a Using the Internet for research, the student willlocate works of art based on a specific idea, topic,or theme selected for research. The student willstudy the works to determine what media the artistsused to effectively communicate meaning. Thestudents will then create a work of their own usingthe computer, scanner, or other digital media incombination with traditional media, transformingtwo-dimensional images into a three-dimensionalform.

Rubric designed bystudent with teacherapproval

2 a The student will demonstrate knowledge of designwithin a composition that focuses on the use ofsymbols to communicate intended meaning using amedium that they have created by combiningmaterials not usually used together (e.g., dry clayand Elmer’s glue to make a modeling compound).

Rubric or rating scale

3 b Using a sketchbook for planning and recordingexperiments, the student will select media,techniques, and processes to produce a specificeffect within a work of art using methods that allowfor creating multiple images (e.g., an original moldfor clay or paper, xerography or digital imaging)Students record the thought processes, progress,and reflections on successes throughout theproduction of the series.

Teacher evaluation ofsketchbook

Rubric for assessing artworks


Visual Arts 115

VISUAL ARTSHIGH SCHOOL

CERAMICS I(Proficient)


This high school program of study focuses on knowledge and skills in three-dimensional design with clay and/or other plastic media. Building on concepts and skillsacquired in elementary and middle level visual arts courses, students continue toincrease their knowledge of production, critical analysis, history and culture, aesthetics,and connections among ceramic arts, other content areas, and everyday life. Work willbe limited primarily to three dimensional media, techniques, and processes. Thisprogram of study is to be used in designing curriculum for high school students in thefollowing course:

Ceramics I





Visual Arts 116

VISUAL ARTSHIGH SCHOOLCERAMICS I

(Proficient)

CONTENT STRANDS:



1. Apply proficient skills and craftsmanship in selecting and using varioustechniques and processes to create and study works in clay. (CP)

a. Create ceramic ware that communicates original ideas using a variety oftechniques and processes.

b. Study a number of ceramic works, both original and by others, as to how theselection of clay body, technique, or process communicates the overall idea.

c. Practice safety and conservation in the use of tools, materials, and equipment inthe creation of works of ceramics.

d. Explore the use of new technology in art and design while integrating these intotheir own works.

2. Understand how to select and use the elements of art and principles ofdesign applied through ceramic techniques and processes related to thecommunication of meaning. (CP)


b. Explore the influence of new technology on ceramics production and how iteffects communication of meaning in ceramic works.

3. Understand how ceramic techniques and processes create effects that evokea range of responses in works of clay. (CP)

a. Understand that visual effects of ceramics works evoke a range of responses.b. Understand that effects resulting from the use of ceramic media, techniques,

and processes are factors that affect visual perception.c. Recognize that the choice of ceramic media, techniques, and processes results

from the artist's thinking about how best to achieve specific effects.


Visual Arts 117

4. Utilize perceptual skills and apply ceramic arts vocabulary to make informedjudgments while creating and studying works of clay. (CA)

a. Effectively use visual arts vocabulary through the processes of speaking orwriting when critiquing own ceramic art or that of others.

b. Recognize and understand visual arts and ceramics vocabulary in written text.c. Use appropriate visual arts ceramics vocabulary related to technique and

processes as work of ceramics art are created.d. Utilize the visual and organizational components of art and design while creating

works of ceramic art.e. Use appropriate visual art and ceramic vocabulary related to technique and

process in creating works of ceramic art.

5. Understand that a wide range of theories of critical analyses exist, andprovide valid methods for studying the characteristics of works of clay. (CA)

a. Examine the work of self and others to determine the intentions of the artist increating a particular work in clay.

b. Understand the theories of critical analysis and how they relate to ceramic art.c. Identify different ways that three-dimensional work in clay provides unique

modes for expressing ideas, actions, and emotions.

6. Know that context is a factor in determining the roles, functions, andpurposes of artists, works of art, and visual arts careers differently accordingto culture, time, and place. (HC)

a. Examine ways that culture is reflected by the use of technology in the creation ofceramic works of art.

b. Understand how the context of the artist, the context in which the work ofceramic art is created, the context of the viewer, and the context in which thework is viewed can be impacted by technological changes over time.

7. Know universal themes, concepts, forms, and functions that recur in works inclay across cultures, times, and places. (HC)

a. Identify different ways ceramic artists have conveyed common themes or issuesacross historical periods.

b. Discuss how ceramics works of art differ visually, functionally, and by process,and describe how these difference, relate to history and culture.

c. Investigate the functions of different ceramic works of art in society and theimpact on society.


Visual Arts 118

8. Understand how factors of culture, time, and place influence thecharacteristics of ceramic art and design. (HC)

a. Relate how factors of culture, times, places, and the ceramic arts influencedeach other.

b. Recognize a variety of historical and cultural contexts in terms of characteristicsof ceramic works of art.

c. Compare and contrast characteristics and purposes of similar ceramic worksfrom a variety of cultures, times, and places.


a. Recognize that broad aesthetic question such as, “What is art?” and “Isceramics an art or craft?”

b. Know different theories of aesthetics.

10. Analyze how contextual factors affect how people respect, value and derivemeaning from ceramic art. (A)

a. Analyze how the meaning of a specific work of ceramic art might change if itwere transported to another time frame.

b. Investigate how specific images originated in clay works for an intendedpurpose.

c. Know various individual responses to the characteristics of ceramic work canserve as a means for interpreting art.

d. Discuss possible meanings of works of ceramic art by examining how specificwares are created and how they relate to historical and cultural context.

11. Integrate ceramic arts concepts and skills with knowledge in other subjectareas to provide meaningful tools for use in everyday life. (C)

a. Research the roles of contemporary artist/potters in their own community andsociety.

b. Recognize career options in the ceramic arts.c. Understand how the study of ceramic arts utilizes knowledge from other subject

areas.

12. Understand how common concepts, technologies, and processes of theceramic arts relate to those in other subject areas within and outside the arts.(C)

a. Compare and contrast the creative process in clay to that in other content areas.b. Compare the similarities and differences in the use of technologies and

processes of clay with those of other arts disciplines.c. Utilize the processes of clay to enhance the study of themes in the humanities,

sciences, and other curricular areas.


High School Ceramics I

Visual Arts 119


1 a, c Students create ceramic ware that communicatesoriginal ideas through pinch, slab, and coil processes.

Rubric based onassigned criteria

2 a Students select and use appropriate elements andprinciples of design that improve the communication of aspecific idea or concept, function or purpose on apiece(s) of pottery.

Rating scale for use inpeer assessment

3 b Students select several works to analyze to determine ifform follow function or purpose. Did their work fulfilltheir original intentions? Compare finished works tooriginal sketches. Do the responses from their peersindicate that they were affected differently thanintended?

Student self-assessment using arating scale

4 a After practicing the appropriate techniques for a wholeclass critique, students critique ceramic works from awide range of contexts (e.g., Mexican, Japanese,English, African). Emphasize the proper use ofterminology in discussing media, techniques, andprocesses.

Teacher observationand guided questions

5

1

3

c

b

b

Students examine a broad range of artworks—both two-and three-dimensional. Determine those instances inwhich the three-dimensional characteristics of ceramicworks could uniquely express a similar concept or idea.Which medium might be most effective? Create a workin clay to transform an idea previously expressed in two-dimensions.

Class Critique ofobjects

Rubric to assessquality of pottery

6 b Students analyze a range of ceramic works from varioustimes and cultures, then write a short analysis of how aselected work reflects the culture in which it wascreated.

Rating scale

7 c Students select a functional ceramic object to researchhistorically in relation to form, function, and purpose inthree cultures. Outline the data on a research chartshowing change according to time, place, and culture.

Peer assessment usinga rating scale designedby the class

8 b Using museum postcards or other small reproductions,students practice matching objects to categories ofculture, time period, function, or purpose.

Teacher guidanceduring practice

Written test withmatching or multiplechoice items


High School Ceramics I

Visual Arts 120

9 a In pursuing answers to the question “What is art?”students debate the issues of art versus craft. Whenmight one ceramic form be considered art, while anothera craft? What factors influence the way in which peoplevalue ceramic works?

Teacher observation

10 a Students investigate various images that occur onceramic works across cultures. Research how contextimpacts the interpretation of the image in differentlocations.

Peer assessment ofteam reports using arating scale

11 a, b Invite a local or regional ceramic artist to be a guestspeaker. Students interview the artist in relation to therole they play in the community and in relation to careeroptions.

Student reflections inwriting after artistleaves

12 a Compare the creative process used in making a ceramicwork of art to the writing process and the process ofscientific investigation. Discuss common conceptsshared among ceramics, science, and geography.

Teacher observationand guiding questions


Visual Arts 121

VISUAL ARTSHIGH SCHOOLCERAMICS II

(Proficient)


This program of study focuses on developing in-depth knowledge and skills inthree-dimensional design with clay and/or other plastic media. Building on introductorylevel concepts and skills acquired in the prerequisite course, Ceramics I, studentscontinue to increase their knowledge of wheel thrown and hand built production, criticalanalysis, history and culture, aesthetics, and connections among ceramic arts, othercontent areas, and everyday life. Work will be limited primarily to three dimensionalmedia, techniques, and processes. This program of study is to be used in designingcurriculum for high school students in the following course:

Ceramics II

The competencies are printed in bold face type and are required to be taught.Content strands include Creating/Performing, Critical Analysis, History/Culture,Aesthetics, and Connections. The competencies may relate to one or more of thecontent strands and may be combined and taught with other competencies throughoutthe school year. Competencies are not listed in order of importance and may be taughtin any order that is determined suitable by the school or district. Competencies providea general guideline of ongoing instruction, not isolated units, activities or skills.




Visual Arts 122

VISUAL ARTSHIGH SCHOOLCERAMICS II

(Proficient)

CONTENT STRANDS:



1. Demonstrate competency in selecting and using various ceramic techniquesand processes to create and study works of clay. (CP)

a. Create complex ceramic ware that communicates original ideas using acombination of techniques and processes.

b. Create a body of ceramic work selecting appropriate clay body and technique tocommunicate ideas.

c. Practice safety and conservation in the use of tools, materials, and equipment inthe creation of works of ceramic art.

d. Utilize advanced technology in art and design while integrating these into theirown works.

2. Know how to use elements of art and principles of design applied throughvarious ceramics techniques and processes as they relate to thecommunication of meaning. (CP)

a. Integrate visual, spatial, and temporal concepts with subjects, themes, symbols,and ideas to improve communication of intended meanings.

b. Explore advanced techniques such as raku or salt firing in the creation ofceramic ware, casting and decals.

c. Use appropriate visual arts and ceramic vocabulary as related to technique andprocesses in creating works of ceramic art.


Visual Arts 123

3. Select and use various ceramic techniques and processes to create works ofclay that evoke a range of responses. (CP)

a. Understand how artists select ceramic techniques, media, and processes in thecreation of ceramic art to evoke a variety of responses.

b. Analyze artistic intent in own ceramic creations in relation to form, function, andpurpose.

c. Understand that ceramic artists use media, techniques, and processes toproduce a wide range of effects that impress viewers differently.

4. Utilize perceptual skills and apply expanded ceramic arts vocabulary to makeinformed judgments while creating and studying works of clay. (CA)

a. Effectively use expanded visual arts and ceramics vocabulary when critiquingtheir own ceramic art and those of others through the processes of speaking,writing, or reading.

b. Use appropriate visual arts ceramic vocabulary related to new techniques andmedia as works of ceramic are created.

c. Demonstrate advanced skill in the use of the visual and organizationalcomponents of design while creating works of ceramic art.

5. Explore and evaluate theories of critical analysis for studying thecharacteristics of ceramics through reading, writing, and speaking. (CA)

a. Employ various theories of critical analysis to understand and analyze works inclay.

b. Analyze different ways that three-dimensional works in clay provide uniquemodes for expressing ideas, actions, and emotions.

6. Understand the complex functions of artists in society and the impact of thevisual arts (e.g., social, political, economic, religious, individual.) (HC)

a. Differentiate between meanings in works of ceramic art by examining howspecific clay works are created and how they relate to historical and culturalcontexts.

b. Compare and contrast the meaning of different ceramic works of art in context tothe culture in which they were created and how meaning might be lost if thecontexts were changed

c. Examine how the context of the artist, the time in which the ceramic ware wascreated, the viewer, and the place and time in which it is viewed can impact theinterpretation of the ceramic work of art.


Visual Arts 124

7. Understand how subject matter, symbols, themes, and purposes relate tomeaning in works of clay across cultures, times, and places. (HC)

a. Employ various interpretations of symbols and purposes to understand andanalyze works of ceramic arts.

b. Analyze different ways artists have conveyed common themes or issues acrosshistorical periods.

c. Compare how ceramic works of art differ visually, functionally, and by purpose,and describe how these differences relate to history and culture.

d. Compare and contrast the functions of art in society and the ways the ceramicand three-dimensional arts have impacted society.

8. Explain how geographic factors impact the characteristics of ceramic art anddesign. (HC)

a. Determine how factors of culture, time, and place affected the development ofceramic works of art.

b. Describe the function and explore the meaning of selected ceramic work withinvarious cultures, times, and places.

c. Analyze characteristics and purposes of ceramics from a variety of cultures,times, and places.

9. Understand different theories of aesthetics. (A)

a. Apply the theories of aesthetics to questions, such as, “What is beauty?” and, “Isceramics art or craft?”

b. Analyze different aesthetic perspectives including intention of artists, context,views, and experience.

10. Begin to recognize contextual factors that influence how an individualrespects and values ceramic art. (A)

a. Determine the origin of possible subjects, themes, symbols, problems, or ideasfor use in creating ceramics for an intended purpose.

b. Analyze how various individual responses to the characteristics of ceramic artcan serve as a means for interpreting that work.

11. Recognize how life decisions, such as career choices, can be influenced by ameaningful integration of ceramic arts concepts and skills with knowledge inother subject areas. (C)


b. Analyze how the study of the arts impacts career choices.


Visual Arts 125

12. Distinguish how common concepts, technologies, media, and processes ofceramic arts relate to those in other subject areas. (C)

a. Compare the characteristics of the visual and performing arts across history,time, and culture.

b. Understand the use of technologies, media, and processes of clay with those ofother arts disciplines.

c. Compare concepts in clay and ceramic art to the themes in the humanities,sciences, or other curricular areas.

d. Recognize the use of chemistry in the formulation and use of glaze.


High School Ceramics II

Visual Arts 126


1

2

a

a

Students create ceramic ware using pinch, slab, coil,wheel-thrown and combination methods to express anidea, fulfill a specific function or purpose.

Rubric designedaccording to assignedcriteria

2 b Students explore the influence of technology on theproduction of ceramics. Create works applying some ofthe available technological applications.

Teacher observation

Rating scale

3 a Students create a work maximizing the characteristics ofthe clay medium to create an intended effect. Write areflective assessment in relation to success of achievingthe intended impact.

Student selfassessment

Rubric to assessoverall quality

4 a Students individually write a news release describing anarchaeological find. Use visual illustrations from which towrite the releases. Students must use correct artvocabulary and apply ceramic concepts appropriately.

Teacher evaluation ofnews releases.

5 a In small groups, students describe, analyze, andinterpret a range of ceramic works—their own and thoseof others.

Rating scale to beused by teams

6 c Students examine ceramic works from various cultures,times, and places. Have students interpret works,determine purposes, function, meaning without knowingthe contextual backgrounds. Study the works withappropriate information and discuss ways that looking atworks out of context might influence conclusions drawn.

Teacher observationand guiding questions

7 b Students analyze or research ways that ceramic artshave conveyed universal themes or subject matteracross historical periods. How does history impactceramic expression?

Spreadsheets tocontrast time periods

8 a Using multicultural works representing time periods fromprehistory to contemporary society, students investigatethe impact of geography on the ceramic productscreated in each setting. Divide the class into teams,each with a specific assignment. Each team will presentfindings to the class after research is complete. Reportswill be submitted in writing.

Peer assessment usinga rating scale

Rubric for teacherassessment of writtenreport.

9 a Divide the class into two teams. Students debate theissues of ceramics as art or craft. Teams must conductresearch, provide examples, and create a rubric withcriteria to determine if a work is art or craft.

Teacher assessment ofpresentations usingrating scale. Rubric toassess rubric quality


High School Ceramics II

Visual Arts 127

10 a Students to research pottery from multicultural sourcesto use as inspiration for a subject, themes, or problem.Students create a work to express their intendedpurpose.

Rubric

11 a Students choose a topic and write a short researchpaper about the impact a particular ceramic art form orprocess has had on society in a specific time period.

Rubric to assesswritten reports.

12 c Students compare characteristics of ceramic objects inspecific cultures, times, and places to circumstances inthe humanities and sciences.

Student generatedrating scale or rubric


Visual Arts 128


DRAWING I(Proficient)


This high school program of study involves a broad range of drawing media,techniques, and processes. In this course, students will continue to develop priorknowledge and skills in the creation and study of works of art and design. Building onconcepts and skills acquired in Visual Arts Level I, students will increase theirknowledge of production, critical analysis, history and culture, aesthetics, andconnections among the visual arts, other content areas, and everyday life. Work willencompass two-dimensional art forms rendered and wet and dry drawing media withan emphasis on working in black and white with an introduction to color techniques.This program of study is to be used in designing curriculum for high school students inthe following course:

Drawing I





Visual Arts 129


DRAWING I(Proficient)

CONTENT STRANDS:



1. Apply proficient skills and craftsmanship in selecting and using variousdrawing media, techniques, and processes to create original and expressivedrawings. (CP, CA)

a. Compare and contrast various media, techniques and processes to developcompetent skills, confidence, and sensitivity while creating drawing works of art.

b. Create drawings that utilize media, techniques, or processes to communicatethe intended idea.

c. Practice safety and conservation in the use of tools, materials, and equipment inthe creation of drawing works of art.

d. Identify and define new technology in art and design as it is used incontemporary society and their own drawing works of art.

2. Understand how to select and use elements and principles of design appliedthrough various drawing media, techniques, and processes as they relate tothe communication of meaning. (CP, A)

a. Analyze visual, spatial, and temporal concepts as integrating subject, themes,symbols, and ideas to improve communication of intended meaning in drawings.

b. Identify and define new technology in drawing as it is used in contemporarysociety and one’s own works of art to communicate meaning.

c. Employ appropriate drawing vocabulary related to technique and media asworks of art are created and studied.


Visual Arts 130

3. Understand how drawing media, techniques, and processes create effectsthat evoke a range of responses. (CP)

a. Understand that visual effects produced with drawing media, techniques, andprocesses evoke a range of responses (e.g., dread, hope, despair, joy,pleasure, pain).

b. Demonstrate an understanding of how artists use unique modes for expressingideas, actions, and emotions in drawings to solve specific drawing problems.

c. Recognize that the choice of drawing media, techniques, and processes resultsfrom the artist's thinking about how best to achieve specific effects.

4. Use perceptual skills and apply visual art vocabulary to form judgments whilecreating and studying drawings. (CA, CP)

a. Effectively use expanded visual arts vocabulary when critiquing one’s owndrawings and those of others through the processes of speaking, writing, orreading.

b. Use appropriate visual arts vocabulary related to new techniques and media asdrawings are created.

c. Demonstrate the visual and organizational components of drawing in creatingworks of art.

5. Understand that a wide range of theories of critical analyses exist and providevalid methods for studying the characteristics of drawings. (CA)

a. Employ various theories of critical analysis to understand and analyze drawings.b. Utilize critical analysis theories to study one’s own drawings and those of othersc. Analyze different ways that drawings provide unique modes for expressing


6. Understand that technology impacts the roles, functions, and purposes ofartists, works of art, and visual arts careers differently according to culture,time, and place. (HC)

a. Differentiate between the technology used in the creation and relationship ofspecific drawings to historical and cultural context.

b. Recognize differences in technology used to create drawings and understandthe context of the culture in which it was created, an how a change of contextmight cause meaning to be lost.


Visual Arts 131

7. Know universal themes, concepts, forms, and functions that recur in works ofart and design across cultures, times, and places. (HC)

a. Employ various interpretations to understand and analyze drawings.b. Analyze different ways artists have conveyed common themes or issues across

historical periods.c. Compare how drawings differ visually, functionally, and by process, and

describe how these differences relate to history and culture.d. Compare and contrast the functions of art in society and the ways the visual arts

have impacted society.

8. Analyze how factors of time and the visual arts influence drawings. (HC)

a. Determine how factors of time affected the development of drawing.b. Describe the function and explore the meaning of selected drawings within

various time periods.c. Examine characteristics and purposes of drawings from a variety of time

periods.


a. Discuss broad aesthetic questions that explore the implications of the purposesof art.

b. Describe different aesthetic perspectives including intention of artists, context,views, and experience.


a. Explore the origins of possible subjects, themes, symbols, problems, or ideas foruse in creating drawings for an intended purpose.

b. Reflect on how various individual responses to the characteristics of drawingscan serve as a means for interpreting that work.

11. Integrate visual arts concepts and skills with knowledge in other subjectareas to provide essential tools for everyday life. (C)


b. Recognize how the study of the arts impacts career choices.


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12. Analyze how common concepts, technologies, media, and processes of thevisual arts relate to those in other subject areas. (C, HC)

a. Compare the characteristics of the visual and performing arts across history,time, and culture.

b. Integrate the use of technologies, media, and processes of drawing with those ofother arts disciplines.

c. Compare the characteristics of drawings to the themes in the humanities,sciences, or other curricular areas.


High School Drawing I

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1 a Students experiment with various drawing media,techniques, and processes, then create a mixed mediadrawing of a still life using different techniques andprocesses.

Rubric based onstated objectives andclass critique

2 a Students copy master drawings in a sketchbook/journaland reflect on the communication of intended meaningof the original as well as the copy.

Weekly checks ofsketchbooks andperiodic discussions

3 b Students draw a portrait from life or from a photograph.Overlay with a grid and redraw the portrait using adistorted grid. Add a full range of value.

Rubric based onstated objectives andclass critique

4 a,b,c Students complete several still life drawings, thendiscuss the process utilized in the creation using visualarts vocabulary.

Class critique withteacher-guidedquestions

5 a,b Students choose a work of art and use the four steps ofart criticism to analyze and interpret the work.

Written report basedon given criteria

6 a Students record first impressions of a selected artwork,gather historical information about the work andtechnologies used to create it, and discuss in class.Determine if impressions of the work changed afterlearning the historical background.

Class discussionbased on teacher-guided questions andstudent responses

7 b,c Students choose a common or universal theme used inartworks throughout time. Find examples of works thatutilize the theme. Using the same theme, create a 21st

Century interpretation.

Class discussion onthemes and rubricbased on statedcriteria

8 b,c Students make a study of political cartoons fromthroughout history and the impact they had on society.

Oral report based onstated objectives

9 a After studying different types of exemplary drawingsfrom throughout history, students discuss what makesthem important enough to be included in the study.

Class discussion withteacher-guidedquestions.

10 b Students choose a drawing that appeals to them anddiscuss in class the expressive qualities of the drawing.Use visual arts vocabulary to explain how the feeling ormood was expressed.

Written or oral reportbased on statedcriteria and properuse of vocabulary

11 b After studying technical drawings, botanical drawings,medical illustrations, etc., students discuss careerchoices utilizing arts skills.



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Visual Arts 134

12 b Play a musical composition such as Pachabel’s Canonin D and listen for ways the composition is organized(rhythm, movement, theme, unity, harmony, contrast).Students compare it to the organization of a drawingcomposition.



Visual Arts 135


DRAWING II(Proficient)


This high school visual arts program of study involves a broad range of drawingmedia, techniques, and processes. In this course, students will continue to developprior knowledge and skills in the creation and study of works of art and design. Buildingon concepts and skills acquired in Visual Arts Level I and Drawing I, students willincrease their knowledge of production, critical analysis, history and culture, aesthetics,and connections among the visual arts, other content areas, and everyday life. Workwill encompass two-dimensional art forms rendered and wet and dry drawing mediawith an emphasis on working in color with a continuation of skill development in blackand white processes. This program of study is to be used in designing curriculum forhigh school students in the following course:

Drawing II





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DRAWING II(Proficient)

CONTENT STRANDS:



1. Demonstrate competency in selecting and using various drawing media,techniques, and processes to create and study drawings. (CP, CA)

a. Select and utilize various drawing media, techniques, and processes to developadvanced skills, confidence, and sensitivity to create drawings that communicateideas.


c. Refine and assess the use of media, techniques, and processes to createvarious drawings.

d. Utilize new technology in art and design while creating and studying owndrawings and those of others.

e. Investigate various methods of presenting drawings for public presentation andportfolio development.

2. Know how to use elements of art and principles of design and variousdrawing media, techniques, and processes to communicate intendedmeaning. (CP, A)

a. Integrate visual, spatial and temporal concepts with subjects, themes, symbols,and ideas to improve communication of intended meaning in drawings.

b. Select appropriate technology for use in the creation of commercial and fine artdrawings.

c. Employ appropriate drawing techniques and media as works of art are createdand studied.

d. Create complex drawings that utilize the elements of art and principles of designto communicate ideas.


Visual Arts 137

3. Select and use various drawing media, techniques, and processes to createworks of art that evoke a range of responses. (CP)

a. Understand that artists use drawing media, techniques, and processes toproduce a wide range of effects which affect viewers differently.

b. Recognize how artists select specific drawing media, techniques, and processesto achieve intended effects.

c. Produce a body of work to develop an understanding of artist’s intent.

4. Use perceptual skills and apply expanded visual arts vocabulary to makeinformed judgments while creating and studying drawings. (CA, CP)

a. Synthesize and select appropriate visual arts vocabulary through the criticalprocess in relation to various contexts.

b. Apply the visual and organizational components of art and design effectivelywhile creating drawings.

c. Employ appropriate visual arts vocabulary related to technique and media asdrawings are created and studied.

5. Explore and evaluate theories of critical analysis for studying thecharacteristics of drawings through reading writing, and speaking. (CA)

a. Analyze various theories of critical analysis.b. Employ critical analysis theories by analyzing their own drawings and those of

others.c. Analyze different ways the visual arts provide unique modes for expressing


6. Understand the complex functions of artists in society and the impact ofdrawings (e.g., social, political, economic, religious, individual.). (HC)

a. Compare and contrast between drawings by examining the impact they have onsociety.

b. Study the artist and his drawings as they impact the society in which they werecreated.

c. Research how the functions of art change as society changes and the ways thevisual arts impact society.

7. Understand how subject matter, symbols, themes, and purposes relate tomeaning in drawing across cultures, times, and places. (HC)

a. Compare and contrast different ways artists have conveyed common themesacross historical periods in drawings.

b. Determine intent of drawings from different cultures, times and places.


Visual Arts 138

8. Explain how geographic factors impact the media and forms of drawings.(HC)

a. Research the impact of place on the characteristics of specific drawings.b. Examined the functions and purposes of drawings as they relate to geographic

factors.

9. Understand different philosophies of aesthetics. (A)

a. Utilize different theories of aesthetics and analyze the purposes of creatingdrawings.

b. Discuss and defend answers to broad aesthetic questions about drawings, theartist, and their role in contemporary society.

10. Begin to recognize contextual factors that influence how an individualrespects and values drawings. (A)

a. Identify the intended purpose of drawings through the specific images.b. Utilize individual responses to the characteristics of drawings while interpreting

and discussing that work.

11. Recognize how life decisions, such as career choices, can be influenced by ameaningful integration of drawing and visual arts concepts and skills withknowledge in other subject areas. (C)

a. Explore the impact artists can have on the community and society.b. Identify career options in the visual arts as a possible life choice.

12. Distinguish how common concepts, technologies, media, and processes ofthe visual arts relate to those in other subject areas. (C, CP)

a. Utilize the creative process of drawing and the arts and other content areas asthey relate to each other.

b. Utilize technology, media, and processes of the drawing with those of other artsdisciplines.

c. Effectively utilize cooperative skills while creating drawings.


High School Drawing II

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1 e Students select a personal work and prepare it forpresentation in a public venue.

Class critique andpublic presentation

2 a,b Students select a symbol that represents them as anartist and utilize that symbol to create a symbolic self-portrait that conveys the inner self, not just physicalappearance.

Class critique basedon the statedobjectives and use ofa symbol

34

ab

Students create a triptych utilizing a common objectfrom the classroom as subject matter then transform theobject into a meaningful visual expression of the artist.

Class critique andstudent leddiscussion of theirown work

5 b In small groups, students examine a drawing done in animitational style and list the literal qualities. Reportfindings to the class.

Presentation to classand discussion bydifferent groups

678

bb

a,b

Students choose drawings from different time periodsand use art criticism operations (description, analysis,interpretation, judgement) to study them.

Class discussionusing teacher-guidedquestions

9 a Students write an aesthetic analysis of a particular artobject to explain why it was created and why they like itor dislike it, and how they would value it as a work of art.

Rubric using statedcriteria, discussionusing teacher -guidedquestions

10 a Students examine the drawings of several artists fromdifferent time periods. Determine how the works aresimilar and how they are different.

Class discussionusing teacher -guidedquestions

11 a Students study the public work of a Mississippi artist andthe impact it had on his/her community.

Class discussionusing stated criteria

12 a,c Students choose a neglected area of their community.Work in groups to draw a plan of a redesign of the areapreserving important buildings and designing newbuildings to fit in the area.

Class presentation


Visual Arts 140


PAINTING I(Proficient)


This high school visual arts program of study involves a broad range of paintingmedia, techniques, and processes. In this course, students will continue to developprior knowledge and skills in the creation and study of works of art and design. Buildingon concepts and skills acquired in Visual Arts Level I and Painting I, students willincrease their knowledge of production, critical analysis, history and culture, aesthetics,and connections among the visual arts, other content areas, and everyday life. Workwill encompass two-dimensional art forms rendered and wet and dry painting mediawith an emphasis on working in color with a continuation of skill development in blackand white processes. This program of study is to be used in designing curriculum forhigh school students in the following course:

Painting I





Visual Arts 141


PAINTING I(Proficient)

CONTENT STRANDS:



1. Demonstrate competency in selecting and using various painting media,techniques, and processes to create and study paintings. (CP, CA)

a. Select and utilize various painting media, techniques, and processes to developadvanced skills, confidence, and sensitivity to create paintings that communicateideas.


c. Refine and assess the use of media, techniques, and processes to createvarious paintings.

d. Utilize new technology in art and design while creating and studying ownpaintings and those of others.

e. Investigate various methods of presenting paintings for public display andportfolio development.

2. Know how to use elements of art and principles of design and variouspainting media, techniques, and processes to communicate intendedmeaning. (CP, A)

a. Integrate visual, spatial and temporal concepts with subjects, themes, symbols,and ideas to improve communication of intended meaning.

b. Select appropriate technology to use in the creation of own paintings incommercial art and fine art.

c. Initiate and solve challenging painting problems independently using a variety ofmedia, techniques, and processes.


Visual Arts 142

3. Select and use various painting media, techniques, and processes to createworks of art that evoke a range of responses. (CP)

a. Understand that visual effects produced through painting media, techniques,and processes evoke a range of responses (e.g., pleasure, pain, joy, sorrow).

b. Understand that effects resulting from the use of painting media, techniques,and processes are factors that affect visual perception.

c. Recognize that the choice of painting media, techniques, and processes resultsfrom the artist's thinking about how best to achieve specific effects.

d. Produce a body of work to develop an understanding of artist’s intent.

4. Use perceptual skills and apply expanded painting and visual arts vocabularyto make informed judgments while creating and studying paintings. (CA, CP)


b. Apply the visual and organizational components of art and design effectivelywhile creating paintings.

c. Employ appropriate visual arts vocabulary related to technique and media aspaintings are created and studied.

5. Explore and evaluate theories of critical analysis for studying thecharacteristics of paintings and design through reading, writing, andspeaking. (CA)

a. Analyze various theories of critical analysis.b. Employ critical analysis theories by analyzing their own paintings and those of



6. Understand the complex functions of artists in society and the impact ofpaintings (e.g., social, political, economic, religious, individual). (HC)

a. Compare and contrast paintings by examining their impact upon society.b. Study the artist and his paintings as they impact the society in which they were

created.c. Research how the functions of art change as society changes and the ways the

visual arts impact society.

7. Understand how subject matter, symbols, themes, and purposes relate tomeaning in paintings across cultures, times, and places. (HC)

a. Compare and contrast different ways artists have conveyed common themes inpaintings across historical periods.

b. Determine intent of paintings from different cultures, times and places.


Visual Arts 143

8. Explain how geographic factors impact the media and forms of paintings.(HC)

a. Research the impact of place, on the characteristics of specific paintings.b. Examine the functions and purposes of paintings as they relate to geographic

factors.

9. Understand different philosophies of aesthetics. (A)

a. Utilize different theories of aesthetics and analyze the purposes of creatingvarious paintings.

b. Discuss and defend answers to broad aesthetic questions about paintings, theartist, and their role in contemporary society.

10. Begin to recognize contextual factors that influence how an individualrespects and values paintings. (A)

a. Identify the intended purpose of paintings through the specific images.b. Utilize individual responses to the characteristics of paintings while interpreting

and discussing that work.

11. Recognize how life decisions, such as career choices, can be influenced by ameaningful integration of visual arts and painting concepts and skills withknowledge in other subject areas. (C)

a. Explore the impact artists can have on the community and society.b. Identify career options in the visual arts as a possible life choice.

12. Distinguish how common concepts, technologies, media, and processes ofpainting relate to those in other subject areas. (C, CP)

a. Compare the processes of painting and other content areas as they relate toeach other.

b. Utilize technology, media, and processes of painting with those of other artsdisciplines.


High School Painting I

Visual Arts 144


1 a Students choose a single composition and recreate itfour times using different painting media and techniqueseach time.

Checklist using statedobjectives

2 a Students select a theme or idea and utilize knowledge ofcolor theory to express feelings or emotions in apainting.

Checklist using statedobjectives

3 a,b Students select an artist from a particular time period,study their work, and recreate the style and techniqueusing a contemporary theme.

Rubric using statedobjectives and classcritique of work

4 a,b Students choose two styles of paintings from differentperiods. Create original artwork that combines ideasfrom both styles.

Rubric using statedobjectives and classcritique of work

5

7

b

b

Students list ten common subjects or themes forpaintings then choose one and write a paragraphexplaining why they think it is often used and why ittranscends time and culture.

Written report andclass discussion usingteacher-guidedquestions

6 a,b Students study works from the Renaissance. Theychoose one that appeals to them and recreate it usingcurrent iconography (e.g., the Mona Lisa at a rockconcert).

Checklist using statedcriteria and classcritiques

8 a,b Students research paintings from ancient cultures andexplore the meaning and function of those paintingscompared to paintings from more modern times.

Checklist for writtenreport and classdiscussion

9 a Students examine non-western and western paintingsand discuss them in relation to different aestheticviewpoints.

Rubric based on statedcriteria

10 a,b Students write a paper discussing the differencesbetween classic and romantic styles and their purposes,including which style they like better and why.

Rubric for writtenreport and classdiscussion

11 b Students make a study of art related careers and reportto the class.

Checklist and oralpresentation

12 a Students divide into groups and is assigned a period inhistory. Students study the social, political, economic,and religious events of the time and how the arts wereconnected and impacted by those events.

Written reports andoral presentation


Visual Arts 145


PAINTING II(Proficient)


This high school program of study focuses on advanced creation and study ofpainting and continues the development of a body of work for inclusion in a portfolio. Itinvolves a broad range of painting media, techniques, and processes. Building onconcepts and skills acquired in prerequisite courses—Visual Arts II, and III, or PaintingI and Drawing—students will work at a more advanced level applying their knowledgeof production, critical analysis, history and culture, aesthetics, and connections amongthe visual arts, other content areas, and everyday life. Prerequisite requirement may bewaived upon teacher recommendation based on a review of a body or workdemonstrating accomplishment of Visual Arts I and II competencies. This program ofstudy is to be used in developing curriculum for the following course:

Painting II





Visual Arts 146


PAINTING II(Proficient)

CONTENT STRANDS:



1. Demonstrate originality, superior skills, and craftsmanship in selecting andusing various painting media, techniques, and processes to create and studydrawings. (CP, CA)

a. Select and utilize various painting media, techniques, and processes to developadvanced skills, confidence, and sensitivity to create works of art thatcommunicate ideas.


c. Refine and assess the use of media, techniques, and processes to createvarious paintings.

d. Utilize new technology in art and design while creating and studying paintings oftheir own and others.

e. Investigate various methods of presenting paintings for public presentation andportfolio development.

2. Effectively use elements of art and principles of design and various paintingmedia, techniques, and processes to communicate intended meaning. (CP,A)

a. Reflect on their own paintings as they integrate visual, spatial and temporalconcepts with subjects, themes, symbols, and ideas to improve communicationof intended meaning.

b. Select appropriate elements of art and principles of design to use in the creationof their own paintings in commercial art and fine art.

c. Employ appropriate visual arts vocabulary related to elements of art andprinciples of design as paintings are created and studied.

d. Initiate and solve challenging painting problems independently using a variety ofmedia, techniques, and processes.


Visual Arts 147

3. Effectively use various painting media, techniques, and processes to createworks of art that evoke a range of responses. (CP)

a. Understand that artists use painting media, techniques, and processes toproduce a wide range of effects which affect viewers differently.

b. Recognize how artists select specific painting media, techniques, and processesto achieve intended effects.

c. Produce a body of work to develop an understanding of artist’s intent.

4. Use perceptual skills and fully expanded visual arts vocabulary to makeinformed judgments while creating and studying complex paintings. (CA, CP)


b. Apply the visual and organizational components through writing and speakingwhile creating paintings.

5. Analyze the use of appropriate models of criticism for use when reading,writing, and speaking about paintings from different cultures, times, andplaces. (CA)

a. Identify various theories of critical analysis.b. Employ critical analysis theories in analyzing one’s own paintings and those of



6. Analyze the impact of artists and their painting on society. (HC)

a. Compare and contrast between meanings of works of art by examining howspecific paintings are created and how they relate to historic and culturalcontext.

b. Research the meaning of paintings in context to the culture in which it wascreated and how meaning might be lost if context was changed.

7. Analyze the connections among subject matter, symbols, themes, andpurposes in paintings across cultures, times, and places. (HC)

a. Compare and contrast different ways artists have conveyed common themesacross historical periods through paintings.

b. Research how the functions of art change as society changes and the ways thevisual arts impact society.


Visual Arts 148

8. Understand the roles of critics, historian, aestheticians, teachers and artistsacross cultures, times, and places. (HC)

a. Explore the impact of culture, time, and place, on the characteristics ofpaintings.

b. Compare and contrast a variety of historical and cultural contexts in terms offunctions and purposes in paintings.

9. Apply knowledge of aesthetics to develop personal aesthetic philosophies.(A)

a. Explore different aesthetic philosophies as a means of understanding anddeveloping a personal aesthetic in responding to paintings.

b. Discuss and defend answers to broad aesthetic questions about paintings, theartist, and their role in contemporary society.

10. Understand that contextual factors influence how communities respect,value, and derive meaning from paintings. (A)

a. Identify the intended purpose of paintings through the use of specific imageswithin the works.

b. Utilize individual responses to the characteristics of paintings while interpretingand discussing that work.

11. Utilize the meaningful integration of painting concepts and skills withknowledge in other subject areas to explore options for career and lifechoices. (C)

a. Explore the role of painters and the impact they have on the community andsociety.

b. Research career options in the painting as a possible life choice.

12. Incorporate common concepts, technologies, media, and processes ofpainting and the visual arts and relate those to other subject areas to conveymeaning in works of art. (C, CP)

a. Utilize the creative process of painting and other content areas as they relate toeach other.

b. Utilize technology, media, and processes of painting and the visual arts withthose of other arts disciplines.

c. Effectively utilize cooperative skills while creating paintings.


High School Painting II

Visual Arts 149


1 a,c Students choose a favorite quote and create an imageto express the idea behind the quote as well as utilizingthe text as part of the imagery.

Rubric based on statedcriteria and classcritique of work

2 a,b Students choose a common object and present it in anuncommon way in a painting through the use of designelements. Create a border that enhances the overalltheme.

Rubric based on statedcriteria and classcritique of work.

34

ab

Students design and execute a painting project thatutilizes prior learning in design concepts andtechniques. Present the work in a professional manner.

Student designedassessment and classcritique.

5 a Students research various theories of art criticism andapply them to particular works of art.

Class discussionbased on criteria

6 b Students compare and contrast works of art from twodifferent periods. Create paintings using ideas from bothperiods.

Class critique of workand class discussion

7 a Students write a report on a common theme usedacross time, place, and culture (e.g., mother and child)and create a painting using the same theme that fitsyour own time, place, and culture.

Rubric based on reportcriteria, classdiscussion, classcritique

8 b Students research the work of the Ashcan School andreport on the meaning and functions of those works ofart.


93

ba

Students select two paintings from different cultures ortimes and research the aesthetic philosophies of theenvironment of origin. Students create presentationsexplaining the status of the two works as art from theviewpoint of the originating culture, and the student’sown perspective. Students create a painting in themanner and style of one of the cultures or times studied.


10 a After studying paintings that were created as social orpolitical commentaries, determine what images wereeffective in making the desired statements, and whatthose images meant to the particular community oforigin.

Class discussionbased on criteria


High School Painting II

Visual Arts 150

11 a Students view a biographical video of an artist (painter’slife). Students take notes in watching the film recordingthe role of the artists and the impact they have on thecommunity and society. At selected intervals to pause,students will discuss their findings.

Class discussionbased on criteriaEvaluation on notetaking

12 b Students create a digital painting that has as its sourceof inspiration some element studied in another subjectarea (e.g., a poem from Language Arts, a mathematicalconcept, sports activity, historical event.) using as amedium, a computer tablet (e.g., Intuos, Wacom) andcomputer software (e.g., Painter). Students printcompleted original file. Students import the file into aphoto editing software (e.g., PhotoShop) and createvariations of the original using various filters. Studentsprint best pieces and create a display of the original andits variations. Students have a show of their works andinvite the source teachers and classes to the opening.

Teacher/studentcritique


Visual Arts 151

VISUAL ARTSHIGH SCHOOL PHOTOGRAPHY

(Proficient)


This program of study focuses on developing in-depth knowledge and skills intwo-dimensional design with photographic media. Building on introductory levelconcepts and skills acquired in middle level visual arts courses, students continue toincrease their knowledge of design as applied to photographic works, critical analysis,history and culture, aesthetics, and connections among the photographic arts, othercontent areas, and everyday life. Work will be limited primarily to black and whitemedia, techniques, and processes. This program of study is to be used in developingcurriculum for students in the following course:

Photography





Visual Arts 152

VISUAL ARTSHIGH SCHOOL PHOTOGRAPHY

(Proficient)

CONTENT STRANDS:



1. Apply proficient skills and craftsmanship in selecting and using variousphotographic techniques and processes to create and study photographicworks. (CP)

a. Create photographs that communicate original ideas using a variety of media,techniques, and processes.

b. Study a number of photographs, their own and those of other artists, todetermine how the selection of media, technique, or process communicates theoverall idea.

c. Practice safety and conservation in the use of tools, materials, and equipmentd. Explore the use of new technology in art and design while integrating these into

their own photographic works.

2. Understand how to select and use the elements of art and principles ofdesign applied through photographic techniques and processes related to thecommunication of meaning. (CP)


b. Explore the influence of new technology on photographic processes and how iteffects communication of meaning in works of photography.

3. Understand how photographic media, techniques, and processes createeffects that evoke a range of responses. (CP)

a. Understand that visual effects produced through photographic mediatechniques, and processes evoke a range of responses (e.g., dread, hope,despair, joy, pleasure, pain).

b. Understand that effects resulting from the use of photographic media,techniques, and processes are factors that affect visual perception.


Visual Arts 153

c. Recognize that the choice of photographic media, techniques, and processesresults from the artist's thinking about how best to achieve specific effects.

d. Analyze artistic intent in own photographs in relation to form, function andpurpose.

4. Utilize perceptual skills and apply photographic arts vocabulary to makeinformed judgments while creating and studying photographic works. (CA)

a. Effectively use photographic visual arts vocabulary, through speaking or writing,when critiquing own photographs and those of others.

b. Recognize and understand photographic visual arts vocabulary related totechnique and media as photographs are created.

c. Use appropriate visual art and photographic vocabulary related to technique andmedia as photographs are created.

d. Utilize the visual and organizational components of art and design while creatingphotographs.

5. Understand that a wide range of theories of critical analyses exist and providevalid methods for studying the characteristics of photographs. (CA)

a. Examine the work of self and others to determine the intentions of the artist increating a particular photograph.

b. Recognize the theories of critical analysis and how they are used in viewing andcreating art.

c. Identify different ways that photography provides unique modes for expressingideas, actions, and emotions.

d. Recognize ways that artist and viewer may interpret photographs differently.

6. Understand that technology impacts the roles, functions, and purposes ofartists, works of art, and careers in photography differently according toculture, time, and place. (HC)

a. Analyze how the meaning of a specific photograph might change if it weretransported to another time frame.

b. Examine ways that technology is reflected in the photograph and how meaningmight be lost if the context was different.

c. Understand how the context of the artist, the context in which a photograph wascreated, the context of the viewer, and the context in which the photograph isviewed can impact the interpretation of the work.


Visual Arts 154

7. Demonstrate an understanding and application of universal themes,concepts, forms, and functions as sources for content in photographs. (HC)

a. Discuss possible meanings of works of photographic art by examining howspecific photographs are created and how they relate to historical and culturalcontexts.

b. Identify different ways artists have conveyed common themes or conceptsacross historical periods through photography.

c. Investigate the functions of different photographs and photographic processes insociety and ways the photographic arts have impacted society.

8. Analyze how factors of time and the visual arts influence the characteristicsof photographic art and design. (HC)

a. Relate how factors of cultures, times, places, and the photographic artsinfluenced each other.

b. Recognize a variety of historical and cultural contexts in terms of functions andpurposes of photographic media.

c. Compare and contrast characteristics and purposes of similar photographs froma variety of cultures, times and places.

d. Discuss how photographs differ visually, functionally, and by process, anddescribe how these differences relate to history and culture.


a. Recognize that there are multiple answers to broad aesthetic questions andexplore the implications of various purposes of photography.

b. Explore different theories of aesthetics.


a. Investigate how specific images originated in photographs for an intendedpurpose.

b. Analyze how various individual responses to the characteristics of photographicart can serve as a means for interpreting that work.

11. Integrate photographic concepts and skills with knowledge in other subjectareas to provide meaningful tools for use in everyday life. (C)

a. Research the roles of contemporary artists and photographs in their owncommunity and society.

b. Analyze career options in the field of photography.


Visual Arts 155

12. Analyze how common concepts, technologies, and processes of thephotographic arts relate to those in other subjects. (C)

a. Compare and contrast the creative processes in photography to that in othercontent areas.

b. Compare the similarities and differences in the use of technologies, media, andprocesses of photography with those of other arts disciplines.

c. Utilize the characteristics of photography to enhance the study of themes in thehumanities, sciences, and other curricular areas.


High School Photography

Visual Arts 156

Comp. Obj.Suggested

Teaching StrategiesSuggested

Assessment

1 a Students create photographs using a variety ofmethods (e.g., pin hole, 35mm, Polaroid, digital).

Rubric based on criteriaassigned

2 b Students divide into teams. Teams create areport—written or electronic—that illustrates atimeline delineating the evolution of photographicprocesses.


3 b Students create a series of photographs about aconcept, issue, or theme. Students write reflectionson the effectiveness of their resulting works incommunicating artistic intent.

Rubric based on overallquality and expression ofintent

4 a, b, c Using a range of photographic works, conduct awhole class critique. Students must correctly applytheir knowledge of photographic processes,concepts, and vocabulary in describing andanalyzing works.

Teacher observation andguiding questions

5 c In writing, students select and analyze a photograph(their own or those of others) regarding whyphotography was the best medium for expressingthe ideas, emotions, or actions depicted.

Rubric

6 b,c Students analyze photographs in relation to culturaland historical contexts. In small groups, studentsprovide evidence of contextual characteristics thatare grounded in the images of the photos. Studentsrecord data on a research form designed to guidestudent learning.

Rating scale based oncriteria set forth onresearch form

7 b Using the Internet to acquire images, studentsassemble a portfolio of photographs that representuniversal subject matter, themes, symbols, etc.Format of portfolio can be designed to fit theresources of the specific classroom. Students mounta display of the portfolios in the school environmentto share with peers and other teachers,

Rubric

8 a,b,c,d Using the photographs of prominent artists, studentsdetermine how photographs provide historicalrecords of specific times and places. Studentscreate a series of photographs that document atime, place, or meaningful event in their lives.

Rubric

9 a Students debate issues related to photography asan art form versus photography as a technologicalcraft.

Rating scale


High School Photography

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10 a Investigate the impact of photography on that ofportraiture. How does the accessibility ofphotography affect how people value portraitpainting?

Teacher observation andprobing questions

11 a Using a wide variety of photographs, studentsanalyze works to determine their intended purpose,and the role of the photographer in communicatingmessages to the larger community. Students workin teams with sets of at least five contrasting photos.

Spreadsheet describingpurposes and roles

12 b Students select a type of art from another discipline(i.e., jazz music, dramatic monologue, classicalballet) and compare it with photography todetermine similarities and differences in theprocesses used to create the art and how theprocesses may contribute to or detract from thefinished product.

Rubric


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VISUAL ARTS

The Literature Connections section is designed to serve as a guide and first-stop source formaking cross-curricular connections. The titles are not extensive and other books should beused in the classroom.


Ackerman, Karen SONG AND DANCE MAN. Knopf, 1988. Once a song anddance man, Grandpa reclaims his youth and profession beforethe delighted eyes of his three grandchildren one afternoon. Byworking ingeniously in shadows and silhouettes that hint at ayounger and more vibrant Grandpa and by using smallexplosions of color, the artist further enhances the blending ofpast and present. Topics: Line, movement, color

Adam, Robert BUILDINGS: HOW THEY WORK. New York: Sterling PublishingCo. Inc., 1995. This book explores architectural design, function,building materials throughout the world taking into considerationthe impact of climate, geographic location, etc. Topics: Excellentsocial studies connections

Aliki HOW A BOOK IS MADE. Harper & Row, 1986. Describes thestages in making a book, starting with the writing of themanuscript and the drawing of the pictures, and explaining all thetechnical processes leading to printed and bound copies. Topics:Bookmaking, art careers

Anderson, Walter AN ALPHABET. Jackson, MS: University Press of Mississippi,1984. A complete alphabet illustrated by the woodblock printingof Mississippi artist, Walter Anderson. Topics: Resource fororiginal alphabet block printed designs

Angelou, Maya LIFE DOESN’T FRIGHTEN ME. New York, Stewart, Tabori andChang, 1978. Maya Angelou confronts personal fears with theawareness that the power to dispel fear is based on the faithfound within ourselves. This powerful poem is illustrated with theimages of graffiti artist, Jean-Michel Basquait. A short biographyof Basquait is included. Topics: Feelings, artists’ lives,contemporary artists

Anholt, Laurence CAMILLE AND THE SUNFLOWERS: A STORY ABOUTVINCENT VAN GOGH. Barrons Juveniles, 1994. When Vincentthe painter comes to town, Camille and his family befriend andpose for him until one day the town asks the painter to leave. Thestory is simply and sensitively told in the first person by the youngboy Camille. Illustrated in pen and watercolor with a light, easystyle and peppered with reproductions of several van Gogh


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paintings, the fact-based story is a fine introduction to van Gogh.This book will show children how art transforms ordinary things.Topics: Role of artists, painting aesthetics

Anholt, Laurence DEGAS AND THE LITTLE DANCER : A STORY ABOUT EDGARDEGAS. Barrons Juveniles, 1996. Marie wanted to be the mostfamous ballerina in the world, but because her family had too littlemoney for lessons she began modeling at the ballet school. Thepainter for whom she modeled was Edgar Degas. When Degas'sfigure of The Little Dancer was finished, Marie became the mostfamous dancer of all. This is an introduction to the life of a great19th century French artist, with beautiful impressionisticillustrations and reproductions of Degas' own work. Topics: Roleof artists, movement (dance), painting

Anholt, Laurence LEONARDO AND THE FLYING BOY. Barron Juveniles, 2000.Anholt tells how young Zoro works with Leonardo as the masterpursues his scientific and engineering advances and creates hismasterpieces. Eventually, Zoro becomes so curious about theinfamous flying machine that he and another apprentice, a "wildboy," try a test flight, with disastrous results. The fictional storyends with factual notes about Leonardo and the real Zoro.Topics: Artists, flight, creativity

Anholt, Laurence PICASSO AND THE GIRL WITH A PONYTAIL: A STORYABOUT PABLO PICASSO. Barron Juveniles, 1998. Thefascinating story--based on true fact--of a world-famous artist anda little girl who became one of his models. Topics: Artists, artcareers

Baker, Alan WHITE RABBIT’S COLOR BOOK. The Horn Book, Inc., 1994.Sleek illustrations set against a clarifying white backgroundfeature artistic rabbits who, through sequences of related events,teach basic concepts. It follows White Rabbit while she goesthrough some dramatic color changes by dunking herself in tubsof colored paint. Topics: Color wheel, color mixing

Banks, Lynne Reid THE INDIAN IN THE CUPBOARD. Doubleday, 1985. Whatcould be better than a magic cupboard that turns small toys intoliving creatures? Omri's big brother has no birthday present forhim, so he gives Omri an old medicine cabinet he's found.Although their mother supplies a key, the cabinet still doesn'tseem like much of a present. But when an exhausted Omridumps a plastic toy Indian into the cabinet just before fallingasleep, the magic begins. Turn the key once and the toy comesalive; turn it a second time and it's an action figure again. Topics:Imagination, love

Bjork, Christina LINNEA IN MONET’S GARDEN. Stockholm, Sweden: Rabe &Sjogren Publishers, 1985. Linnea has visited Claude Monet'sgarden! In Paris, she got to see many of his actual paintings.Now she understands what it means for a painter to be called an


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Impressionist. This innovative art book for children contains full-color photos of many of Monet's famous paintings. (9-12) Comeswith a video. Topics: Artists, Impressionism, France, painting

Brown, Laurene Kransy, VISITING THE ART MUSEUM. E. P. Dutton, 1986. As a familywanders through an art museum, they see examples of variousart styles from primitive through twentieth-century pop art.Topics: Aesthetics, history/culture

Burn, Doris ANDREW HENRY’S MEADOW. Coward-McCann Inc., 1965.Andrew Henry’s enthusiasm for building was not appreciated byhis family at home, so he moved to a meadow and built a houseto suit his needs. Eventually six other children also move to themeadow and he builds a wonderful house for each of them,designed to reflect their individual hobbies, including a house forbird watching and a castle. Topics: Architecture

Burnett, Frances THE SECRET GARDEN. Harpercollins Juvenile Books, 1987.Orphaned Mary Lennox comes to live with her disconsolate uncleon the Yorkshire moors. She hears a distant crying at night, andno one will give her an explanation. When she meets Dick on, aboy who charms birds and animals, and discovers a walled,secured garden, the secrets of Misselthwaite Manor begin toemerge. Topics: Flowers/plant life

Carle, Eric THE VERY HUNGRY CATERPILLAR. Philomel Books, 1987.Carle's classic tale of a voracious caterpillar who eats his waythrough the days of the week and then changes into a beautifulbutterfly. Topics: Collage, science—insects

Cummings, Pat TALKING WITH ARTISTS. Simon and Schuster Books for youngartists, 1995. This is a collection of interviews with illustrators ofchildren’s books. They tell about what they were like as childrenand how they developed their interests in art. This book couldalso be a resource for elementary teachers. Topics: Art, careers,children’s literature.

Cummins, Julie WINGS OF AN ARTIST. New York: Harry N. Abrams. 1999.

and Kiefer, Barbara Twenty children’s book illustrators talk about their art. Includedare Graeme Base, Susan Jeffers and Maurice Sendak. Topics:Artist lives, children’s literature

Crews, Donald FREIGHT TRAIN. Morrow, 1985. Clear bright illustrations showall the cars of a train bringing the reader the excitement ofmovement through day and night, country and city. Topics:Stenciling, color

Dahl, Roald THE BFG. Puffin, 1998. Tells the story of two opposites comingtogether, becoming friends, and coming up with an idea to saveothers. The Big Friendly Giant snatches Sophie, a little Englishgirl, from her window, during the witching hour. Sophie and theGiant venture off to Giant Country, where she learns of the other


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"human bean" eating giants and the true personality of the BigFriendly Giant. The two learn many things about each other anddevise a way to save the humans of the world from being eatenby the nine other giants. The Big Friendly Giant and Sophie workwell with and learn a lot from each other. The BFG conveys theimportant themes of friendship, understanding, and humorousimagination. Readers of any age can appreciate the book. TheBFG is heart-warming, yet downright funny! Topic: Feelings,humor

Dahl, Roald JAMES AND THE GIANT PEACH. Puffin, 1983. Wonderfuladventures abound after James escapes from his fearful aunts byrolling away inside a giant peach. Topics: Adventure, emotions

DePaola, Tomie THE ART LESSON. Scott Foresman, 1997. Having learned tobe creative in drawing pictures at home, young Tommy isdismayed when he goes to school and finds the art lesson theremuch more regimented. Finally, an art teacher gives him achance to express himself. Topics: Self-esteem, creativity

DePaola, Tomie THE LEGEND OF THE INDIAN PAINTBRUSH. Scott Foresman,1996. This vivid retelling of an old Texas legend reveals how theIndian paintbrush, the state flower of Wyoming, first bloomed,and how a young brave dreams of creating a painting that willcapture the beauty of a sunset. Topics: Native American culture,artwork, symbols

Demi, Hetz LIANG AND THE MAGIC PAINTBRUSH. Henry Holt and Co.,1998. When a poor boy in China receives a magical paintbrush,everything he paints turns to life. But the wicked emperor wantsto capture the boy when he hears the news. The story will excitereaders as the ruler gets his just reward when the boy creates amasterpiece that spells his doom. Topics: Chinese culture,artwork

Dorros, Arthur THIS IS MY HOUSE. New York: Scholastic Inc., 1992. Text andillustrations depict the different types of houses lived in bychildren all over the world. On each page “This is my house”appears in the appropriate native language. Topics:Connections, social studies and world languages

Ehlert, Lois PLANTING A RAINBOW. Harcourt Brace & Co., 1988. This is abeginner’s book of colors. It is beautifully Illustrated with eye-catching illustrations of abstracted flowers. Topics: Colors, plants

Ehlert, Lois WAITING FOR WINGS. Harcourt Brace & Co. 1988. This bookis not about art, but the beautiful illustrations of butterflies andflowers cannot help but inspire the artist in everyone. GorgeousCollages. Topics: Lilfe cycles, flower identification, collage


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Garza, Carmen Lopez IN MY FAMILY. San Francisco: Children’s Book Press. 1996.This book is written in both Spanish and English and usesGarza’s wonderful paintings to illustrate her life growing up in aMexican-American family. Topics: Daily life, family, celebration

Garza, Carmen Lopez MAGIC WINDOWS. San Francisco: Children’s Book Press.1999. Spanish and English translations of stories related to thetradition of Papel picado, (cut paper art) and Mexicancelebrations. Topics: Daily life, celebrations, Day of the Dead

Geisert, Arthur THE ETCHER’S STUDIO. Boston Houghton Mifflin Co. 1997.The story of a young boy who works in his Grandfather’s etchingstudio. He also has dreams about the printed works he colors byhand. This book explains the process of etching and how printsare made. Easy reading. Topics: Art, careers, etching.

Greely, Valerie WHITE IS THE MOON. Macmillan Publishing Co., 1990. Shortconsecutive verses about colors found in animals and nature areartfully framed and paired with a facing scene. Topics: Color

Hall, Donald OXCART MAN. Viking Press, 1979. Journey to the PortsmouthMarket of long ago with a farmer whose cart is filled with all thethings his family has produced over the year. After he sellseverything, he returns home, where the cycle of stitching,carving, candle making, maple tree tapping, sheep shearing,planting, and other tasks begins again. Illustrations resemble theEarly American technique of painting on wooden objects. Topics:Early America, Early American arts and crafts

Heller, Ruth ANIMALS BORN ALIVE AND WELL. Scholastic Inc., 1982.Here are twenty double-page spreads all bright with mammals.Large, tiny, prehistoric, unusual--they are all here in repeatablerhymes, and a million dollar word (viviparous) is tossed in forgood measure. Topics: Animals

Howard, Nancy Shroyer JACOB LAWRENCE. Worcester, MA: Davis Publications, 1996.The story of Jacob Lawrence for young children. It asks studentsto take a closer look at details and gives them many suggestionsfor making, looking at and responding to art. Topics: Making art,responding to art, African-American heritage

Hubbard, Patricia MY CRAYONS TALK. New York: Henry Holt and Co., 1996. Abeginner book of colors and crayons. Topics: Drawing, colors

Hucko, Bruce A RAINBOW AT NIGHT. San Francisco: Chronicle Books.1996 Similar to “Where there is not name for art.” Easierreading, the art of Navajo children is explained in their ownwords--good comparison with the Pueblo children’s art.

Jenkins, Jessica THINKING ABOUT COLORS. Dutton Children’s Books, 1992. Ajazzy picture book explores the instinctive ways people react to


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colors by taking one band of the spectrum at a time anddiscussing the different expressions, emotions, and moods itevokes. Topics: Colors, feelings

Jonas, Ann COLOR DANCE. New York: Greenwillow Books, 1989. Abeginning reading book. Children dance their way through colormixing. As their scarves cross, new colors are made. Topics:Reading, color mixing

Jonas, Ann ROUND TRIP. Green Willow Books, 1983. This book isn't justthe story of a round trip--it is a round trip. Read forward and lookat the sights, then flip the book over to see something different onthe way back. Ann Jonas' amazing two-way trip is guaranteed tochange the way students look at things. Topics: Travel

Johnson, Crockett HAROLD AND THE PURPLE CRAYON. HarperCollins Juvenilebooks, 1981. An ingenious and original picture story in which asmall boy out for a walk--happily with crayon in hand--drawshimself some wonderful adventures. Topics: Drawing

Kransano, Rena FLOATING LANTERNS & GOLDEN SHRINES. Berkley, CA:Pacific View Press, 2000. This is the story of a variety ofJapanese festivals and celebrations. Topics: Japan, Japanesearts, celebrations.

Laden, Nina WHEN PIGASSO MET MOOTISSE. Zany story of two artisticgeniuses, one big disagreement, and some creative conflictresolution add up to a hilarious modern art masterpiece. Topics:Creativity, conflict resolution

Lelooska, Chief SPIRIT OF THE CEDAR PEOPLE. DK Publishing, Inc., 1997.These are the myths and stories of Northwest Coast Indians,which are illustrated in the style of the native people.

Littlechild, George THIS LAND IS MY LAND. Emeryvill, CA: Children’s Book Press,1993. This is a children’s book written and illustrated by a NativeAmerican artist. He tells the story of his people through their owneyes. Children will relate to these rich illustrations. Topics:Native American, contemporary artists.

Locker, Thomas IN BLUE MOUNTAINS. New York, Bell Pond Books: 2000. Thisis simply a beautiful book. The illustrations of the Hudson valleyat all times of the day and night and in different seasons arebreathtaking. The illustrator recreates the landscapes of theHudson River School of Art with a modern perspective. Topics:Beauty, feelings, landscapes, wilderness

Louie, Ai-Ling YEH-SHEN: A CINDERELLA STORY FROM CHINA. PhilomelBooks, 1982. Yeh-Shen earns her wishes through kindness to amagic fish. The illustrations have a misty, ethereal quality that


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make everything look as if it were taking place in a dream.Topics: Chinese culture, illustration

Martin, Bill Jr. KNOTS ON A COUNTING ROPE. Henry Holt & Co., Inc., 1987.In this poignant story, the counting rope is a metaphor for thepassage of time and for a boy's emerging confidence facing hisgreatest challenge: blindness. Topics: Indian culture

Mayer, Mercer THERE’S A NIGHTMARE IN MY CLOSET. Dial Books for YoungReaders, 1984. Childhood fear of the dark and the resultingexercise in imaginative exaggeration are given that specialMercer Mayer treatment in this humorous fantasy. Topics:Imagination

Mayhew, James KATIE AND THE MONA LISA. Orchard books, 1999. At themuseum, young Katie magically climbs into the painting of theMona Lisa, who is sad and lonely. In an attempt to cheer her up,the two climb into other paintings. Watercolor illustrations arecombined with photos of the paintings. Topics: Watercolor,portraits, museums

Mayhew, James KATIE MEETS THE IMPRESSIONISTS. Orchard Books, 1999.Not for the first time, the heroine of a picture book steps intosome museum paintings and learns a little about the artists andtheir eras. In search of flowers for her grandmother, Katie firststeps into a Monet, The Luncheon, and romps with the painter'sson, Jean. Next Katie drops in on Renoir's Girl with a WateringCan, revisits Jean in Monet's Field of Poppies, and eventuallyends up on stage with Degas' ballerinas. Topics: History/culture,Impressionism, painting, role of artists

McDermott, Gerald ARROW TO THE SUN: A PUEBLO INDIAN TALE. Viking Press,1977. An expression of the universal myth of the hero-quest, thisbeautiful story also portrays the Indian reverence for the sourceof life: the Solar Fire. Vibrant full-color illustrations capture theboldness and color of Pueblo art. (9-12) Topics: NativeAmerican, culture, symbols

MacLachlan, Patricia SARAH PLAIN AND TALL. Harpercollins Juvenile Books, 1985.In 1910, a severe New England woman responds to a newspaperad placed by a melancholy Midwest widower with two youngchildren, who is looking for someone to join him and hismotherless family. Topics: Early America, Early American artsand crafts

McLerran, Alice ROXABOXEN. Spoken Arts, 1991. The world of Roxaboxen isrevealed where sand and rocks, wooden boxes, greasewood,and ocotillo change into homes, streets, and two ice creamshops. Topics: Architecture, sculpture, communities


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Micklethwaith, Lucy A CHILD’S BOOK OF ART: GREAT PICTURES, FIRSTWORDS. Darling Kindersley, Ltd., 1993. Each picture in thisbook is accompanied by a first word that can be the starting pointfor conversation. Scenes from everyday life around the worldand throughout history offer endless opportunities for discussion.Topics: Art vocabulary, community development, aesthetics

Micklethwait, Lucy I SPY. New York, A Mulberry Paperback: 1991. An alphabetbook that uses works of art to help children find objects that beginwith letters of the alphabet. Topics: Reading, art

Miles, Miska ANNIE AND THE OLD ONE. SRA School Group, 1986. ANavajo girl unravels each day’s weaving on a rug whosecompletion she believes will mean the death of her grandmother.Topics: Native American culture, weaving

Moore, Revais NATIVE ARTISTS OF NORTH AMERICA. Santa Fe, NM: JohnMuir Publications, 1993. Profiles five contemporary NativeAmerican artists and their art. Topics: Contemporary artists,Native American, Occupations

Munsch, Robert PURPLE, GREEN AND YELLOW. Annick Press Ltd., 1992. Inher excitement at finding the most brilliant, most permanent set ofcolor pens, Brigid gets ink all over herself, but thanks to a people-colored marker, she comes to look like her old self again--andbrighter than ever. Topics: Color

Musgrove, Margaret ASHANTI TO ZULU:AFRICAN TRADITIONS. Hong Kong: WingKing Tong Company, Ltd., 1976. This beautifully illustratedalphabet book explains some of the traditions and customs oftwenty-six Africa tribes beginning with the letters from A to Z.Accuracy and detail exists in the pastel, watercolor, and acrylicillustrations. Each page includes a man, woman, child, livingquarters, an artifact, and a local animal. Caldecott Medal Winner,1977. Topics: Social studies connections

Myers, Christopher A. BLACK CAT. Scholastic Trade, 1999. A read-aloud poem andcollage artwork invite readers on an eye-opening journey throughthe city from a stray cat’s perspective as it searches for a home.Topics: Poetry, collage, home

Nikola-Lisa, W. THE YEAR WITH GRANDMA MOSES. Henry Holt and Co.,2000. Thirteen detailed folk-art paintings by Grandma Moses,depicting rural activities such as field plowing, grain threshing,and sleigh rides, are paired with excerpts of her writing about lifein upstate New York. Topics: Role of artists, farm life,history/culture

Oneill, Mary HAILSTONES AND HALIBUT BONES: ADVENTURE INCOLOR. Doubleday & Co. Inc., 1989. With a compelling senseof rhythm and with images that are clear and fresh, O'Neill


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explores the spectrum in 12 poems and 12 different colors.Topics: Colors, how colors make you feel, poetry

Parillo, Tony MICHELANGELO’S SURPRISE. The Horn Book, Inc., 1999.After an unusual snowstorm in Florence, Sandro, a young pagein the Medici palace, searches for his father to ask him about thesurprise Piero de' Medici is planning. Sandro finally finds hisfather with Michelangelo, who is carving the surprise: a hugesnowman. Based on a real incident, the story and watercolorillustrations give the flavor of Florence in 1494. Topics: Italy,artists, history/culture

Paul, Ann EIGHT HANDS ROUND: A PATCHWORK ALPHABET. HarperCollins, 1991. A fresh and original book--using the names ofearly American patchwork patterns as the basis for an alphabet--has delightful, homey illustrations showing each pattern and thederivation of its name. (9-12) Topics: Patterns, quilt making

Pfister, Marcus THE RAINBOW FISH. North South Books, 1992. If you read thisvery popular book just before bed, and the light is still on in thehallway, you can make the rainbow scales glitter on the page,and realize why the Rainbow Fish was so proud of his beautifuldecoration. Sometimes, though, being too proud of outsidebeauty can blind a fish, or a child (or even, heaven forbid, aparent) to the beauty people hold inside. That's the lesson of thissimple tale, imported from Switzerland. Topics: Design, color

Pinkwater, Daniel M. THE BIG ORANGE SPLOT. Scholastic, 1977. Good Introductory story for lower elementary for drawing dream

houses. Topics: Architecture fantasy, colors, self expression

Provensen, Alice and Martin TOWN & COUNTRY. New York: Crown Publishers, 1984. Perfect for second grade, the illustrations in this book clearly Show differences between rural and city life. The illustrations use simple shapes to create the kinds of pictures that inspire young artists. Topics: Community, occupations

Ringold, Faith. TAR BEACH. Crown Publishers Inc., 1991. The book, originallycreated as a story quilt, recounts the dream adventures of eight-year-old Cassie, who flies above her apartment rooftop lookingdown on 1939 Harlem. Topics: Quilting, history/culture

Rogers, Paul THE SHAPES GAME. The Horn Book, Inc., 1990. A veritablekaleidoscope of colors and shapes, but the juxtaposition ofimages on each page overwhelms rather than illuminates. Thereis so much competition among the visual elements that one'seyes start twirling after a few seconds of concentrated looking.Topics: Shapes

Sendak, Maurice WHERE THE WILD THINGS ARE. Harpercollins JuvenileBooks, 1988. Max puts on a wolf costume and feels


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mischievous. He breaks some rules and is sent to bed withoutsupper. From there, his imagination takes over, a jungle grows inhis bedroom, and he goes on a magical journey of (self)discovery. The world he explores is populated by colorful, scary,and somewhat silly monsters who are tamed by Max. This bookis beautifully illustrated, the story flows rapidly and flawlessly, andthe language is simultaneously simple and loaded with meaning.Topics: Mask-making, reality/fantasy, expression

Seuss, Dr. HOW THE GRINCH STOLE CHRISTMAS. Random House,1957. The Grinch, whose heart is two sizes too small, hatesWho-ville's holiday celebrations, and plans to steal all thepresents to prevent Christmas from coming. To his amazement,Christmas comes anyway, and the Grinch discovers the truemeaning of the holiday. Topics: Christmas

Seuss, Dr. MY MANY COLORED DAYS. Knopf, 1998. The late Dr. Seusswrote the text for this wonderful book about feelings and moodsback in 1973 but didn't want to illustrate it himself. He hoped, "agreat color artist who will not be dominated by me," could befound to bring to it a, "new art style and pattern of thinking."Steve Johnson and Lou Fancher have provided paintings that notonly enhance the text but take the reader on a captivating journeyof their own. This book will delight children of all ages and is aterrific tool to encourage discussions of emotions. Topics:Colors, feelings

Silverstein, Shel A LIGHT IN THE ATTIC. Harper & Row, 1974. Silverstein'sbook of poetry encompasses satires, limericks, ballads,questions, tall stories, ridiculous situations, and a deft way withlanguage. Topics: Poetry, pen and ink drawings

Silverstein, Shel WHERE THE SIDEWALK ENDS. Harper & Row, 1981. With thisand his other poetry collections, Silverstein reveals his genius forreaching kids with silly words and simple pen-and-ink drawings.Topics: Poetry, pen and ink drawings

Sortland, Bjorn ANNA’S ART ADVENTURE. Lemur Pub Group, 1999. In amuseum, cartoon, painters and pictures include Rembrandt,Edward Munch, Picasso, Andy Warhol, Cezanne, Matisse,

Pollock, Dali, 20th Century art. Topics: Aesthetics, museums,artists

Spier, Peter PEOPLE. Doubleday, 1980. Emphasizes the differences amongthe four billion people on earth with minutely detailed andexquisite paintings of human beings on all four continents.Topics: Cultures

Spiotta-DiMare, Loren CAESAR: ON DEAF EARS. Benefactory, 1997. A deaf puppy isabout to be put down at the animal shelter because his disability


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makes him untrainable. But a person rescues him, and with loveand determination, gives the pup a happy home. Topics:Feelings, cultural sensitivity

Sullivan,Charles IMAGINARY GARDENS:AMERICAN POETRY AND ART FORYOUNG PEOPLE. Harry N. Abrams, 1989. Poems, splendidworks of art, and historical photographs are brought together inthis beautiful volume for young readers. Topics: Poetry,history/culture, aesthetics

Turner, Robin Montana MARY CASSATT. The Horn Book, Inc., 1993. Cassatt spentmost of her life in Europe, where she displayed tenacity andingenuity in circumventing the prevailing prejudices againstwomen artists. The combination of biography with artappreciation is both enlightening and intriguing. Because of herinterest in children as subjects, Cassatt is a particularly appealingsubject in this notable series. The life story of Mary Cassatt,illustrated by reproductions of her work, depicts her struggle toovercome sexism during the 1860s and become a professionalartist. Topics: Role of artists, pastels, children, history/culture

Udry, Janice A TREE IS NICE. HarperCollins, 1956. From trees that fill thesky to one tiny tree newly planted, this is a book full of reasonsfor appreciating trees. Topics: Trees

Van Allsburg, Chris THE Z WAS ZAPPED: A PLAY IN TWENTY-SIX ACTS .Houghton Mifflin Co., 1987. Chris Van Allsgurg's wonderfulartwork provides clues about what happens to each of the lettersof the alphabet. The text is rich with alliteration, from theavalanched "A" to the zapped "Z”. Topics: Creativity, illustration

Venezia, Mike VENEZIA'S "GETTING TO KNOW THE WORLD'S GREATESTARTIST" SERIES. Children’s Press. Venezia's illustrations arehumorous. His narrative is delightfully entertaining. His approachbrings the artist within reach of the young. His illustration of theParisian friends that Henri may have introduced to his parent's isjokingly exaggerated. The size of the book is perfect for smallerhands. It enables the young to have art within their grasp.Venezia gives the locations of the paintings and as a result, if thechild lives near one of the museums or will be near one onvacation, she/he would be able to see the original. DA VINCI.1994. FRANCISCO GOYA. 1994. MARY CASSATT. 1994.MICHELANGELO. 1994. MONET. 1990. REMBRANDT. 1994.VAN GOGH. 1994. DORTHEA LANGE. 2001. EDWARDHOPPER. 2000. HENRI DE TOULOUSE-LAUTREC. 1995.GRANT WOOD. 1996. BOTTICELLI. 1994. RAPHAEL. 2001.JOHANNES VERMEER. 2002. ROY LICHENSTEIN. 2002.ALEXANDER CALDER. 1998. DIEGO RIVERA. 1995.NORMAN ROCKWELL. 2001. PIETER BRUEGEL. 1994.PAUL KLEE. 1994. PAUL GAUGUIN. 1994. JACKSON


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POLLACK. 1994. PAUL CEZANNE. 1998. FRIDA KAHLO. 1999.GIOTTO. 2000. JACOB LAWRENCE. 2000. EDGAR DEGAS.2001. SALVADOR DALI. 1994. PICASSO. 1994. PIERREAUGUSTE RENOIR. 1996. EL GRECO. 1998. HENRI MATISSE.1997. GEORGIA O’KEEFE. 1994. ANDY WARHOL. 1997.MARC CHAGALL. 2000. Topics: Aesthetics, history/culture

Viorst, Judith ALEXANDER AND THE TERRIBLE, HORRIBLE, NO GOOD,VERY BAD DAY. Harper, 1996. A witty and perceptive storytreating the prickly subject of growing up. Topics: Emotions,drawings

Walsh, Ellen Stoll MOUSE PAINT. The Horn Book, Inc., 1996. Three clever whitemice outsmart a cat while dabbling in different primary colors.The simple texts and graphics make these two titles ideal asboard books. Topics: Color, color mixing

West, Tracey LIZ MAKES A RAINBOW: THE MAGIC SCHOOL BUS.Scholastic Trade, 1999. It was Keesha's turn to take Liz homefor the weekend. Carlos came over to help paint a rainbow onthe wall. They made a rainbow for Keesha's grandma on the wallwith only three colors: red, blue, and yellow. Topics: Color

White, E.B. CHARLOTTE’S WEB. Harpercollins Juvenile Books, 1999. Anaffectionate, sometimes bashful pig named Wilbur befriends aspider named Charlotte, who lives in the rafters above his pen. Aprancing, playful bloke, Wilbur is devastated when he learns ofhis destiny. Determined to save her friend, Charlotte spins a webthat reads, "Some Pig," convincing the farmer and surroundingcommunity that Wilbur is no ordinary animal and should besaved. In this story of friendship, hardship, and the passing oninto time, E.B. White reminds us to open our eyes to the wonderand miracle often found in the simplest of things. Topics: Farmlife

Winter, Jeanette MY NAME IS GEORGIA: A PORTRAIT. Silver Whistle, 1998.Presents, in brief text and illustrations, the life of GeorgiaO’Keefe, who drew much of her inspiration from nature. Topics:Role of artists, portraits, nature

Yashima, Taro CROW BOY. Viking Press, 1976. Long walks to and fromschool in Japan gave Chibi the opportunity to study nature.Scorned by his classmates for several years, Chibi’s talents arefinally recognized by his teacher. Through Chibi’s performance inthe talent show, people become aware of his gifts, his loneliness,and their own sensitivity. Topics: Japanese culture, aesthetics

Yenawine, Phillip STORIES. New York: Delacorte Press, 1991. A first book forlooking at art. Yenawine has selected Art works from theMuseum of Modern Art and asks children simple questions that


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invite them to analyze what is happening in the work. Topics:Stories, imagination, responding to art

Yenawine, Phillip LINES. New York: Delacorte Press, 1991. Yenawine explainsthe elements of art with illustrations from the collection of theMuseum of Modern art. Topics: Elements of art

Yolen, Jane THE RAINBOW RIDER. NY: Holiday House, 1975. A lonelyRainbow Rider looks for a friend in the desert. Only when hisrainbow is made with his own tears does he truly find a friend.Topics: Color, friendship

Yolen, Jane OWL MOON. Philomel Books, 1987. Among the greatest charmsof children is their ability to view a simple activity as a magicaladventure, such as a walk in the woods late at night. Jane Yolencaptures this wonderment in a book whose charm rises from itssimplicity. "It was late one winter night, long past my bedtime,when Pa and I went owling." The two walked through the woodswith nothing but hope and each other in a journey that willfascinate many a child. John Schoenherr's illustrations help bringrichness to the countryside adventure. The book won the, 1988,Caldecott Medal. Topics: Painting, snow scenes, illustration

Young, Ed LON PO PO: A RED-RIDINGHOOD STORY FROM CHINA.New York, Philomel: 1990. Through mixing abstract and realisticimages with complex use of color and shadow, artist andtranslator Young has transformed a simple fairy tail into aremarkable work of art. Numerous three-picture sequencesresemble the decorative panels of Chinese tradition. Topics:Chinese culture, fairy tales, abstraction

Zelver, Patricia THE WONDERFUL TOWERS OF WATTS. Tambourine Books,1994. This unusual picture book tells the true story of Old Sam(Simon Rodia), who constructed the Watts towers over a periodof 33 years. An Italian immigrant, Sam collected colored glassbottles, seashells, broken tiles, and assorted oddments andcemented them together in fantastic constructions that brightenedhis Los Angeles neighborhood and became famous all over theworld. Double-page illustrations show Sam his creations, and hisneighbors, especially the children who helped him collect "all thatjunk." Topics: Mosaics, recycling, creativity

Middle Level

Belloli, Andrea EXPLORING WORLD ART. Los Angeles: The J. Paul Getty Museum. 1999. This book explains Art from many cultures And its meaning. This is a wonderful resource for teachers,

But it is also written at a level appropriate for children. Topics:Social studies, art


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Creech, Sharon LOVE THAT DOG. Harper Collins Publishers, Inc., 2001. Amoving, amusing, and heartwarming tale about a boy namedJack who discovers how words can change his life.

Cummings, Pat TALKING WITH ARTISTS, Volume III. New York: ClintonBooks, 1999. In this volume, distinguished picture book artiststalk about their early experiences, answer questions mostfrequently asked by children, and offer encouragement toaspiring artists. Illustrations by each artist are featured. Theauthor, Pat Cummings, is also an award winning illustrator.

Duggleby, John STORY PAINTER. San Francisco, Chronicle Books: 1998. EasyReading. This is a biography of Jacob Lawrence and thepaintings he made to tell the story of the migration of AfricanAmericans from the South to the North after the Civil War.

Greenberg, J. & J., Sandra CHUCK CLOSE UP CLOSE: New York: DK Publishing, Inc.,1998. This is a biography of the revisionist artist who achievedprominence in the late 1960s for enormous, photographicallyrealistic, black and white portraits of himself and his friends. Anexcellent story of how an artist overcomes enormous physicalhandicaps.

Hacker, Carlotta GREAT AFRICAN AMERICANS IN THE ARTS. NY: CrabtreePublishing Co. 1997. This book profiles African-American Artistsin a variety of art disciplines. Among them are Alvin Ailey,Debbie Allen, Henry Ossawa Tanner and others.

Hoffman, Alice AQUAMARINE. Scholastic, Inc., 2001. Two best friendsspending their last summer together at a deserted beach clubdiscover a beautiful, brokenhearted mermaid stranded in theswimming pool. How they resolve her search for love and thussave her life teaches the girls that friendship is forever, and themagic can be found in the most unexpected places.

Holt, Kimberly Willis DANCING IN CADALLAC LIGHT. Penguin USA, 2001. Set in asmall southern town during the middle of the 20th Century,Dancing in Cadillac Light takes readers inside the heart and mindof Jaynell Lambert, an 11-year-old tomboy. Jaynell’s life is anever-changing mix of far-reaching dreams and down-to-earthrealities, all of it centered around the complex dynamics of herfamily.

Hucko Bruce WHERE THERE IS NO NAME FOR ART. Santa Fe, NM, 1966.The art of the Tewa Pueblo children illustrates how NativeAmerican children of today make and feel about their art. Thiswould also make a good resource for teachers of elementarychildren. Topics: Art, daily life, feelings children of the world

Koch, Kenneth and TALKING TO THE SUN. New York: Metropolitan Museum of


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Farrell, Kate Art, 1985. A book for children of all ages. This is an anthology ofpoetry illustrated by works of art from the collection of theMetropolitan Museum. Topics: Poetry, feelings

Krull, Kathleen LIVES OF THE ARTISTS. Harcourt Brace, 1995. Artistsincluded in this book are Da Vinci, Michelangelo, Hokusai,Cassatt and others. It is easy reading and most artists areexplained in one or two pages. It could also be used by upperelementary students. Topics: Lives of artists, biographies

Lauber, Patricia WHAT DO YOU SEE AND HOW DO YOU SEE IT? New York:Crown Publishers, 1994. This book explains the science ofseeing optics of vision and light. Color perception and the opticsof vision and light are illustrated and clearly explained. Topics:Perception, color theory

L’Engle, Madeleine A WRINKLE IN TIME. Bantam Doubleday Dell, 1973. MegMurry and her friends become involved with unearthly strangersand a search for Meg’s father, who disappeared while engaged insecret work for the government. Newbery Medal

Lifman, Jean ALEXANDER CALDER AND HIS MAGICAL MOBILES. NewAspinwall, Margaret York: Hudson Hills Press, Inc., 1981. This biography details the

life and joy-filled work of “Sandy” Calder, from the toys he madeas a child to the large sculptures and mobiles of his adulthood. Itexplains differences between stabiles, and mobiles and otherkinds of sculpture created by Calder. Topics: Three-dimensionalart forms, sculpture, biography

Neuschwander, Cindy SIR CUMFERENCE AND THE GREAT KNIGHT OFANGLELAND. Charlesbridge Publishing, 2001. Radius, son ofSir Cumference and Lady Di of Ameter, wants to be a knightmore than anything. To earn his knighthood, he needs to venturealone on a heroic quest. With only a family medallion for luck,Radius dodges dangers and dragons. The ultimate challengelies in a mysterious castle with a maze of many angles.

O’Dell, Scott ISLAND OF THE BLUE DOLPHINS. Bantam Doubleday DellBooks for Young Readers, 1971. The remarkable story of astrange and beautiful Indian girl who lives a serene andcourageous life as the solitary survivor on a rocky island off theCalifornia coast.

Paterson, K. THE BRIDGE TO TERABITHIA. Harper Collins Children’sBooks, 1987. The life of a ten-year-old boy in rural Virginiaexpands when he becomes friends with a newcomer whosubsequently meets an untimely death trying to reach theirhideaway, Terabithia, during a storm. Newbery Medal, 1978

Pranzer, Nora, CELEBRATE AMERICA IN POETRY AND ART. Hyperion, 1999.A rich diversity of American artists and poets are featured in this


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colorful publication. Fifty-six reproductions of art and works ofpoetry will help your students understand the Americanexperience. Brief biographies of the artists and poets areincluded.

Roalf, Peggy LOOKING AT PAINTINGS: FLOWERS. New York: HyperionBooks for Children, 1993. Artists have painted to convey theirlove of beauty, their spirituality, and their delight in fantasy. Thisbook helps students understand how great artists see when theypaint.

Roalf, Peggy LOOKING AT PAINTINGS: MUSICIANS. New York: HyperionBooks for Children, 1993. Painters have depicted musicians formore than two thousand years to express joy, beauty, andsometimes despair. This book provides insights into artists andmusicians, good connections between two arts disciplines.

Rochelle, Belinda WORDS WITH WINGS, A TREASURY OF AFRICANAMERICAN POETRY AND ART. Harper Collins Children’sBooks, 2001. Words and art take wing as you meet some of themost influential African American poets and artists of past andpresent generations. See the works of artists such as William H.Johnson, Faith Ringgold, and Jacob Lawrence, as well as thewords of poets such as Alice Walker, Langston Hughes, andMaya Angelou.

St. George, Judith SO YOU WANT TO BE PRESIDENT? Penguin Putnam Booksfor Young Readers, 2000. From the embarrassment of skinny-dipping John Quincy Adams to the mischievous adventure ofTheodore Roosevelt’s pony, Judith St. George shares thebackroom facts, the spitfire comments, and the comicalanecdotes that have been part and parcel of America’s WhiteHouse.

Synder, Zilpha THE EGYPT GAME. Bantam Doubleday Dell Books for YoungReaders, 1985. The first time Melanie Ross meets April Hall,she’s not sure they’ll have anything in common. But she soondiscovers that they both love anything to do with ancient Egypt.When they stumble upon a deserted storage yard behind the A-ZAntiques and Curio Shop, Melanie and April decide it’s theperfect spot for Egypt Game.

Taylor, Theodore THE CAY. Morrow, William & Co., 1991. When the freighter onwhich they are traveling is torpedoed by a German submarineduring World War II, an adolescent white boy, blinded by a blowon the head, and an old black man are stranded on a tinyCaribbean island where the boy acquires a new kind of vision,courage, and love from his old companion.

Ventura, Peter CLOTHING: GARMENTS, USES, STYLES. Boston: HoughtonMifflin Company, 1993. Author/artist Piero Venturo traces the


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evolution of clothing styles, fabrics, and uses throughout history.Topics: Prehistory to the twentieth century.

Ventura, Peter HOUSES: STRUCTURES, METHODS, AND WAYS OF LIVING.Boston: Houghton Mifflin Company, 1993. Author/artist PieroVenturo traces human progress from the first straw huts toapartment buildings of modern.

Wood, Michele I SEE THE RHYTHM. Children’s Book Press, 1998. Take yourAnd Igus, Toyomi students on a musical journey through the history of African

American music. Learn about African songs, Blues, Ragtime,Jazz, R & B, Funk, and Hip Hop. Each page spread is a dynamicpainting that captures the rhythm and beat of the music. Learnabout America’s musical heritage.

High School

Anderson, Agnes Grinstead APPROACHING THE MAGIC HOUR. MEMORIES OF WALTERANDERSON. Jackson, MS, University Press of Mississippi,1989. Edited by Patti Carr Black. The interesting andentertaining story of Mississippi Artist Walter Anderson. Topics:Mississippi life, Walter Anderson, Coastal environment

Anderson, Walter Inglis THE HORN ISLAND LOGS OF WALTER INGLIS ANDERSON.Jackson, MS: University Press of Mississippi, 1985. Edited byRedding S. Sugg, Jr. The actual logs of Walter Anderson'sjourneys on the coast of Mississippi. Topics: Anderson,observations of coastal environment

Chevalier, Tracy GIRL WITH A PEARL EARRING. Plume Books, 2001. Afictional novel about a young Dutch teenager who went to workas a maid for the artist Vermeer and her adventures in hishousehold. Topics: Literature, roles of artists, history/culture

Clinto, Catherine I, TOO, SING AMERICA: THREE CENTURIES OF AFRICANAMERICAN POETRY. Boston: Houghton Mifflin Company,1998. This anthology captures the enormous talent and passionof black writers. The illustrations by Stephen Alcorn providestunning visual interpretations for each poem. Brief biographiesof each poet are included.

Copplestone, Trewin MARY CASSATT. Gramercy, 1998.A biography of the American Woman artist, Mary Cassatt.

Cunningham TWO ZUNI ARTISTS: A TALE OF ART AND MYSTERY.Jackson, MS: University Press of Mississippi, 1998. A factualbook about a family of Zuni craftsmen and their work. Manyinsights into the culture.


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Delehanty, Randolph ART IN THE AMERICAN SOUTH: WORKS FROM THE ODGENCOLLECTION. Baton Rouge, LA: Louisiana State UniversityPress, 1996. A reference and collection of works by manySouthern artists with descriptions of the artists and their work.

Freedman, Russell CHILDREN OF THE WILD WEST. New York: Clarion Books, AHoughton Mifflin Company, 1983. This Easy Reading book aboutwhat life was like for young people on the Western Frontier,contains many photographs. Topics: American West, NativeAmericans, Fredrick Remington, Charles Russell

Garza, Carmen Lopez A PIECE OF MY HEART. NY: The New Press, 1991. Thecatalogue from Garza’s show. It explains her life and work as aleading Mexican-American contemporary artist.

Gauguin GAUGUIN, LETTERS FROM BRITTANY AND THE SOUTHSEAS. THE SEARCH FOR PARADISE. New York: ClarksonPotter, 1992. Selected and introduced by Bernard Denvir. Acollection of letters written by Gauguin during his stay in Tahiti.

Goldstein, Ernest THE JOURNEY OF DIEGO RIVERA. Minneapolis: LernerPublications, 1996. A description of Rivera’s work and art. Easyreading and short. Topics: Mexican history, Murals, Rivera,meaning in art work, Mayan culture

Greenburg, J. & Jordon, S. THE PAINTER’S EYE: LEARNING TO LOOK ATCONTEMPORARY AMERICAN ART. New York: DelacortePress, 1991. Discusses modern art in understandable terms,includes conversations with artists about their work andphotographs of their studios. Easy reading. Artists includeBasquait, Lichtenstein, Rothko, Stella and many others.

Greenburg, J. & Jordon, S. THE SCULPTOR’S EYE: LOOKING AT CONTEMPORARYAMERICAN ART. New York: Delacorte Press, 1993. A followup book to the Painter’s Eye on 3-dimensional art. One of thefew resources for young people about the art of our own time.Artists include Oldenburg, Segal, Frey, Smithson, Serra, andothers. Topics: A variety of contemporary themes

Grossman, Julian ECHO OF A DISTANT DRUM: WINSLOW HOMER AND THECIVIL WAR. New York: Harry N. Abrams, Inc., undated.Pictures and explanation of Winslow Homer's activities and lifeduring the Civil War.

Hamblett, Theora THEORA HAMBLETT PAINTINGS. Jackson, MS, UniversityPress of Mississippi, 1975. A book about Theora Hamblett,Mississippi folk artist, and her life as an artist. Many illustrationsof her work. Similar to Grandma Moses in artistic style and lifehistory. Topics: Mississippi history, dreams and aspirations, folkart


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Hamblett, Theora DREAMS CAN WORK FOR YOU. 1970. A very small(handmade) book by the artist Theora Hamblett. It tells in herown words about the dreams that came to her and how sheinterpreted them in her works of art. Copies are available fromUniversities Museum, University of Mississippi, Oxford, MS.

Hogrefe, Jeffrey O'KEEFFE: THE LIFE OF AN AMERICAN LEGEND. New York:Bantam Books, 1992. A biography of the American woman artistGeorgia O'Keeffe.

Kreischer, E.K. MARIA MONTOYA MARTINEZ: MASTER POTTER. Gretna,LA: Pelican Publishing Co., 1995. A story-biography of MariaMartinez growing up and learning to make the pottery that madeher famous. Easy reading. Topics: Native American, biography,pottery.

Lanker, Brian I DREAM A WORLD: PORTRAITS OF BLACK WOMEN WHOCHANGED AMERICA. New York: Stewart, Tabori, & Chang,1989. This is an excellent resource for use in teachingphotography, portraiture, and social studies. The interviewsprovide insight into the lives of these noted women.

Marriott, Alice MARIA: THE POTTER OF SAN ILDEFONSO. Norman, OK:University of Oklahoma Press, 1948. The biography of MariaMartinez and her pottery. Tells the story of how she revivedancient pottery techniques in her community. Topics:Native American, pottery, women artists.

Matthaei, G. & Grutman, J. THE SKETCHBOOK OF THOMAS BLUE EAGLE. SanFrancisco: Chronicle Books, 1995. Easy reading, A fictionalsketchbook that documents the artistic development of a youngIndian as he goes to school at the Indian school and eventuallygoes to Paris to study art. His style changes as he develops asan artist.

Maurer, Christopher DREAMING IN CLAY. New York: Doubleday, 2000. Thestories behind the art and lives of the creative Anderson familyincluding brothers Peter, Mac and Walter.

Morris, Willie FAULKNER'S MISSISSIPPI. Oxmoor House, 2000. Beautifulphotographs by William Eggleston supplement Willie Morris' textabout Mississippi.

Nechita, Alexandra OUTSIDE THE LINES. Atlanta: Longstreet Press, 1996. Thestory of Alexandra Nechita, a young girl who has become famousfor painting modern works that look similar to Picasso, or Chagall.This non-fiction book was written about her when she was inmiddle school.


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Penn, W. S. THE TELLING OF THE WORLD: NATIVE AMERICAN STORIESAND ART. New York: Stewart, Tabori & Chang, undated. ManyNative American Legends and stories. Accompanied by manywonderful illustrations of Native American Art. This book mightbe one to use with students after the teacher has read TricksterMakes the World, (see teacher resources).

Singh, Madanjeet THE SUN, SYMBOL OF POWER AND LIFE. UNESCO, Harry N.Abrams, Inc., 1993. Illustrations and stories about how the sunhas been a symbol in art throughout many cultures and timeperiods. Many illustrations and art works that depict primitivebeliefs about the solar system. Topics: Social studies, solarsystem, symbols

Stein, Judith E. I TELL MY HEART: THE ART OF HORACE PIPPIN.Philadelphia: Pennsylvania Academy of the Fine Arts, 1993. Abiography of African-American artist Horace Pippen and hisstruggle to become a famous artist. Topics: Art Careers,illustrations

Sullivan, Charles (ed) CHILDREN OF PROMISE: AFRICAN-AMERICAN ART ANDLITERATURE FOR YOUNG PEOPLE. New York: Harry N.Abrams, Inc. Pub., 2001. Poetry, literature and art from some ofthe greatest contemporary artists of the last century. Based onAfrican American struggles during that time period. Topics: Artfrom Edgar Degas, Lewis W. Hine, Thomas Hart Benton andmany others

Sweezy, Nancy RAISED IN CLAY: THE SOUTHERN POTTERY TRADITION.Chapel Hill, NC: The University of North Carolina Press, 1994. Areference describing artists and the development of pottery in thesouth. Topics: History/culture

Tanning, Dorothea ANOTHER LANGUAGE OF FLOWERS. New York, GeorgeBraziller Publisher, 1998. Poetry and illustrations that representflowers. Topics: Plant life, poetry

Trenton, Patricia WOMEN PAINTERS, SPIRITS OF THE AMERICAN WEST,1890-1945. Berkely, CA: University of California Press, 1995.No description

Watkins, T. H. THE WEST: A TREASURY OF ART AND LITERATURE. BeauxArts Editions, 1994. Stories about the West and the people wholived there combined with work by great artists like CharlesRussell and Remington. Topics: The American West,history/culture

Wells, Mary Ann NATIVE LAND: MISSISSIPPI, 1540-1798. Jackson: UniversityPress of Mississippi, 1994. A history of Mississippi, from a NativeAmerican perspective. Topics: Mississippi History, Arts of NativeAmerican tribes from this locale, history/culture


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VISUAL ARTS

The Technology Connections section is designed to serve as a starting point forinvestigation into using technology in the visual arts instructional program. TheMississippi Department of Education does not endorse or recommend purchasing thefollowing resources. Mississippi Department of Education suggests that all resourcesbe thoroughly reviewed to accommodate the needs of individual districts. Please notetechnology changes on a daily basis, therefore, web sites, software, etc. which may becurrent on a given day may not be the next. Keep this in mind when using this as aresource.

SOFTWARE


Broderbund Kid Pix Studio Deluxe (Riverdeep) K-8 Beginning Graphic DesignEscher Interactive (Jacobs Publishing)The Impressionists (Crystal Productions)Kai’s Super Goo (ScanSoft) Beginning Graphic DesignThe Louvre Museum: Museums of the World for Kids (Voyager)Photo-Paint 8 (Corel Corporation) Image and photo editing, and font managementTesselation Exploration (Tom Snyder) 4-8 Math: Geometric and Spatial reasoning.

Cross curricular tool, math, art, science, social studiesTreasures of the American Museum of Natural History (Voyager)Van Gogh: Starry Night (Voyager)Wilton Art (by Reading & O’Reilly)With Open Eyes (Voyager)

Middle School

ArtRageous (The Learning Company)Dabbler MetaCreations, Inc) Beginning computer drawing/graphic design softwareEscher Interactive (Jacobs Publishing)A History of Australian Art (Dataworks Pty Ltd)HyperStudio (Knowledge Adventure) Multimedia Presentation SoftwareMicrosoft Art Gallery (Microsoft)Moorditj: Australian Indigenous Art and Cultural Expressions (Crystal Productions)National Gallery Complete Illustrated Catalogue, CD-ROM Edition (Yale University Press, Special

Projects)Painter (MetaCreations, Inc.) Painter’s astounding Natural-Media features simulate the tools and

textures of traditional artist’s materials. Painter turns your computer into an artist’s studio.Photo-Paint 8 (Corel Corporation) Image and photo editing, painting, and font managementPerseus 2.0: Interactive Sources and Studies on Ancient Greece (Yale University Press, Special

Projects)Picasso: The Man, His Works, The Legend (Grolier)A Stroll in XXth Century Art (Grolier)A Survey of Western Art (Queue, Inc.)Van Gogh: Starry Night (Voyager)Wilton Art (by Reading & O’Reilly)The Art Historian, Volumes I and II (The Reindeer Company)


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High School

Adobe Illustrator (Adobe) Image manipulation, graphic design, publishing, vector imagesAdobe InDesign (Adobe) Image manipulation, graphic design, publishing, and page layout toolsAdobe Photoshop (Adobe) Image manipulation, graphic design, and publishingAdobe Premiere (Adobe) Image manipulation, graphic design, and publishingArt of Western World Series (Crystal Productions)AutoCAD LT 2002 (Autodesk) DraftingBryce 5 (Corel) 3-D design, animation, multi-media web, videoCorelDraw (Corel) Image manipulation, graphic design, and publishingFirst Emperor of China (Crystal Productions)Flemish and Dutch Painters (Crystal Productions)Freehand (Macromedia) Graphic designGreat Artist Series (Crystal Productions)A History of Australian Art (Dataworks Pty Ltd) Explores development of art in Australia 1788 – 1990’sHistory Through Art Series (Clearvue)Houses of Frank Lloyd Wright (Crystal Productions)The Impressionists (Crystal Productions) A dynamic in-depth view into the world of the Impressionist

painters and their masterpiecesLascaux (Crystal Productions)Macromedia Dreamweaver (Macromedia) Webpage designMacromedia Fireworks (Macromedia) Image manipulation and graphic designMacromedia Flash (Macromedia) AnimationMasterstrokes (CLEARVUE/eav) Secret techniques of old mastersMicrosoft Art Gallery (Microsoft) Clip ArtMoorditj: Australian Indigenous Art and Cultural Expressions (Crystal Productions)Mpower (Tom Snyder) Multimedia presentationsThe National Gallery of Art (Crystal Productions)National Gallery Complete Illustrated Catalogue, CD-ROM Edition (Yale University Press, SpecialProjects)Norman Rockwell (Crystal Productions)1000 Years of Russian Art (Crystal Productions)Painter (Corel) Image manipulation, graphic design, and publishingPainters Painting (Voyager) CompanyPaint Shop Pro (Jasc Software) Image manipulationPerseus 2.0: Interactive Sources and Studies on Ancient Greece (Yale University Press, Special

Projects) Literature, history, art, archaeologyPhoto-Paint 8 (Corel Corporation) Image and photo editing and font managementPicasso: The Man, His Works, The Legend (Grolier)Poser (Metacreations) Graphic designRay Dream 3-D Metacreations) 3-D designA Stroll in XXth Century Art (Grolier)A Survey of Western Art (Queue, Inc.)Van Gogh: Starry Night (Voyager)Voyage in Egypt (Crystal Productions)

SOFTWARE COMPANIES

Clearvue, Inc., 6465 N. Avondale Ave, Chicago, IL 60631-1996, (800) CLEARVUCrystal Productions, 1812 Johns Dr., P. O. Box 2159, Glenview, IL 60025Dataworks Pty Ltd., 34 Henderson Road, Rowville, VIC 3178, Australia, ph +61 3-97648344,

fax +613 97632089Grolier Interactive, Order Dept., 90 Sherman Turnpike, Danbury, CT 06816, (800) 285-4534Jacobs Publishing Company, 3334 E. Indian School Rd, Suite C, Phoenix, AZ 85018Learn Technologies Interactive, (212) 334-2225


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Queue, Inc., 1450 Barnum Ave, Suite 207, Bridgeport, CT 06610, (800) 232-2224Voyager, 361 Broadway, Suite 610, NY, NY 10013, (888) 292-5584Wilton Art, P.O. Box 646, Botsford, CT 064074, 28 Washbrook Rd., Newtown, CT 06470Yale Univ. Press, Special Prod., P.O. Box 209040, New Haven, CT 06520-9040, (800) 405-1619,

(203) 432-0912

SOFTWARE WEBSITES

Clearvue, Inc.http://www.clearvue.comCrystal Productionshttp://www.crystalproductions.com/cdromsDataworks Pty Ltd.http://www.dataworks.com.auGrolier Interactivehttp://www.grolier.comLearn Technologies Interactivehttp://www.voyager.leartech.comVoyagerhttp://www.voyager.leartech.comWilton Arthttp://www.wiltonart.com

VIDEO RESOURCES

BEHIND THE SCENES. A series of half hour programs introduced by Penn and Teller. Each episodeincludes an important contemporary artist explaining how to use the elements and principles of art. Thisis a fun and entertaining series that will hold student interest as well as give them an understanding ofthe basics of art and the science behind some of the concepts used in making art. 4th grade and up.

David Hockney: THE ILLUSION OF DEPTH, Behind the Scenes, New York, Learning Designs andThirteen/WNET, Distributed by GPN, P.O. Box 80669, Lincoln Nebraska [email protected]. (Running time28 min. each)

Robert Gil de Montes: COLOR, Behind the Scenes, New York, Learning Designs and Thirteen/WNET,Distributed by GPN, P.O. Box 80669, Lincoln Nebraska [email protected]. (Running time 28 min. each)

Carrie Mae Weems: COMPOSITION, Behind the Scenes, New York, Learning Designs andThirteen/WNET, Distributed by First Run Features, http://www.firstrunfeatures.com 1-800-229-8575

Wayne Thiebaud: LINES, Behind the Scenes, New York, Learning Designs and Thirteen/WNET,Distributed by First Run Features, http://www.firstrunfeatures.com 1-800-229-8575

AFRICAN-AMERICAN ARTIST SERIES, L&S Video, Inc. 45 Stornowaye, Chappaqua, NY 10514, This isan award winning series of individual tapes that feature contemporary and historical African AmericanArtists. Included are: Faith Ringgold, Emma Amos, Romare Bearden, Betye and Alison Saar, RobertColescott, Benny Andrews, Jacob Lawrence. Each tape can be purchased separately.


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WEBSITES

Access Art provides easy access to contemporary issues in visual arts education and anexchange of information and ideashttp://www.accessart.org.uk/

Americans for the Arts – Funding, Grants, Art Educationhttp://ww.artsusa.org/default.asp

Art Discoveryhttp://www.artdiscovery.org/

Arts Education I.D.E.A.S. – Defining Whole Schools in Mississippihttp:www.acideas.com/wholeschools.html

Arts Education/Advocacyhttp://www.princetonol.com/groups/iad/links/artedu.html

Arts Education Partnership (formerly the Goals 2000 Arts Education Partnership)http://www.aep-arts.org/

Arts in Education, Model Development and Dissemination Program Abstracts, CFDA 84.351Dhttp://www.ed.gov/offices/OESE/ArtsED/artsprojabst.html

Art Teachers on the Nethttp://www.artmuseums.com/

Art Teacher Resourceshttp://www.worldartistdirectory.com/ArtTeacher/

Association for the Advancement of Arts Educationhttp://www.aaae.org/

Eyes on Art – A Learning to Look Curriculumhttp://www.kn.pacbell.com/wired/art2/index.html

Federal Resources on Visual Artshttp://www.ed.gov/free/s-arts.html

The Gettyhttp://www.getty.edu//

Internet School Library Media Center (ISLMC) Art Education page. The ISLMV is a meta-sitefor teachers, librarians, parents and students to preview selected links.http://falcon.jmu.edu/~ramseyil/arteducation.htm

The Metropolitan Museum of Arthttp://www.metmuseum.org/home.asp


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National Endowment for the Artshttp://arts.endow.gov/

National Gallery of Art, Washington, D.C.http://www.nga.gov/

National Guild of Community Schools of the Artshttp://www.nationalguild.org/index.html

National Portrait Galleryhttp://www.npg.si.edu/

Restoring a Masterworkhttp://www.artsmia.org/restoration-online

Visual Arts and Music Resourcehttp://teams.lacoe.edu/documentation/places/art.html

Visual Arts Career Guidehttp://www.khake.com/page42.html


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RESOURCES

VISUAL ARTS


BOOKS


Barrett, Terry TALKING ABOUT STUDENTS ART. Worcester,MA: Davis Publications. 1997.

Beattie, Donna Kaye ASSESSMENT IN ART EDUCATION. Worcester,MA: Davis Publications. 1997.

Hollingsworth, Patricia andHollingsworth, Stephen SMART ART. Tucson, AZ: Zephyr Press. 1989.

Learning to Classify and Critique Art.

Hume, Helen THE ART TEACHER’S BOOK OF LISTS.Paramus, New Jersey: Prentice Hall. 1993.

Stewart, Marilyn G THINKING THROUGH AESTHETICS . Worcester,MA: Davis Publications. 1997.

Middle School



Hollingsworth, Patricia and SMART ART. Tucson, AZ: Zephyr Press. 1989.Hollingsworth, Stephen Learning to Classify and Critique Art.


Stewart, Marilyn G. THINKING THROUGH AESTHETICS. Worcester,MA: Davis Publications. 1997.


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High School




Stewart, Marilyn G. THINKING THROUGH AESTHETICS. Worcester,MA: Davis Publications. 1997.

GENERAL RESOURCE BOOKS

Anderson, Richard L. CALLIOPE'S SISTERS. Prentice Hall, NJ:1990. This book explains the differentaesthetic viewpoints of a variety of cultures.(MS/HS)

Barrett, Terry CRITICIZING ART. Mountain View CA:Mayfield Publishing Co., 2000. This bookteaches how and why to do art criticism. Italso explains how to write critical analyses.(HS)

Belloli, Andrea EXPLORING WORLD ART. Los Angeles,CA: The J. Paul Getty Museum, 1999. Thisbook is a teacher resource for elementaryteachers and easy enough for middle schoolstudents to read on their own. It explains avariety of cultures and the art of the peoplewho are a part of them.

Bunchman, J. & Briggs, S. PICTURES AND POETRY. Worcester, MA:Davis. 2001. Connections are made betweenthe work of important contemporary artists andtheir counterparts in the field of poetry andliterature. (EL/MS)

Ernst, Karen PICTURING LEARNING. Portsmouth, NH:Heinemann, 1994. Explains how to use art tohelp students become more creative and touse integrated art and writing.


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Greenberg, Barbara and Patterson, D. ART IN CHEMISTRY, CHEMISTRY IN ART.Teacher Ideas Press. 1998. How chemistry isinvolved in the making of art.

Millstone, David H. AN ELEMENTARY ODYSSEY. Portsmouth,NH: Heineman, 1995. This explains theevolution of an elementary curriculum thatused the Homer's Odyssey to teach a widevariety of subject matter. It includes the artsand other disciplines.

Pascale, Louise. MULTI-ARTS RESOURCE GUIDE. VerySpecial Arts Massachusetts. 1999. This bookis designed for special education but theactivities are appropriate for all children. Clearand easy to follow directions give lesson plansin a variety of the arts, including dance,theater, music, and the visual arts. (ALL)

Rodriguex, Susan THE VERY SPECIAL ARTISIT'SHANDBOOK: ART ACTIVITIES ANDADAPTIVE AIDS FOR HANDICAPPEDSTUDENTS. Palo Alto, CA:Dale Seymour Publications, 1984. This bookis designed for special educationstudents, but the activities are appropriate forother age groups. The visual artslessons are not sequential learning activities,but there are good suggestions for how toadapt the lessons for special needs. There isalso a vocabulary of signs related to the visualarts that are helpful for teachers with artstudents who may be hearing impaired.(SPED/EL)

Remer, Abby ENDURING VISIONS. Worcester, MA: Davis,2001. This book explains and gives ideas forteaching with a variety of cultures that are notalways easy to find in other literature-such asAfgan, and Yemei. The collection focuses onthe art of women but it is not exclusively forgirls. Boys should also find this bookinteresting.

Szekely, George FROM PLAY TO ART. Portsmouth, NH:Heinemann, 1991. This shows teachers howto "let go" and encourage creativity and fun in


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the classroom. Szelely takes everydayobjects and uses them to create a variety ofarts projects. (EL)

Tolley, Kimberly THE ART AND SCIENCE CONNECTION.Addison Wesley: 1993. These are sciencelessons that use art skills and objectives todevelop science understandings. (EL)

Topal, Cathy Weisman CHILDREN CLAY AND SCULPTURE.Worcester, MA: Davis Publications, 1983.Written by art educator Cathy Topal, this bookpublishes clear and sequential ideas forlessons that address serious art objectives.The projects are sequenced in difficulty andfocused on increasing art skills. Studentsmove from the simple pinch pot and sculpturalforms made from these pots to more complexrelief tiles and construction. Even though thisbook is written for elementary, it can be usedwith beginners of every age.(EL/BEGINNERS)

Topal, Cathy Weisman CHILDREN AND PAINTING. Worcester, MA:Davis Publications, 1992. Topal is true to theelements and principles of art in designinglessons that simplify the basic language of art.Each lesson could be taught sequentially tobuild student skill. Final painting activitiesinclude learning to paint animals and using thebrush to paint in the style of Japanese Sumiartists. (EL/BEGINNERS)

Walker, Pam Prince BRING IN THE ARTS. Portsmouth, NH:Heinemann, 1993. This book addresses avariety of ways in which teachers canintegrate all the arts in a variety of classroomlearning activities. (EL)

Williams, Doug TEACHING MATHEMATICS THROUGHCHILDREN'S ART. Portsmouth NH:Heinemann, 1995. Art projects that relate tomathematics. These are not necessarily artlessons, but are lesson ideas thatdemonstrate for teachers how art objectives


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might be included in mathematics projects.(EL)

Zuk, B & Dalton, R. STUDENT ART EXHIBITIONS: NEW IDEASAND APPROACHES. Reston VA: NationalArt Education Association, 2001. This bookaddresses how we display student art.Suggestions from a variety of art teachersaddress different ways to showcase studentlearning in the classroom and how teacherscan use the art to communicate with parentswith administrator about student success.(ALL)

ORGANIZATIONS

ArtsEDGE, http://artsedge.kennedy-center.orgMississippi Alliance for Arts Education, 3008 Navajo Cir., Hattiesburg, MS 39402Mississippi Arts Commission, 239 N. Lamar Street, Suite 207, Jackson, MS 39201

(601) 924-0131Very Special Arts, http://www.vsarts.org/programs/swta/index.html (“Start with the Arts” is an

instruction program for 4,5, and 6 year olds that uses the arts to assist young children,including those with disabilities, in exploring themes commonly taught in early childhoodclassroom.

Mississippi Art Education Association, http://www.ms-maea.org/National Art Education Association, http://www.naea-reston.org/ 1916 Association Drive,

Reston, VA 20191-1590, Phone: 703.860.8000 Fax: 703.860.2960

OTHER

AICT – Free-use image resource for educational communityhttp://arthist.cla.umn.edu/aict/html/index.html


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VISUAL ARTS GLOSSARY

abstraction – A style of artwork that does not imitate perceptual reality; simplification.

aesthetics – A branch of philosophy that studies how humans respond to and valuesocial, psychological and philosophical aspects of art and beauty.

aesthetic theory – A philosophical viewpoint concerning the nature of art. Somecommon aesthetic theories are:

• realism/imitationalism/ mimetic theory – A belief that art should look real (manycontemporary artists believe that this is outdated.)

•emotionalism/expressionism – A belief that the purpose and value of art isbased on its ability to convey emotion.

• formalism – Values art based on the effective use of elements of art andprinciples of design (elements of art+ principles of design = formal elements).

•conceptualism – Values art based on the concept or meaning behind the work.

•contextualism – How we value art depends on the external beliefs andperceptions that the viewer brings to the work.

analogous colors – Colors adjacent to each other on a color wheel.

analyze – Carefully examine separate parts of a specific work of art, including analysisof its parts and how they function both separately and in conjunction with therest of the work.

applique’ – The technique of sewing pieces of cloth onto a cloth background increating a work of art. This is also used to make picture quilts.

architect – An artist who creates original designs for buildings and environments andsupervises their construction.

architecture – A form of sculpture that involves buildings.

art criticism – The description, analysis, interpretation, and evaluation of the successof a work of art. (note: The term criticism does NOT refer to the expression ofnegative or critical opinions).

art gallery – A location where artwork is displayed and sometimes sold.


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art museum – An institution dedicated to the preservation of works of art andeducating people about those works.

assess – To organize and analyze some kind of information for the purpose ofunderstanding its effectiveness

asymmetrical – A visual arrangement of shapes or forms that are not the same oneach side, but, when viewed together the composition looks balanced becauseof size and placement. Same visual weight on both sides.

attributes – Characteristics of objects or works of art.

background – The area of a picture format that looks farthest away.

background shapes – Shapes within a background that tend to look as though theyare further away or behind other shapes.

balance – An arrangement in which elements of art are arranged so that the partsseem to be equally important on either side and have equal visual weight.

canvas – A sturdy type of woven fabric that can be used as a support for paintings. (itis also used to make some kinds of tennis shoes.)

carving – A sculptural technique in which wood, stone, plaster or other solid material iscut away to make a piece of art work.

ceramics – An art form involving clay and a variety of firing or glazing techniques.

cityscape – An artwork in which a city or town is the main subject matter.

coil method – A technique of forming clay that involves making even coils of clay andjoining them to build pottery or other objects.

coils – Long, even, rolls of clay that are used to make pottery in the “coil method”.This is one of several techniques that can be used to make pottery.

collaboration – Working in groups. Art work is often made in collaboration with severalartists.

collage – Artwork that has been made by pasting pieces of paper or other materials toa flat surface.

color – The way something looks, apart from its size and shape, when light strikes it.A hue is a name for a color such as red or blue.

color wheel – A theory that helps artists learn about the relationship between colorsand how to mix them. Bending the color spectrum (rainbow) into a circle.


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complement – Colors located directly opposite one another on the color wheel.

composition – How the elements of art and principles of design are arranged in awork of art.

construct – To create, build or put together artwork by joining materials. A well-composed composition is described as having “unity”.

contextual factors – Place, time, environment—external factors that influence themeaning of a work of art.

contour – The outline that defines the outside boundaries of a shape as well as insideridges that give it depth.

contrast – Two things put together that are very different. Contrast tends to createvariety and emphasis. (e.g. Bright colors contrast with dull colors, light colorscontrast with dark colors, rough textures with smooth).

cool colors – Colors that remind people of cool things and tend to feel calming (e.g.,varieties of blue, green, and violet.)

craft – A skill or art form that has been carefully made by hand.

craftsman – A highly skilled person who creates artwork by hand.

craftsmanship – The act of working carefully and skillfully with your hands.

crayon resist – A drawing technique that uses a thick layer of crayon under a wetmedium such as ink or watercolor. The crayon “resists” absorption of the wetmedium and shows through; the wet medium fills the areas not covered bycrayon.

crayon etching – A technique in which two layers (and colors) of crayon are appliedon top of one another. The artist scratches through the top layer to expose adesign in the bottom layer of crayon.

creative – The ability to think divergently and with originality. All children are creativethinkers when encouraged to think in different ways.

critical process – The act of thinking critically or employing critical thinking skills toperceive, describe, analyze, interpret, and evaluate a work of art.

criticism – Analyzing and evaluating the strengths and weakness of works of art basedon some kind of criteria (the term critic refers to “critical thinking” rather thanbeing “critical”).


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criterion – A standard on which a judgement is based. Teachers should have criteriafor student achievement so that students understand how they can achieve theirgoals. Aesthetic theories establish criteria by which art is judged or valued.

cubism – A style of art developed by artists including, Juan Gris, Pablo Picasso, andGeorge Braques, that attempts to portray more than two dimensions of threedimensional geometric shapes on a two dimensional surface. The imagesappear to be broken or bent into cube-like 3-dimensional forms.

curved – A gradual change of direction.

cyan – A blue-greenish color that is one of the primary colors in the light spectrum.

decorative – Elaboration and enrichment of an otherwise plain surface.

design – To plan or arrange the parts of an art work (verb) or (noun) the plan thatorganizes a work of art.

details – Small parts.

discipline – A subject that is taught, an organized field of study, e.g. art, mathematics,reading.

elements of art–The basic components of any art work: (note that some sources mayvary in what is listed as an element). Artists arrange the elements of art byusing the principles of design/art to create meaning.

They include:• line – A continuous mark that is made when a point is moved; like those made by a pencil or brush.

•shape – A defined area that has length and width, It is two-dimensional and can be geometric or organic.

•color – Characteristic of reflected light. When identified as hue, it is named with words such as red or blue.

• form – Something that has mass and is three-dimensional. A cube is ageometric form. Forms can also be organic, like rocks, pebbles, humans andanimals.

•value – The ranges of lightness and darkness of a color or the gradations between black and white. Values are used to describe light and form.


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•space – An open or enclosed area that creates a shape or from. Space can be negative or positive and open or closed.

• texture – The roughness or smoothness of a surface. Texture can be both tactile/real (felt) or visual/ simulated (seen).

emerging technologies – A wide variety of mechanical machines and processes.They are often used in a variety of ways both to reproduce and create art.

evoke – To call forth or bring to mind.

expressionism – A style of artwork or an aesthetic theory that values mood or feelingas the most important characteristic.

expressive – Having to do with feeling or emotion.

extension – the visual illusion that objects which touch the edges of the picture formatoccur outside the work itself.

feel – A sensory experience through touch (i.e. something feels hot) or emotion (i.e. tofeel happy or sad).

fired – A chemical change that takes place when dried clay is exposed to very highheat. The clay changes into a glass-like material that is no longer malleable orporous when exposed to water. Also, the process of heating clay until itbecomes hard and glass-like.

fixed response – Pre-determined answers to specific questions.

foreground – The part of an image that appears closest to the viewer. Usually thisoccurs at the bottom of the picture.

form – A three-dimensional object. It has width, depth and height. You can turn it,walk around it and see it from many sides.

formal balance – Artwork that is arranged similarly on both sides. The test of formalbalance is if you can draw a line down the middle and both sides are the same.Also called symmetrical balance.

geometric shapes – Two-dimensional mathematical concept such as square, triangle,circle, etc.

geometric forms – Three-dimensional mathematical concept such as cube, cone,sphere, etc.

gesture – A drawing technique often used in drawing the figure (or animals) that uses


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a quickly drawn and expressive line to capture the emotion or movement of thepose.

glaze – A combination of chemicals or ground minerals that provide a surfacetreatment for pottery or ceramics. Glazing can refer to the process of applyingand firing ceramics. Glazing is also an advanced technique used in oil paintingwhere transparent oil paint is applied in layers.

graphic – Usually refers to something that looks as if it has been printed or a kind ofillustration that is especially bold.

graphic designer – An artist who plans the lettering and artwork for books, posters,and other printed materials.

historical landmark – A building or location with historical significance. The U.S.government designates some important sites as historical landmarks to protectand preserve them so that they are not significantly altered or destroyed.

horizon line – The perceived line that indicates the break between the surface of theearth and the sky. In drawing, when anything is placed below the horizon line, itappears to be on the ground. Anything that starts above the horizon line looksas though it is floating.

horizontal – a line that goes in a side-ways direction—such as horizon line, or thewriting guides on a lined piece of paper.

hue – The name of a color. (as in red).

illustrate – To give clear examples. Illustrations are often diagrams, pictures, or mapsthat explain or clarify an idea.

illustrator – An artist who makes drawings or artwork for books, magazines,newspapers, or other printed materials. The artist’s work “Illustrates” ideas ormakes them clearer.

imagination – The process of visualizing abstract ideas in one’s mind.

Impressionism – A style of art that was popular in the 19th and early 20th centuries thatfocuses on the effect of light on objects, blends color opposites to makeshadows rather than using black, uses complementary colors, atmosphere, andloose brushwork to create images that evoke strong feelings. They capture theartist’s “impression” of a moment. Artists associated with this style are Monet,Degas, Manet, Cassatt.


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informal balance – A kind of balance that is not the same on each side. When lookedat together, the use of space and proportion tend to give the illusion of being“balanced” or having equal visual weight. (asymmetrical balance)

interior designer – A career in art in which the artist designs the inside living spaces.

intermediate colors – Colors that are made from a primary and a secondary color(e.g., red-orange, yellow-orange, blue-green). Also called tertiary colors.

kiln – Special ovens that are used to heat (fire) clay or enamel to a very hightemperature.

landscape – Works of art that use the outdoors as the primary subject matter.

line – The path created by a moving point (as a mark that is drawn by a pencil point).

linear perspective – Creating a sense of space by using mathematical principles tocreate the illusion of distance of three-dimensions on a two-dimensional surface.Lines that are parallel in space appear to converge or get closer to one anotheras they get further away.

loom – The frame or machine used for weaving cloth.

media – The plural of medium. Tools or materials used to create art.

medium – A specific tool or material used to create art.

middleground – The part of a picture plane that is between the foreground andbackground.

mobile – A form of sculpture based on balance that was invented by Alexander Calder.It involves suspended shapes and forms that are designed to move inrelationship to one another.

modeling – A technique that involves shaping a three-dimensional material. It canalso refer to building the illusion of form in a two-dimensional material throughvalue or color changes.

mosaic – Artwork made with small pieces of colored stone, glass, or ceramic.

mount – A support, on to which a picture is applied. This is done for presentation orpreservation of the work.

movement – The feeling of motion in a work of art created by using visual principlessuch as diagonal lines or repetition.


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murals – Large paintings or other kinds of art created or displayed on a wall. Someartists who painted murals are: Diego Rivera, Michelangelo, and Leonardo daVinci.

negative spaces – The open spaces surrounding and sometimes within a line, shape,or form.

neutral colors – Technically, black and white are not colors. Black indicates theabsence of light and white is the presence of all reflected colors. Thereforeneutral colors are those colors that do not have a particular hue. They includebrown, black, white and gray.

non-objective – Art which is created through the use of the elements and principles ofdesign but have no reference to representational subject matter.

non-representational – Same as non-objective.

oil paint – An oil based that is made with linseed oil. It is only appropriate for use withadvanced painting students.

opaque – Does not allow the penetration of light. You can not see through opaquepaint.

open-ended response – Answers to questions that have more than one right answer.Art teachers ask many questions that are open-ended to encourage creativity. Itdoes not mean that there is no right answer, but that it is possible for manyanswers to be correct. As a teaching strategy it invites students to give reasonsfor their answers.

organic forms – Dimensional forms that are not geometric but are irregular. (Seeorganic shapes)

organic shapes – Two-dimensional shapes that are irregular and curvilinear. Theyare difficult to describe as they are not a prescribed shape. They are often foundin nature and are characterized by things like leaves or rocks (any shape that isnot geometric).

original – Unique, one of a kind, something that is beyond the ordinary. Art work thatis original is evidence of creative thinking.

overlap – One part (as a line, shape, or color) covers some of another part and createsthe illusion of depth or space.

pattern – A choice of lines, colors, or shapes, repeated over and over in a plannedway.


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perceptual skills – Visual abilities. Looking at art does not increase children’s vision,but it does increase their ability to perceive and become sensitive to visualqualities.

perspective – Artwork in which the shapes of objects and distances between themlook familiar or “real”. The illusion of depth on a flat surface.

Pointillism – An artistic style in which small dots of color are used to create the illusionof line and form, and adjacent colors blend in the viewers’ eyes instead of on thepainting. The artist who is most famous for Pointillism is Seurat.

portrait – Artwork that usually shows the face of a real person.

portrait bust – A sculptured likeness of a person’s head, neck, and chest.

positive space – The solid objects within a visual format. Usually objects in theforeground and middle ground of a picture represent positive space, and theopen areas around them represent negative space.

pre-requisite – A requirement that must be met before another course of action maybe started.

primary colors – Colors from which all other colors are made. In pigment they are red,yellow, and blue. (In light, the primary colors are red, green, and cyan.)

principles of design – How an artist arranges the elements of art.

•pattern – Repeated shapes, lines, colors, etc.

•balance – The visual equalization of elements in a work of art. There are three types of balance: symmetrical (formal), asymmetrical (informal) and radial.

•emphasis – The way artists use the organizational principles of art to direct greater attention on some areas rather than others. Artists create emphasis by contrasting size, color, line or other elements. Can also be through isolation of one part, converging lines, or centered location.

•contrast – Differences in values, colors, textures and other elements to achieve emphasis.

•movement – The arrangement of elements or principles that guide the eye through a work of art and create the sensation of movement.

• rhythm – A type of repetition in which a sense of movement is achieved by repeating lines, shapes, colors, etc.


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•variety – A assortment of different elements (e.g., colors, shapes, lines, values,textures, patterns).

•unity/harmony – The sense that all the organizational features in a work of art are in the right place and the composition “works”. Then the work of art is said to be unified and harmonious.

print – A piece kind of artwork in which ink or paint is put onto a block or other smoothsurface that has a design. The inked surface is pressed onto paper to make aprint (copy) of the design. It is also the action of making a print.

printing – The process of creating an image by pressing paper against a surface thathas ink or paint on it.

profile – Something seen or shown in artwork from the side view (as in the profile of ahead).

process – The experience of making art in a particular medium.

processes – The progression of activities using several techniques such as making aprinting plate, printing the image, and pulling the print.

proportion – The size, location, or amount of something as compared to that ofanother (e.g., a hand is about the same length as a face).

pure colors – Colors seen in the rainbow or when light passes through a prism: red,orange, yellow, green, blue, violet.

radial – A theory of balance in which all line or shapes branch out from a central point.

realism – A style of art in which the artist mimics the real world.

relief – A type of sculpture in which the surface is partially raised off of an otherwiseflat surface.

repeated pattern – When lines, shapes, or colors reoccur many times in anorganized fashion.

representational art – The work that is intended to look like a picture of somethingthat can be recognized, e.g. a person, object or place.

repetition – The process of making some one thing over and over again.

rhythm – A type of repetition in which a sense of movement is achieved by repeating lines, shapes, colors, etc. (principle of design).


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rubric – An assessment strategy where objectives are defined and work is assessedaccording to a hierarchy of proficiency.

sculpture – A three-dimensional work of art that may be made by carving, constructingor molding a solid medium.

seascape – Art work that has as its major theme the sea or ocean. Winslow Homer isan artist known for his seascapes.

secondary colors – The colors that are made when two primary colors are mixedtogether. (eg.,orange, green, and violet).

shade – A darker value, the opposite of tint. Can be made by mixing black with a hue.

shape – A defined area that has length and width, It is two-dimensional and can be geometric or organic.

sketch – A preliminary drawing the may be made to study or plan a work of art.

slab – An art term that is usually used in relationship to clay. It is a piece of clay that isevenly flattened.

slab method – A technique for forming clay which cut or formed pieces of a slab arejoined and used to create a container or other sculptural form.

space – An open or enclosed area that creates a shape or from. Space can be negative or positive and open or closed.

split complement – A color scheme which involves the use of a color that is on thecolor wheel and the two colors on either side of its complement.

statue – A sculptural likeness.

still life – A style or genre of art works in which ordinary objects or objects that do notmove are the subject matter.

studio – The place where an artist creates artwork.

style – The individual characteristics of an art work that make it look like the art work ofa particular artist or group of artists. Characteristics of style include colorscheme, brush strokes, the kind of subject matter, etc.

subject matter – The main topic, theme, or image in a work of art.

symbol – A representation that is intended to signify a person, institution, or abstractidea.


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symbolism – The act of using some shape or image to represent another to createmeaning.

symmetrical – A form of balance in which the visual weight and relationships ofshapes are the same on each side. Both sides are identical/mirror images.(formal balance)

technique – The manner or method in which a medium is used.

tempera paint – An opaque water-based paint that is used with children.

three-dimensional – An object that has height, weight, and depth.

tint – A quality of value that indicates the lightness of a color. Tints are made bymixing white to a hue.

tradition – Ideas or teachings that are passed down through generations. Traditionsand beliefs characterize cultures.

traditional art – A style of art work that has been passed down through time andremains relatively unchanged.

transparent – Glass-like, clear, can see through.

two-dimensional – Having only two dimensions: height and width. Paintings,drawings and prints are generally two-dimensional.

unity – The sense that all the organizational features in a work of artare in the right place and the composition “works”. Then the work of art is saidto be unified and harmonious.

value – The ranges of lightness or darkness of a color or the gradations betweenblack and white

variety – A assortment of different elements (e.g., colors, shapes, lines, values,textures, patterns).

vertical – A direction of line. A line that runs up and down.

visual characteristics – Traits that would describe what is being viewed.

warm colors – Colors that are usually associated with images that remind us of thingsthat are warm and tend to feel exciting. Warm colors are usually red, yellow andorange. Warm colors seem to come forward.


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watercolor paint – A type of media in which the pigment is suspended in water.Watercolor paintings are often light colored because the paint is transparent.

watercolor paper – A paper that is more absorbent than many papers to wick thewater away, yet remain strong for a watercolor painting surface.

weaving – A three-dimensional process in which fibrous materials are woven orthreaded to create a work of art. Materials that can be woven include paper,yarn, strips of fabric, grasses, or any long, thin, flexible material.

woodcut – A printing plate that is made by carving the design into smooth, flat, piecesof wood and printing it. Only one color is printed at a time. Therefore, Japanesewoodcut artists who want to make colorful prints, make many different woodcutsin order to make one final artwork with lots of colors. Each color requires adifferent printing plate which is registered (lined up) with the print made fromprevious plate.

2003 mississippi visual and performing arts framework · 2009-05-01 · 2003 mississippi visual and...

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