rockwood school district band curriculum grades 6 hs jazz band.pdf · 5/11/2006 · recognize...
TRANSCRIPT
ROCKWOOD
SCHOOL
DISTRICT
BAND CURRICULUM
GRADES 6 – 12
“We do whatever it takes to ensure all students realize their potential”
Approved by Rockwood School District Board of Education
May 11, 2006
Revised February, 2008
Revised November 21, 2009
Revised March 10, 2010
1
Index
Rockwood School District Mission Statement ..............................................................4
Rockwood School District Learner Expectations ..........................................................5
Differentiation ................................................................................................................6
Basis and Essential Skills / Equity in Band/ MSIP Codes .............................................7
Data Driven Teaching Learning Model .........................................................................8
Band Rationale ...............................................................................................................9
Band Goals for Graduates ............................................................................................10
Implementation Guidelines .........................................................................................11
Expectations for Band Performance ............................................................................12
Care of Band Instruments .......................…………………………………………….12
Core Conceptual Objectives for Grades 6-12 .........………………………………….13
Band Scope and Sequence ...........................................................................................14
Middle School Band Curriculum .................................................................................26
Middle School Band Course Map ................................................................................27
Middle School Band Course Description Guide ..........................................................28
Grade Six Beginning Band ..........................................................................................29
Grade Seven Cadet Band .............................................................................................57
Grade Eight Concert Band ...........................................................................................78
High School Band ........................................................................................................99
High School Band Course Map .................................................................................100
High School Band Course Description Guide ...........................................................101
High School Concert Band ........................................................................................104
High School Symphonic Band ...................................................................................127
High School Jazz Band ..............................................................................................148
High School Guitar I ..................................................................................................170
High School Guitar II.................................................................................................194
Weighted Grade Advanced Placement Music Theory ...............................................218
Appendix ....................................................................................................................229
Fine Arts Resource Selection Evaluation Checklist ..................................................230
Rockwood Writing Guidelines ..................................................................................232
Missouri Show-Me Standards ....................................................................................235
Integrated Fine Arts Vocabulary ................................................................................243
Graphic Organizers ....................................................................................................252
Attendance Procedure for Secondary Music Programs .............................................264
2
ACKNOWLEDGEMENTS
The writing team gratefully acknowledges those parents, patrons, students, teachers,
and administrators who provided direction and feedback to the document at every stage
of its development.
Arts Curriculum Committee In-depth Study 2005/06
Middle School Writing Committee Band Teachers Lisa Blumhagen, Marvin Medcalf, John Menner
High School Writing Committee Band Teachers John Arata, Traci Bolton, Brad Balog, Matt Frederickson, Stan Minor, Scott Villines
Parent Review Committee
Toni Disano – Marquette High School
Donna Miller – Rockwood Summit High School
Usha Natarajan – Eureka High School
Janice Serati – Rockwood South Middle School
Mary Willis – Rockwood Valley Middle School
Student Review Committee
Luci Disano – Marquette High School
Shyam Natarajan – Eureka High School
Claire Serati – Rockwood South Middle School
Matt Willis – Rockwood Valley Middle School
Department of Curriculum and School Leadership
Dr. Kathy Peckron – Acting Superintendent
Dr. Cheryl Venet – Coordinator of Fine Arts
Support Staff
Mary Hunt – Fine Arts Department Secretary
3
ROCKWOOD SCHOOL DISTRICT MISSION STATEMENT
All students, with support from the community, parents, and staff, will be provided a dynamic
curriculum within a safe and caring environment so they will develop the skills, abilities, and
attitudes to be lifelong learners and citizens of good character who are prepared to contribute to
an ever-changing, global society.
4
ROCKWOOD SCHOOL DISTRICT LEARNER EXPECTATIONS
ROCKWOOD STUDENTS
ARE LEARNERS:
•With positive self-worth •Who demonstrate critical
skills. thinking and problem-solving skills
in all areas.
•Who demonstrate verbal, •Who demonstrate the
quantitative, cultural, and adaptability necessary for
technical literacy. life in a changing world.
•Who can utilize community •Who think and express
resources to foster continual themselves creatively and
growth and development. appreciate the creativity of
others.
•With skills and attitudes •Who have a broad
necessary to become self- familiarity with the world
directed, life-long learners. of work to develop and
enhance their career
potentials and opportunities.
•Who understand the value of •Who understand and
effort in realizing their full appreciate the elements
educational, vocational, civic, and principles of the arts
and personal potential. and their influence on all areas
of life.
•Who understand the principles •Who understand and
of physical and emotional demonstrate individual, social,
health and the importance of and civic responsibility, including
maintaining them. a global concern, tolerance, and
respect for others.
•With effective skills in written •Who demonstrate individual
and oral communication. and social ethics.
5
DIFFERENTIATION
The Band Department in the Rockwood School District recognizes that differentiation is an
important process that teachers use to enhance the learning of all students, building on their
individual strengths and level of knowledge. The Band Curriculum was written to facilitate the
incorporation of Differentiation strategies to enhance student learning. The Facilitating
Activities of each course provide flexibility to address the individual learning needs of all
students.
The chart below provides a comparison between the traditional classroom and the Differentiated
Classroom.
Traditional Classroom Differentiated Classroom
Student differences are masked or acted
upon when problematic
Assessment is most common at the end of
learning to see ―who got it‖
A relatively narrow sense of intelligence
prevails
A single definition of excellence exists
Student interest is infrequently tapped
Relatively few learning profile options are
taken into account
Whole-class instruction dominates
Coverage of texts and curriculum guides
are the focus of learning
Mastery of facts and skills out-of-context
are the focus of learning
Single option assignments are the norm
Time is relatively inflexible
A single text prevails
Single interpretations of ideas and events
may be sought
The teacher directs student behavior
The teacher solves problems
The teacher provides whole-class standards
for grading
A single form of assessment is often used
Student differences are studied as a basis
for planning
Assessment is ongoing and diagnostic to
understand how to make instruction more
responsive to learner need
Focus on multiple forms of intelligence is
evident
Excellence is defined in large measure by
individual growth from a starting point
Students are frequently guided in making
interest-based learning choices
Many learning profile options are provided
for students
Many instructional arrangements are used
Student readiness, interest, and learning
profile shape instruction
Use of essential skills to make sense of and
understand key concepts and principles is
the focus of learning
Multi-option assignments are frequently
used
Time is used flexibly in accordance with
student need
Multiple materials are provided
Multiple perspectives on ideas and events
are routinely sought
The teacher facilitates students‘ skills at
becoming more self-reliant learners
Students help other students and the
teacher solve problems
Students work with the teacher to establish
both whole-class and individual learning
goals
Students are assessed in multiple ways
6
BASIC AND ESSENTIAL SKILLS
BASIC SKILLS
Those skills which lay the basis/foundation for all future learning:
Reading
Writing
Math
Problem solving
Working with others
Analytical skills
Effective communication
ESSENTIAL SKILLS
Those skills which are vital to future learning (specific to each content area):
Specific skills listed by grade level/course
Scope/sequence
Critical to mastery of the course
Equity in Teaching Band
Band teachers create a positive classroom environment in which all students are accepted and
taught mutual respect. Teachers model sensitivity to differences in race, gender, ethnicity, and
ability/disability.
Teachers use a variety of teaching styles consistent with the learning styles of the cultural and
ethnic groups represented in their classrooms. This principle is not different from the principle
of accommodating a wide variety of learning styles. Different racial, ethnic, and cultural groups
have different learning styles and competent teachers provide for these learning styles as well as
other special learning needs in multicultural settings.
MSIP CODES
In order to promote equity, the Rockwood Department of Curriculum and School Leadership
uses the following codes to identify equity, use of technology, and research skills in all
curriculum documents:
GE = Gender Equity
RE = Racial/Ethnic Equity
T = Technology Skills
R = Research/Information Processing
All content and skills of a curriculum document are classified as either
BASIC or ESSENTIAL according to the definitions set forth by the Rockwood
Curriculum and Instruction Department.
7
Departm ent of C urriculum and School Leadership
Rockw ood School D istrict 2004
8
ROCKWOOD BAND RATIONALE
The Rockwood band program provides the opportunity for students to develop the
technical performance skills, knowledge, and understanding of music necessary to make
music a part of their lives. Students will develop the critical thinking skills at every level
of band education, which will enable them to appreciate music on an independent level
throughout life. The critical thinking developed through band training will enhance the
development of thinking skills needed in other academic areas.
The band program assists students in developing knowledge of our musical heritage,
which is necessary to become a discerning listener and/or performer. Students learn to
make knowledgeable and discriminating judgments about the music that they hear.
Training received in the Rockwood band program will enable the students to feel
confident in their abilities to be a part of the community as amateur performers. They
will be prepared, should they choose music as a career, to enter a professional training
program in a college or conservatory. Aesthetic education gained throughout all levels of
participation in the program will enhance the individual‘s appreciation of the arts for life.
9
ROCKWOOD BAND GOALS FOR GRADUATES
Graduates of the Rockwood Band Program will:
Recognize through aesthetic awareness that music is a part of all humanity.
Acquire skills necessary for life-long music learning and application.
Prepare and present a musically proficient performance, alone or in an ensemble.
Make knowledgeable and discriminating judgments about music.
Enjoy and appreciate musical performances within their historical and cultural context.
10
IMPLEMENTATION GUIDELINES AND EXPECTATIONS
This document is externally aligned with the Missouri Show-Me Standards. There is
internal alignment between the objectives, facilitating activities, and assessments.
Teachers follow the Rockwood Data-Driven Teaching and Learning Model which is on
page 8 of this curriculum guide.
The band curriculum presents broad, recurring Core Conceptual Objectives (CCOs) along
with the specific, essential content and process skills taught at each grade or course level.
Teachers pre-assess to determine students‘ prior knowledge, and then differentiate
instruction to provide appropriate challenge for each student. The essential content and
skills are presented in student-friendly language as Learning Targets of daily instruction.
Essential Understandings place student learning in the context of life beyond schooling.
Facilitating Activities and Differentiation Suggestions offer teachers various models for
teaching the knowledge and skills. Teachers are expected to give students specific
formative feedback during the learning process. Students and teachers use Scoring
Guides to describe and improve student achievement. Required Application Level
Assessments (ALAs) provide evidence of student learning.
This is a living, changing, document that will be reviewed and revised annually. Teacher
feedback is essential to this process. Therefore, teachers are encouraged to record
observations and comments about the curriculum as well as ideas for additions and
deletions. Throughout the course of the year, teachers should document demonstrations
of each ALA to be used in the refinement of scoring guides and the development of
consistent scoring.
11
Expectations for Band Performance, Grades 6-12
Students will:
Wear appropriate concert attire as prescribed by director
Arrive promptly at designated time
Bring instruments, music and any other required equipment
Demonstrate proper concert etiquette: (HC 1E)
Be seated and ready to play
Listen to others play
Do not chew gum
Do not talk
Follow conductor‘s directions, cues, and baton (PP 2E)
Watch/listen to other players (PP 1, AP 2)
Expectations for Care of Band Instruments, Grades 6-12, GLE PP 2A
Students will handle, clean, and store the instrument by properly:
Cleaning out all condensation from body and mouthpiece of instrument
Keeping all corks, slides, valves, and other moving parts clean and lubricated
Removing from and replacing the instrument in its case
Cleaning and polishing the instrument
Keeping the instrument in good repair and playing condition with all moving parts
in good working order
12
CORE CONCEPTUAL OBJECTIVES FOR GRADES 6-12 BAND
Core Conceptual Objectives in the band curriculum remain constant for grades 6-12
while content knowledge and techniques spiral to provide continuous refinement of basic
music skills. Components of musical performance can be demonstrated at levels ranging
from novice through professional. The Scope and Sequence Chart illustrates the way in
which knowledge and technical skills build within each CCO. Teachers select music
literature that is matched to levels of proficiency as the vehicle for student growth in
reading skills and performance skills of tone-intonation, technique-articulation, and
expression-musicianship. The level of difficulty is determined by the repertoire chosen at
each grade level. Asterisks indicate alignment with Show-Me Standards for Missouri
Schools.
Core Conceptual Objectives:
I. Students will demonstrate instrumental music performance skills (expression,
technique, repertoire, imitation, group playing, improvisation, and composition) through
a varied repertoire.
GLE: PP 2A-E, PP3, PP4, grades 6-12
A. Performance Skills *FA1, FA2, G2.5, G4.6
II. Students will apply knowledge and skills to read and notate music.
GLE: EM 1A-E, grades 6-12
A. Elements of Music *FA1, FA2, G2.5, G1.5
III. Students will analyze and evaluate music and musical performances.
GLE: AP1 A-B, AP2 A-B, grades 6-12
A. Musical Forms *FA1, FA2, FA3, G1.5, G1.6, G2.5
B. Analysis: *FA2, FA3, G1.5, G1.6, G2.4, G3.1
IV. Students will make connections between music and other subject areas.
GLE: IC1 A-B, grades 6-12
A. Integration: *FA4, G1.9, G3.3
V. Students will demonstrate knowledge of music history.
GLE: HC1 A-E, grades 6-12
A. Music History: *FA5, G1.9, G3.3
13
Scope and Sequence
of
Knowledge and Skills
14
Band Scope and Sequence of Knowledge and Skills for Grades 6-12
Content will be assessed at the grade level where it is indicated on this chart. It may be introduced earlier and reviewed/reinforced in
subsequent courses/grade levels.
Grade
Course
6th
Grade Band 7th
Grade Band 8th
Grade Band High School I
Concert
High School
Symphonic Band
I.A. Performance
Skills
Utilize characteristic
position and posture
Develop characteristic
embouchure for
woodwind and brass
Use characteristic grip
for percussion
Demonstrate singing
skills in an appropriate
range
Utilize breathing skills:
Two measure phrase
without breath at
moderato in 4/4 time
demonstrating
awareness of 4 measure
phrase structure
Perform Grade 1
Literature
Tune instrument to match
a reference pitch
Use steady air speed for
woodwind and brass
Perform consistent
execution of stroke for
percussion
Demonstrate singing
skills and match pitch in
an appropriate range
Utilize breathing skills:
Four measure phrase at
moderato in 4/4 time
without breath
demonstrating awareness
of a variety of phrase
structures
Perform Grade 1.5
Literature
Perform with steady
tone at various dynamic
levels (piano to forte)
Perform with consistent
execution of stick and
mallet placement for
percussion
Demonstrate singing
skills, match pitch in an
appropriate range with
dynamic control
Utilize breathing skills:
Six measure phrase at
¾ time without breath
demonstrating
awareness of a variety
of phrase structures
Perform Grade 2
Literature
Manipulate pitch, tone,
and dynamics to match
and balance section on
instrument
Demonstrate proper tone
quality, pitch accuracy
and intonation through
singing in unison and in
harmony with expression
Perform Grade 3
Literature
Manipulate pitch, tone, and
dynamics to match and
balance ensemble on
instrument
Demonstrate proper tone
quality, pitch accuracy,
intonation and dynamic
contrast through singing in
unison and in harmony with
expression
Perform Grade 4 Literature
15
Grade
Course
6th
Grade Band 7th
Grade Band 8th
Grade Band High School I
Concert
High School
Symphonic Band
(I.A. Performance
Skills Continued)
Play note patterns in
quarter notes MM=100,
scale patterns, thirds,
arpeggio, tonic triad
and dominant 7th
Perform Rhythms:
whole, half, quarter,
eighth, dotted quarter,
dotted half and
corresponding rests
Major Keys: Bb, Eb, F
Minor Keys: g
Chromatic: 1 octave
Echo five-note
combinations of half-
note and quarter-note
rhythmic and melodic
patterns of increasing
complexity on
classroom instruments
Play note patterns in
eighth notes MM=60,
scale patterns, thirds,
arpeggio, tonic triad and
dominant 7th
Perform Rhythms: Eighth
– quarter - eighth note
combinations, four
sixteenth notes, eighth
note triplets, eighth rest
on the beat, two sixteenth
- eighth note and eighth -
two sixteenth notes
combinations, duple
patterns in simple
syncopation
Major Keys: Ab, C
Minor Keys: c
Chromatic: 1.5 octave for
brasses, 2 octaves for
woodwinds
Echo half-note, quarter-
note, and eighth-note
rhythmic and melodic
patterns of increasing
complexity on classroom
instruments from notes of
major tonalities
Play note patterns in
sixteenth notes MM=
60, extended 6th
grade
and 7th
grade patterns
Perform Rhythms:
Quarter note triplets,
one sixteenth - one
eighth - one sixteenth
note combinations,
three eighth notes,
dotted eighth –
sixteenth and sixteenth
- eighth combinations
Major Keys: Db
Minor Keys: d, f
Chromatic: 2 octave
Echo half-note, quarter-
note, eighth-note, and
sixteenth-note rhythmic
and melodic patterns of
increasing complexity
on classroom
instruments from notes
of major and minor
tonalities
Play note patterns in
sixteenth notes MM=72
Perform Rhythm
Counting: Eighth and
Sixteenth combinations,
ties on the beat
Major Keys: G, D, A, E
Minor Keys: a, e, b, f#,
c#, b flat.
Chromatic: Full-Range
Play by ear simple
melodies (4-6 pitches) on
a melodic instrument or
simple accompaniments
on a harmonic instrument
Play note patterns in sixteenth
notes MM=88
Perform Rhythm Counting:
Sixteenth notes and rests in
compound meters
Major Keys: B, Gb
Minor Keys: g#, d#
Play by ear simple melodies
(6-8 pitches) on a melodic
instrument or simple
accompaniments on a
harmonic instrument
16
Grade
Course
6th
Grade Band 7th
Grade Band 8th
Grade Band High School I
Concert
High School
Symphonic Band
(I.A. Performance
Skills Continued)
Create and perform a
rhythm by combining
half notes, quarter
notes, and eighth notes
Improvise simple
rhythmic variations in a
consistent style and
meter
Compose or write a
rhythm by combining
half notes, quarter
notes, and eighth notes
Perform beginning level
time signatures,
dynamics, articulations,
and tempo markings on
instrument (see
Elements of Music)
found in Grade 1
Literature
Create and perform a
rhythmic variation on a
melody
Improvise simple
rhythmic variations in a
consistent meter with
varying style
Compose or write a
rhythmic variation on a
melody
Perform intermediate
level time signatures,
dynamics, articulations,
and tempo marking on
instrument (see Elements
of Music) found in Grade
1.5 Literature
Create and perform a
two measure melody
Improvise simple
rhythmic and melodic
variations in a
consistent style and
meter
Compose or write a two
measure melody within
given guidelines
Express, interpret, and
shape a musical phrase
Perform advanced level
time signatures,
dynamics, articulations,
and tempo markings on
instrument (see
Elements of Music)
found in Grade 2
Literature
Create and perform a
melodic variation
Improvise simple
rhythmic and melodic
variations in a consistent
meter with varying style
Compose or write a
melodic variation
Use tempo to express,
interpret, shape a musical
phrase
Perform various
combinations of simple or
compound meter,
dynamics, articulations
and tempo markings on
instrument (see Elements
of Music) found in Grade
3 Literature
Create and perform a melody
and melodic variation based
upon a given harmony
Compose or write a melody
based upon a given harmony
Use note emphasis and note
length to interpret a musical
phrase
Perform various combinations
of simple or compound meter,
dynamics, articulations (at
faster tempos), and tempo
markings on instrument (see
Elements of Music) found in
Grade 4 Literature
17
Grade
Course
6th
Grade Band 7th
Grade Band 8th
Grade Band High School I
Concert
High School
Symphonic Band
II.A. Elements of
Music
Interpret standard
duration and meter in
4/4, ¾, 2/4 time
signatures
Apply standard
symbols, terms, and
notation to musical
performance:
Dynamics: p, mf, f,
diminuendo/
decrescendo, crescendo
Articulations:
Accent, staccato,
characteristic tonal note
attacks, slurs
Tempo Markings:
Andante, moderato,
allegro, ritardando,
maestoso
Symbols and Terms:
Bar line, bass clef,
breath mark, duet,
double bar line,
fermata, flat, ledger
line, measure repeat,
multiple measure rests,
sharp, staff, tie, treble
clef, solo, soli, trio, tutti
Interpret standard
duration and meter in 6/8
time signature
Apply standard symbols,
terms, and notation to
musical performance:
Dynamics: pp, mp, ff,
subito, fp
Articulations: Legato,
clean note releases, tenuto
Tempo Markings:
Andantino, rallentando,
accelerando, Tempo I, a
tempo
Symbols and Terms:
Divisi, trill, cesura, z2, 2x
only
Interpret standard
duration and meter in
cut time and 2/2 time
signatures
Apply standard
symbols, terms, and
notation to musical
performance:
Dynamics: Sfp
Articulations:
Marcato, sforzando
Tempo Markings:
Lento, Vivace,
Allargando
Symbols and Terms:
Grace notes, 8va
Interpret standard
duration and meter in 3/8,
12/8, and duple time
signatures such as 5/4 and
6/4
Apply standard symbols,
terms, and notation to
musical performance:
Articulations:
Articulated slurs,
sixteenth note slur/tongue
combination, multiple
tonguing
Tempo Markings:
Grave, Allegretto, Presto,
Tempo Primo, Adagio
Symbols and Terms:
Tacet, segue, con sordino,
tremolo, rubato
Interpret standard duration and
meter in asymmetrical time
signatures, such as 5/8, 7/8
Apply standard symbols,
terms, and notation to musical
performance:
Articulations: All at faster
tempos
Tempo Markings: Largo,
stringendo
Symbols and Terms:
Mordents, turn
18
Grade
Course
6th
Grade Band 7th
Grade Band 8th
Grade Band High School I
Concert
High School
Symphonic Band
Identify musical forms
used in ensemble
repertoire:
First and second
endings, D.C. al fine,
D.S. al fine, repeat sign,
theme and variations,
AB (binary), ABA
(ternary) form
Identify musical forms
used in ensemble
repertoire:
Coda, D.S. al coda/Fine
Identify musical forms
used in ensemble
repertoire:
AABA song form,
fugue
Identify musical forms
used in ensemble
repertoire:
Sonata, rondo,
symphonic, jazz
Identify musical forms used in
ensemble repertoire:
Opera, ballet, musical theatre,
cantata, canon
III. B. Analysis
Use sixth grade music
terminology and
form/composition
techniques to describe,
analyze, interpret, and
evaluate an excerpt or
piece of music
Differentiate among
unison and octave
Use seventh grade music
terminology and
form/composition
techniques to describe,
analyze, interpret, and
evaluate an excerpt or
piece of music
Differentiate among
intervals of unison,
perfect fifth, and octave
Use eighth grade music
terminology and
form/composition
techniques to describe,
analyze, interpret, and
evaluate an excerpt or
piece of music
Differentiate among
intervals of perfect
fourth, minor third and
Major third
Use Concert Band music
terminology and
form/composition
techniques to describe,
analyze, interpret, and
evaluate a recorded
excerpt or piece of music
Differentiate among
diatonic intervals to the
octave
Use Symphonic Band music
terminology and
form/composition techniques
to describe, analyze, interpret,
and evaluate a recorded
excerpt or piece of music
Differentiate among chromatic
intervals to the octave
III. A. Musical
Forms
19
Grade
Course
6th
Grade Band 7th
Grade Band 8th
Grade Band High School I
Concert
High School
Symphonic Band
IV. A. Integration Connect note values
and time signatures in
music to fractions in
math
Explain the importance
of group participation,
perseverance, and
commitment in musical
and non-musical
settings within class
Connect music to other
arts and world cultures
Explain the importance of
group participation,
perseverance, and
commitment in musical
and non-musical settings
within school
Connect American
March and Jazz music
to other arts and
American History
Explain the importance
of group participation,
perseverance, and
commitment in musical
and non-musical
settings outside of
school
Connect music to science
in sound production (air
speed and frequency) and
technology (development
of instruments), and other
arts
List several skills learned
in ensembles and relate
them to those skills
needed in areas such as
the work force, church or
community group, and
other school groups
Connect the narrative function
of art and literature to the
communication of an idea in
Program Music
Explain how the roles of
creators, performers, and
others involved in the
production and presentation of
the arts are similar to and
different from those skills
needed in various vocations
V. A. Music History Identify characteristics
and context of Folk
music examples
Compare and contrast a
variety of music and
music-related vocations
and avocations
Identify characteristics
and context of Choral
Music
Spiritual,
Ritual, and /or
Ceremonial music
from various cultures
Describe the function of
music in various settings
and cultural events
Identify characteristics
and context of
American cultural
influences on
March
Jazz
Identify genre and style
from various historical
periods through
listening to selected
repertoire
Identify characteristics
and context of American
and British march styles.
Conclude possible origin
and/or historical period of
an aural example
Cite well-known
performers specific to
student‘s instrument
Identify characteristics of
early wind band literature (ex.
Grainger, Holst, Hindemith,
Persichetti, Reed, Grundman,
Erickson, Milhaud) and
contemporary wind band
literature (ex. Gillingham,
Ticheli, Stamp, Maslanka,
Melillo, Reineke)
Cite well-known composers
specific to student‘s
instrument
20
Weighted Grade Music Theory
CCO CCO I. A. Performance Skills
CCO II. A. Elements of Music
CCO III. A. Musical Forms
CCO III. B. Analysis
CCO V. A. Music History
Knowledge Improvisation
Error Detection
Sight-singing
Figured Bass realization
Melody Harmonization
Dictation
Error Detection
Sight-singing
Dictation
Literature-Based Listening
Score Study
Figured Bass Realization
Melody Harmonization
Score Study
Historical composition techniques
Literature Based Listening
21
Jazz Band Scope and Sequence
Grade
Course
High School
Jazz Band
I.A. Performance
Skills
Manipulate standard pitch, tone, and dynamics along with altered qualities (subtone,
ghost, vibrato, and muted) to match and balance ensemble on instrument
Demonstrate singing skills (proper tone quality, pitch accuracy, intonation) and match
pitch in an appropriate range
Develop technique through performance of Grade 3-4 literature utilizing:
Full range on instruments
All major keys, all melodic minor, and modal
Rhythm counting: Double dotted note, sextuplets, duplets, mixed meter patterns
Multiple tonguing and articulations
Alternate fingerings
Proper technique and idiomatic patterns required for playing auxiliary
percussion instruments
Use note emphasis and note length to interpret a musical phrase
Play by ear simple melodies or phrases of increasing complexity, on a melodic
instrument or simple accompaniments on a harmonic instrument
Create and perform a melody or variation based upon a given harmony
Improvise harmonized accompaniment parts
Compose or write music using notation (whole, half, quarter, eighth and sixteenth notes
along with corresponding rests)
Perform various combinations of simple or compound meter, dynamics, articulations and
(faster) tempo markings on instrument (see Elements of Music)
II.A. Elements of
Music
Apply standard symbols, terms, and notation to musical performance:
Time Signatures: All compound duple and compound triple, and mixed meter
Dynamics: All dynamic levels (see Band 6-12 Elements of Music)
Jazz Articulations: Bite, ride, glisses, falls, doits, lip trills, scoops, ghost,
subtone, muting marks
Tempos: All tempo ranges and styles (see Band 6-12 Elements of Music)
III.A. Musical Forms
Identify musical forms used in ensemble repertoire, such as D.C. al fine, coda, repeat
signs, first and second endings (see Band 6-12 Musical Forms)
III. B. Analysis Use Jazz Band music terminology and form/composition techniques to describe,
analyze, interpret, and evaluate an excerpt or piece of music
IV.A. Integration
Connect Jazz music and other arts to American History and America‘s original musical
heritage
List several skills learned in jazz ensembles and relate them to those skills needed in
areas such as the work force, church or community group, and other school groups
22
Grade
Course
High School
Jazz Band
V.A. Music History Compare and contrast examples of jazz styles and genres: Swing, Latin, Rock, Jazz
Waltz, Funk
Compare and contrast a variety of music and music-related vocations and avocations
Cite well-known jazz performers specific to student‘s instrument
23
Guitar I and Guitar II Scope and Sequence
Grade
Course
High School
Guitar I
High School
Guitar II
I.A. Performance
Skills
Demonstrate skills through performance in the following:
Proper body/hand/finger position
Singing skills and match pitch in an appropriate range in
first position
Standard tuning of the guitar
Demonstrate basic rhythmic notation, music reading skills within
1st position and correct body/hand/finger position through
performance of literature using the following:
Rhythm patterns: Whole note, half note, quarter note,
dotted half note, eighth note and corresponding rests.
Key Signatures: C, G, D Major
1st position Chromatic Scale
Articulations: Upstroke, downstroke
Play by ear simple melodies (4-6 pitches) on a melodic instrument
or simple accompaniments on a harmonic instrument
Create and perform a rhythmic and/or melodic variation on a
melodic phrase of three to five notes
Compose or write music with whole note, half note, quarter note,
dotted quarter note and eighth note, quarter rest, whole rest, half
rest, eighth rest
Perform beginning level time signatures, dynamics, articulations,
and tempo markings on instrument (see Elements of Music)
Demonstrate skills through performance in the following:
Proper right hand position for pick style and classical
style of playing
Singing skills and match pitch in an appropriate range
with expression in first and second position
Standard tuning of the guitar
Demonstrate rhythmic notation, music reading skills within 1st
and
2nd
position and correct body/hand/finger position through
performance of literature using the following:
Rhythm patterns: Dotted quarter note, eighth rest on and
off the beat
Key Signatures: A, E Major, and scales with movement
out of 1st position
Articulations: Upstroke, downstroke, rest stroke, free
stroke, hammer on/pull off
Play by ear moderately to advanced melodies (8-12 pitches) on a
melodic instrument or advanced accompaniments on a harmonic
instrument
Create and perform a melodic phrase based on a blues scale using
five to seven notes
Compose or write music based on the pitches of the blues scale
using whole note, half note, quarter note, dotted quarter note and
eighth note, quarter rest, whole rest, half rest, eighth rest
Perform intermediate level time signatures, dynamics,
articulations, and tempo markings on instrument (see Elements of
Music)
24
Grade
Course
High School
Guitar I
High School
Guitar II
II.A. Elements of
Music
Apply standard symbols, terms, and notation to musical
performance:
Time Signatures: 4/4, 3/4, 2/4
Tempo Markings: Andante, moderato, allegro, ritardando
Symbols and terms: Bar line, measure, ledger line, tie, pick-up
note, melodic guitar tablature, treble clef, staff, chords
Apply standard symbols, terms, and notation to musical
performance:
Time Signature: 2/2 (cut time)
Tempo Markings: Lento, Largo
Symbols and terms: Slur (Hammer on/Offs)
III.A. Musical Forms
Identify musical forms used in guitar repertoire, such as repeat
signs, first and second endings
Identify musical forms used in guitar repertoire, such as D.C. al
fine, theme and variations, AB (Binary), ABA (ternary), and song
form (AABA)
III.B. Analysis:
Utilize music terminology and form/composition techniques to
describe, analyze, interpret, and evaluate an excerpt or piece of
music in the folk and rock styles
Identify phrases and musical statements
Differentiate sharp and flat intonation with unison pitches
Utilize music terminology and form/composition techniques to
describe, analyze, interpret, and evaluate an excerpt or piece of
music in the folk, rock, 12 Bar Blues, and classical styles
Identify phrases, musical statements and musical forms
Differentiate sharp and flat intonation with two pitches
IV.A. Integration
Describe physical properties involved in producing a tone and
manipulating pitch
Explain the impact of technology on the development of music
instruments
Connect the social influences of the different American cultures
through the evolution of blues, rock ‗n‘ roll, R ‗n‘ B, swing styles,
and Latin music in popular music
Compare characteristics of two or more arts within a particular
historical period or style and cite examples from various cultures
Explain how the roles of creators, performers, and others involved
in the arts resemble and differ from one another in the various arts
disciplines
25
Grade
Course
High School
Guitar I
High School
Guitar II
V. A. Music History Compare characteristics and context of steel string acoustic, nylon
string and electric guitars
Identify music from various styles and historical periods by
comparing and contrasting selected elements of music within
pop/rock music genre
Discuss musical figures and their role as
composers/performers/innovators within pop/rock music genre
Compare characteristics and context of steel string acoustic, nylon
string and electric guitars and popular makers of various guitar
models
Identify music from various styles and historical periods by
comparing and contrasting selected elements of music within the
classical and multicultural styles
Discuss musical figures and their role as
composers/performers/innovators within the pop/rock, classical,
and multicultural styles
99
HIGH SCHOOL
BAND
100
HIGH SCHOOL BAND
COURSE MAP
Grade 9 Grade 10 Grade 11 Grade 12 Concert Band
Symphonic Band
Jazz Band
Beginning Guitar
Advanced Guitar
WG Advanced Placement Music Theory
101
HIGH SCHOOL BAND
COURSE DESCRIPTION GUIDE
CONCERT BAND (Grades 9, 10, 11, 12) 1 Unit, All Year
Prerequisite: Successful band experience and/or permission of the Band Director.
Concert Band is designed for students who wish to continue their band experience.
Enrollment in Concert Band is based on auditions and director‘s recommendation.
Concert Band provides continued instruction of ensemble skills.
Students performing on an extracurricular basis are expected to meet eligibility standards
as specified by the Missouri State High School Activities Association. Attendance at all
performances is required according to the Fine Arts Musical Performance Attendance
Guideline form. Attendance at all performances is required according to the Rockwood
School District Fine Arts Attendance Guidelines for Musical Performance.
Students are expected to provide their own instruments and supplies.
SYMPHONIC BAND (Grades 9, 10, 11, 12) 1 Unit, All Year
Prerequisite: Successful band experience and/or permission of the Band Director.
Demonstrate skills necessary for Musical Performances. Enrollment in Symphonic Band
is based on auditions and director‘s recommendation. Symphonic Band builds on
fundamentals taught in Concert Band by providing instruction in advanced ensemble
techniques. Marching Band is integrated into the band experience as a co-curricular or
extra-curricular activity.
Students performing on an extracurricular basis are expected to meet eligibility standards
as specified by the Missouri State High School Activities Association. Attendance at all
performances is required according to the Fine Arts Musical Performance Attendance
Guideline form. Attendance at all performances is required according to the Rockwood
School District Fine Arts Attendance Guidelines for Musical Performance.
Students are expected to provide their own instruments and supplies.
102
JAZZ BAND (Grades 9, 10, 11, 12) 1 Unit, All Year
Prerequisite: Permission of the director based upon audition. If a performance based
music course IS offered during zero hour, then students enrolling in either Jazz Band or
Chamber Choir are required to enroll concurrently in another performance based music
course. If a performance based music course IS NOT offered during zero hour, then it is
recommended that students enrolling in Jazz Band or Chamber Choir should concurrently
enroll in another performance based music course. Note that if a student has a
scheduling conflict and cannot enroll in two of these courses, the student‟s class
principal will waive this requirement.
This course is designed to further develop the instrumental music student‘s interest and
ability in the area of jazz studies. Students will examine the various styles of jazz, the
harmonic structures associated with jazz, and jazz improvisation. Instrumentation for the
class will be confined to saxophones, trumpets, trombones, drums, guitar, bass guitar, and
piano.
Students performing on an extracurricular basis are expected to meet eligibility standards
as specified by the Missouri State High School Activities Association. Attendance at all
performances is required according to the Fine Arts Musical Performance Attendance
Guideline form. Attendance at all performances is required according to the Rockwood
School District Fine Arts Attendance Guidelines for Musical Performance.
Students are expected to provide their own instruments and supplies.
BEGINNING GUITAR (Grades 9, 10, 11, 12) ½ Unit
Prerequisite: None
This class is designed for the student with no previous experience in playing guitar. Basic
guitar fundamentals such as chording, picking, strumming and note reading will be
covered. Music fundamentals will be introduced to aid the student in reading music.
ADVANCED GUITAR (Grades 9, 10, 11, 12) ½ Unit
Prerequisite: None
This class is designed for students who wish to further their guitar skills. Instruction will
include various styles of guitar playing. Music reading skills will continue to be
developed.
103
WG Advanced Placement MUSIC THEORY I (Grades 10, 11, 12) 1 Unit
Prerequisite: Passing grades in Symphonic Band, Symphonic Orchestra, Chamber, or
Concert Choir with recommendation of ensemble director. Ability to fluently read large
group festival literature. Permission of AP instructor.
Note: A grade of A or B is recommended in previous music courses.
The Advanced Placement Music Theory course enables highly motivated students to do
college entry-level work. Course content emphasizes aural and visual understanding of
musical structure and compositional procedures, part writing, composition, melodic and
harmonic dictation and sight-singing. Students are encouraged to take the AP Music
Theory Exam in May. This course will benefit students who plan to study music at the
college level or who want to enhance their performance skills through knowledge of
music theory.
148
High School
Jazz Band
149
Jazz Band CCO I. A. Performance Skills
Core Conceptual Objective I.A. Performance Skills: Students will demonstrate instrumental music
performance skills (expression, technique, repertoire, imitation, group playing, improvisation, and
composition) through a varied repertoire.
Essential Understanding Missouri State Standards
Jazz musicians produce characteristic sound, technique and articulation,
and communicate ideas/feelings and/or concepts through the performance
of music.
FA 1, FA 2, G2.5, G4.6
Content and Skills:
By the end of this grade/course students
should know:
By the end of this grade/course students should be able to do:
How to manipulate standard pitch, tone,
and dynamics along with altered
qualities (subtone, ghost, vibrato, and
muted) to match and balance ensemble
on instrument
How to demonstrate singing skills
(proper tone quality, pitch accuracy,
intonation) and match pitch in an
appropriate range
How to develop technique through
performance of Grade 3-4 Literature
utilizing:
Full range on instruments
All major, melodic minor and modal
keys
Multiple tonguing and articulations
Alternate fingerings
Proper technique/idiomatic patterns
for playing auxiliary percussion
How to use note emphasis and note
length to interpret a musical phrase
How to play by ear simple melodies or
phrases on increasing complexity, on a
melodic instrument or simple
accompaniments on a harmonic
instrument
How to create and perform a melody or
variation based upon a given harmony
How to improvise harmonized
accompaniment parts
How to compose or write music using
notation
How to perform various combinations of
simple or compound meter, dynamics,
Manipulate standard pitch, tone, and dynamics along with
altered qualities (subtone, ghost, vibrato, and muted) to match
and balance ensemble on instrument
Demonstrate singing skills (proper tone quality, pitch accuracy,
intonation) and match pitch in an appropriate range
Develop technique through performance of Grade 3-4 Literature
utilizing:
Full range on instruments
All major, melodic minor and modal keys
Multiple tonguing and articulations
Alternate fingerings
Proper technique/idiomatic patterns for playing auxiliary
percussion
Use note emphasis and note length to interpret a musical phrase
Play by ear simple melodies or phrases on increasing
complexity, on a melodic instrument or simple accompaniments
on a harmonic instrument
Create and perform a melody or variation based upon a given
harmony
Improvise harmonized accompaniment parts
Compose or write music using notation
Perform various combinations of simple or compound meter,
dynamics, articulations, and (faster) tempo markings on
150
articulations and (faster) tempo markings
on instrument (see CCO II) found in
Grade 3-4 Jazz Literature
instrument (see CCO II) found in Grade 3-4 Jazz Literature
Unit Vocabulary: subtone, ghost, vibrato, muted, bite, ride, glisses, falls, doits, lip trills, scoops, ghost,
subtone, muting marks, ballad, bar, blues, chorus, distortion, dissonance, consonance, interval, lyrics, off-
beat, progression, semitone, tone color, verse, vibrato
Pre-Assessment: Student defines music terminology related to pitch, tone, blend, and balance, rhythm,
melody, harmony, articulation, phrasing, expression, and jazz related terms.
Students play an individual part in a chorale utilizing dynamics to match overall balance and blend of the
ensemble.
Student plays an excerpt from Grade 3-4 Jazz arrangement, demonstrating various combinations of simple
and compound meter, dynamics, articulations, tempo markings, rhythmic and melodic precision,
with appropriate phrasing and shaping in the above keys.
Student plays tones to vary standard pitches and altered qualities.
Student will perform varied style properties and tendencies of jazz music.
Students will create a melody from a given harmony.
Facilitating Activities:
Knowledge/Comprehension
Activity Strategy Assessment
Identify a characteristic sound on band instruments
Identify major and minor key signatures
Identify the phrase structure in a recorded piece of music
Give example
reference recordings
Lecture
Cooperative Learning
Written quiz
Application/Analysis
Synthesis/Evaluation
Activity Strategy Assessment
Evaluate tone quality of individual band instrument
performances of self and peers tuner
Evaluate a peer and give suggestions for improvement to
double tonguing on running sixteenth note exercise
Evaluate expressive styles and qualities on individual
band group performances of self and peers
Cooperative learning
Share Pair
Cooperative Learning
Scoring guide
Differentiation Suggestions: Teacher can provide supplemental materials for accelerated students.
Teachers of peer leaders can provide individual tutoring sessions.
Teachers can rotate part assignments within the section of the ensemble.
Activity Strategy Assessment
Perform a characteristic sound on individual instrument
tuner
Perform Grade 3-4 music with sixteenth note
subdivision
Perform a musical excerpt using an original
interpretation
Modeling
Cooperative Learning
Modeling
Playing test
151
Students have the option of participating in additional music performances outside of school (All-
Suburban, solo/ensemble festival).
Jazz excerpts of professional recordings show style and interpretation.
Application Level Assessment, CCO I.A. Performance Skills: Students will demonstrate instrumental
music performance skills (expression, technique, repertoire, imitation, group playing, improvisation, and
composition) through varied repertoire.
Student Tasks: Manipulate standard pitch, tone, and dynamics along with altered qualities (subtone, ghost, vibrato, and
muted) to match and balance ensemble on instrument
Develop technique through performance of Grade 3-4 Literature utilizing:
Full range on instruments
All major, melodic minor and modal keys
Multiple tonguing and articulations
Alternate fingerings
Proper technique/idiomatic patterns for playing auxiliary percussion
Use note emphasis and note length to interpret a musical phrase
Improvise and perform a melody based on a given harmony.
Perform various combinations of simple or compound meter, dynamics, articulations, and (faster) tempo
markings on instrument (see CCO II) found in Grade 3-4 Jazz Literature
152
Scoring Guide for Jazz Band, CCO I. A. – Performance Skills
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Manipulate pitch, tone, and
dynamics to match and
balance section and
ensemble on instrument
Student plays with a
characteristic sound
throughout the entire range
of the instrument: centered,
clear, and focused
Always matches reference
pitch and adjusts
individual intonation by
comparing it to entire
ensemble
Student plays the
indicated dynamic level
and always adjusts to
match the section volume
Student plays with a
characteristic sound in the
comfortable register of the
instrument: centered, clear,
and focused
Consistently matches
reference pitch and
consistently adjusts
individual intonation by
comparing it to entire
ensemble
Student plays the
indicated dynamic level
and consistently adjusts to
match the ensemble
volume
Student meets two of the
three expectations for a
characteristic sound in the
comfortable register of the
instrument: centered, clear,
and focused
Inconsistently matches
reference pitch and adjusts
individual intonation by
comparing it to entire
ensemble
Student plays the
indicated dynamic level
but does not adjust to
match the section volume
Student does not play
with a characteristic sound
in the comfortable register
of the instrument: not
centered, not clear, and
unfocused
Rarely matches reference
pitch and adjusts
individual intonation by
comparing it to entire
ensemble
Student plays the opposite
of the indicated dynamic
level and does not match
the ensemble volume
Perform sixteenth note
patterns and rhythm
counting in compound
meter at MM=88
Tempo: Steady and
target tempo is
exceeded.
Rhythm: Accurate with
no discernible mistakes
Note/Counting
Accuracy: accurate with
no discernible mistakes
Tempo: Steady and
target tempo is met
Rhythm: Accurate with
few mistake
Note/Counting Accuracy:
accurate with few
mistakes
Tempo: Unsteady
Rhythm: Irregular
Note/Counting
Accuracy: most notes are
correct
Tempo: Does not meet
target tempo and tempo
is unsteady.
Rhythm: Unrecognizable
Note/Counting
Accuracy:
unrecognizable
Perform sixteenth note
scales in all major, melodic
minor, and modal keys,
MM=88
Tempo: Steady and
target tempo is
exceeded.
Rhythm: Accurate with
no discernible mistakes
Note Accuracy: accurate
with no discernible
mistakes
Tempo: Steady and
target tempo is met
Rhythm: Accurate with
few mistake
Note Accuracy: accurate
with few mistakes
Tempo: Unsteady
Rhythm: Uneven
Note Accuracy: most
notes are correct
Tempo: Does not meet
target tempo and tempo
is unsteady.
Rhythm: Unrecognizable
Note Accuracy:
unrecognizable
153
Perform Grade 3-4
literature using (faster)
tempo, articulations, and
dynamic variation to
express, interpret, and
shape musical phrases
Tempo: Steady and
target tempo is
exceeded.
Rhythm: Accurate with
no discernible mistakes
Note Accuracy: accurate
with no discernible
mistakes
Student demonstrates
clear, accurate
differences in speed at
tempo changes,
interprets melodic line
using articulations and
dynamic variation where
appropriate
Tempo: Steady and
target tempo is met
Rhythm: Accurate with
few mistake
Note Accuracy: accurate
with few mistakes
Student demonstrates
differences in speed, but
not enough contrast
between tempo changes
and uses some
articulations and dynamic
variation
Tempo: Unsteady
Rhythm: Uneven
Note Accuracy: most
notes are correct
Students demonstrates
few or slight changes in
speed at tempo changes,
dynamic variation, and
little variations of
articulations within
melodic content
Tempo: Does not meet
target tempo and tempo
is unsteady.
Rhythm: Unrecognizable
Note Accuracy:
unrecognizable
Dynamics do not
change, little or no
interpretation or tempo
fluctuations, no
variation of articulations
within melodic content
Adjust tempos for various
style properties and
tendencies of music
performed
Tempos at maximum
emphasis for style
properties and tendencies
of music performed.
Tempos are at effective
speed for style properties,
vary within the section of
music performed.
Tempos fluctuate, but
style properties are not
affected in the music
performed.
Tempos at incorrect and
negatively affect style
properties and tendencies
of the music performed.
Improvise and perform a
melody based on a given
harmony
Improvisations are
creative and follows the
given harmonic structure.
Improvisations are
effective and somewhat
consistent with the
harmonic structure.
Improvisations fill length
of assignment, but not
consistent with the
harmonic structure.
Contains incorrect note
values and does not follow
the harmonic structure.
Compose jazz music using
written musical notation Compositions are creative
and consistent with the
given harmonic structure
Compositions are
somewhat creative and
consistent with the given
harmonic structure
Compositions are
effective, but not
consistent with the given
harmonic structure
Contains incorrect note
values
Does not follow the given
harmonic structure
154
Jazz Band CCO II. A. Elements of Music
Core Conceptual Objective II A. Elements of Music: Students will apply knowledge and skills to read
and notate music.
Essential Understanding Missouri State Standards
Jazz musicians incorporate reading music to express the composer‘s
intentions.
FA 1, FA 2, G2.5
Content and Skills:
By the end of this grade/course students
should know:
By the end of this grade/course students should be able to do:
How to apply standard symbols, terms,
and notation to musical performance:
Time Signatures: All compound duple
and compound triple, and mixed meter
Dynamics: All dynamic levels (see 6-12
CCO II.)
Jazz Articulations: Bite, ride, glisses,
falls, doits, lip trills, scoops, ghost,
subtone, muting marks
Tempos: All tempo ranging and styles
(see 6-12 CCO II.)
Apply and perform using standard symbols, terms, and notation:
Time Signatures: All compound duple and compound triple, and
mixed meter
Dynamics: All dynamic levels (see 6-12 CCO II.)
Jazz Articulations: Bite, ride, glisses, falls, doits, lip trills,
scoops, ghost, subtone, muting marks
Tempos: All tempo ranging and styles (see 6-12 CCO II.)
Unit Vocabulary:
Compound duple, compound triple, mixed meter, notation, dotted notes sextuplets, duplets, counterpoint,
blues, lineup, mute, orchestration, refrain, riff
Pre-Assessment: Student defines musical rhythms and meters related to compound, duple, and mixed rhythms.
Student performs advanced dynamic levels in jazz literature.
Student plays an individual part of jazz arrangement utilizing identified symbols of staccato, legato,
marcato, and accent staccato.
Facilitating Activities:
Knowledge/Comprehension
Activity Strategy Assessment
Identify characteristic expressive styles and qualities on
band instruments (T)
Present examples:
reference recordings
Written quiz
Application/Analysis
Synthesis/Evaluation
Activity Strategy Assessment
Evaluate expressive styles and qualities on individual
band group performances of self and peers (T)
Cooperative learning Scoring guide
Differentiation Suggestions:
Activity Strategy Assessment
Perform characteristic expressive styles and qualities on
individual instrument
Modeling Playing tests
155
Supplemental materials will be provided for varied tempos for advanced students.
Teachers or peer leaders can provide individual tutoring sessions.
Teachers can rotate part assignments within each section of the ensemble.
Application Level Assessment for II. A. Elements of Music: Students will apply knowledge and skills to
read and notate music.
Student Tasks: Play music in various time signatures, including compound duple and compound triple, and mixed meter
Define and perform Fast Swing, Slow Ballad tempos
Demonstrate through performances, musical rhythms using various articulations (staccato, legato, marcato,
accent staccato. bite, ride, glisses, falls, doits, lip trills, scoops, ghost, subtone, muting marks) and
music terminology related to jazz.
Compose jazz music using written musical notation.
156
Scoring Guide for Jazz Band, CCO II. A. – Elements of Music
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Time Signatures: Play
music in various time
signatures, including
compound duple and
compound triple, and mixed
meter
Reads and interprets
meters correctly with
proper emphasis on strong
beats
Reads time signatures
correctly, but misplaces or
lacks emphasis on strong
beats
Pauses at ends of
measures
Student lacks a steady
sense of time, unable to
read and interpret time
signatures
Tempo Markings:
Define and perform
Fast Swing, Slow Ballad
tempos
Reads and interprets
tempo markings correctly,
and is able to maintain
steady tempo
Demonstrates knowledge
of tempo markings, but
unable to differentiate
between categories
Student is unable to
maintain a steady tempo
Student is unable to
differentiate between
tempo markings, tempo
fluctuates dramatically
Demonstrate through
performances, musical
rhythms using staccato,
legato, marcato, and accent
staccato
Student plays rhythms and
articulations correctly in
context
Rhythms are played but
some articulations are not
performed in context
Student can state the
explain the definitions of
articulations, but does not
perform correctly
Student does not know the
differences in articulations
and cannot perform
correctly
157
Jazz Band CCO III. A. Musical Forms
Core Conceptual Objective III. A. Musical Forms: Students will analyze and evaluate music and
musical performances.
Essential Understanding Missouri State Standards
Jazz musicians identify and analyze forms and composition techniques. FA1, FA 2, FA 3, G1.5,
G1.6, G2.5
Content and Skills:
By the end of this grade/course
students should know:
By the end of this grade/course students should be able to do:
How to identify and analyze musical
forms
Identify musical forms used in ensemble repertoire, such as D.C al
Fine, coda, repeat signs, first and second endings (see Band 6-8
CCO III. A.)
Unit Vocabulary: (see prerequisite progressive vocabulary from Band 6-8 CCO. III. A. Musical
Forms)
Pre-Assessment: Student defines music terminology related to musical forms.
Student listens to and describes musical form or structure of short etude.
Facilitating Activities:
Knowledge/Comprehension
Activity Strategy Assessment
Students will identify musical forms within repertoire Modeling Written quiz
Application/Analysis
Activity Strategy Assessment
Students will analyze a piece of recorded music and
make inferences on musical form (T)
Cooperative Learning Written Quiz
Differentiation Suggestions:
Supplemental materials or composition assignments can be provided for accelerated students.
Teachers or peer leaders can provide individual tutoring sessions.
Application Level Assessment CCO III A. Musical Forms: Students will identify and analyze forms
and composition techniques.
Student Task: Identify musical forms used in ensemble repertoire, such as D.C al Fine, coda, repeat signs, first and second
endings (see Band 6-12 CCO III. A.)
158
Jazz Band, CCO III. B. Analysis
Core Conceptual Objective III. B. Analysis: Students will analyze and evaluate music and musical
performances.
Essential Understanding Missouri State Standards
Jazz musicians analyze, evaluate, and respond to the formal, stylistic, and
aesthetic qualities of music.
FA 2, FA 3, G1.4, G2.4
Content and Skills:
By the end of this course students should
know:
By the end of this course students should be able to do:
How to use jazz band terminology and
form/composition techniques to analyze,
interpret and evaluate the formal,
stylistic, and aesthetic qualities of music
Introduction
Tells plan to critique. Gives information about the work: composer‘s
name, musician‘s name, title of piece, when and where it was created,
what media was used, its period, style, or culture. Description
Sentences that list everything heard or seen in the performance,
including names of instruments. Analysis
Describes pitch, melody, harmony, rhythm, dynamics
Interpretation
Explain the artist‘s use of phrasing, breathing, style, dynamic contour
and contrast and how he/she communicates an emotional mood or
attitude toward the subject, narrative, social commentary, spiritual
/religious ideas or other purpose of the work
Judgment Evaluates the quality of the composition
Evaluates the quality of the performance
Grammar, Style, Form
Unit Vocabulary: introduction, description, analysis, interpretation, judgment, grammar/style/form
(As it pertains to critique guide of performances or recordings)
Pre-Assessment: Student defines music terminology to describe, analyze, interpret, and evaluate jazz forms, styles and
aesthetic qualities of music.
Facilitating Activities:
Knowledge/Comprehension
Activity Strategy Assessment
Identify styles and forms played in jazz literature (T) Present examples:
reference recordings
Written quiz
Application/Analysis
Synthesis/Evaluation
Activity Strategy Assessment
Evaluate the individual performance of a recorded jazz
piece in relation to the rest of the ensemble (T)
Cooperative learning Scoring guide
Differentiation Suggestions: Supplemental materials will be provided for students at varied levels of achievement.
Activity Strategy Assessment
Analyze a piece of recorded jazz literature and make a
listening diagram (T)
Modeling Playing tests
159
Jazz excerpts of professional recordings show style and interpretation.
Application Level Assessment, CCO III. B. Analysis: Students will demonstrate the ability to respond to
and critically analyze music.
Student Task: Student will use jazz terminology and form/composition techniques to analyze, interpret, and evaluate the
formal, stylistic, and aesthetic qualities of a given excerpt or piece of music
160
Music Criticism Worksheet
Name________________________________ Class_________________ Date:______
Using the Music Criticism Scoring Guide, write a five-paragraph critique of a musical
performance. You may take as much space as you need for each paragraph. If you are
completing this with pen/pencil, you may continue answers on the back or on another
page.
1. Introduction
2. Description
3. Analysis
4. Interpretation
5. Judgment
161
Music Criticism Scoring Guide
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Introduction
Tells plan to critique. Gives
information about the work:
composer‘s name,
musician‘s name, title of
piece, when and where it
was created, how it was
used, its period, style, or
culture.
Clearly states plan to critique
another artist‘s work or to
explain the goal of a
personal piece of music
All available information
given
States plan to critique
another artist‘s work or to
explain the goal of a
personal piece of music
Most available information
given
Artist‘s work or a personal
piece mentioned
Tells artist‘s name and
title
Artist‘s name or
title of work
listed
Description
Sentences that list
everything heard or seen in
the performance, including
names of instruments.
Logical, coherent, complete,
detailed description of what
is seen/heard in the
performance
Logical, coherent, complete
description of what is
seen/heard in the work
Complete description of
what is seen/heard in the
work but slightly
unorganized
Random
mention of one
or two details
seen/heard in the
work
Analysis
Describes pitch, melody,
harmony, rhythm, dynamics
Considers each element to
determine which are most
important in the work
Explains, in detail, how and
where each important
element and principle is used
in the work
Considers elements to
determine which are most
important in the work
Explains how and where
each important element and
principle is used in the work
Lists elements used
Tells how or where some
elements and principles
are used in the work
Partially lists
elements
Interpretation
Explain the artist‘s use of
phrasing, breathing, style,
dynamic contour and
contrast and how he/she
communicates an emotional
mood or attitude toward the
subject, narrative, social
commentary, spiritual
/religious ideas or other
purpose of the work
Clearly infers meaning of
work based upon analysis/
Clearly supports all
statements with detailed,
specific reference to musical
elements
Relates the performer‘s
choices to personal
interpretation of the
composer‘s work
Interprets the meaning of
work based upon analysis.
Supports statements with
reference to musical
elements
Connects most of the
performer‘s choices to a
general interpretation of the
composer‘s work
Suggests a meaning of the
work.
Supports statement with
reference to some musical
elements
Suggests
meaning of
work.
Judgment Evaluates the quality of the
composition
Evaluates the composition
on the basis of information
about the composer‘s life,
times, and intentions
Evaluates the quality of the
performance on musician‘s
tone/intonation, technique
articulation, and
expression/musicianship.
Supports all statements with
specific, detailed reference to
the work
Evaluates the composition
on the basis of information
about the composer‘s
intentions
Evaluates the quality of the
performance on musician‘s
tone/intonation, technique
articulation, and
expression/musicianship.
Supports most statements
with reference to the work
Explains information
about the composer‘s life
without connecting it to
the meaning of the
composition
Discusses the musician‘s
tone/intonation, technique
articulation, or
expression/musicianship.
Few references to the
work that support
statements
States personal
opinion
Grammar, Style
Form
Free of errors
Consistently uses third
person in other artist‘s work
or first person if own piece
Uses sophisticated sentence
variety, precise vocabulary
References last name only
after introductory paragraph
All steps of critique model in
correct order
Few minor errors in spelling or
grammar
Uses third person in other
artist‘s work or first person if
own piece
Some sentence variety,
appropriate vocabulary
References last name only after
introductory paragraph
All steps of critique model in
correct order
Errors in grammar and
spelling without affecting
clarity
Some use of first or
second person
Little sentence variety
First and/or last name of
artist used throughout
essay
All steps of critique model
present but out of order
Multiple grammatical
errors interfere with
content and readability
Uses first, second and/or
third person
First and/or last name of
artist used throughout
essay
Steps of critique model
may be missing or out of
order
162
Jazz Band CCO IV. A. Integration
Core Conceptual Objective IV. A. Integration: Students will make connections between music and
other subject areas.
Essential Understanding Missouri State Standards
Jazz music influenced and was influenced by American history and
cultures.
FA 4, FA 5, G1.9, G3.3
Content and Skills:
By the end of this grade/course students
should know:
By the end of this grade/course students should be able to do:
How to connect the social influences of
the different American cultures through
the evolution of blues, rock ‗n‘ roll, R
‗n‘ B, swing styles, and Latin music in
jazz
Cite several skills learned in jazz
ensembles and relate them to those skills
needed in areas such as the work force,
church or community group, and other
school groups
Analyze influences and cultural groups that led to the
development of jazz music genres/styles
Analyze how the artist communicates an emotional mood,
attitude toward the subject, narrative, social commentary,
spiritual /religious idea or other purpose of the work through the
use of phrasing, breathing, style, dynamic contour and contrast
Compare the communication skills used in jazz band to those
skills needed in real-world scenarios for work, community
groups or school groups
Unit Vocabulary: rock ‗n roll, R ‗n B
Pre-Assessment: Explain the development of jazz music and its influences on contemporary pop music and justify with
references to cultural sentiment and diversities.
Student lists several skills learned in ensemble performance and participation
Facilitating Activities:
Knowledge/Comprehension
Activity Strategy Assessment
Define vocabulary of culture and geographical areas
related to blues and jazz idiom (T)
Classroom discussion Teacher observation
Application/Analysis
Synthesis/Evaluation
Activity Strategy Assessment
Write a short essay that might depict a cultural or
geographical as related to a jazz piece of music (T)
Essay Scoring guide
Differentiation Suggestions: Supplemental material will be provided for accelerated students.
Strong students model for other students.
Activity Strategy Assessment
Compose a melody and lyrics that illustrate a cultural or
geographical influence (T)
Modeling Scoring guide
163
Application Level Assessment for CCO IV. A. Integration: Students will relate jazz music to social/
cultural history in the United States.
Student Tasks:
Analyze influences and cultural groups that led to the development of jazz music genres/styles.
Analyze how the artist communicates an emotional mood, attitude toward the subject, narrative, social
commentary, spiritual /religious idea or other purpose of the work through the
164
Scoring Guide for Jazz Band, CCO IV. A. - Integration
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Analyze how the artist communicates an
emotional mood, attitude toward the
subject, narrative, social commentary,
spiritual /religious idea or other purpose
of the work through the use of phrasing,
breathing, style, dynamic contour and
contrast.
Clearly infers meaning of work
based upon analysis/
Clearly supports all statements
with detailed, specific reference to
musical elements
Relates the performer‘s choices to
personal interpretation of the
composer‘s work
Interprets the meaning of work
based upon analysis.
Supports statements with
reference to musical elements
Connects most of the
performer‘s choices to a
general interpretation of the
composer‘s work
Suggests a meaning of
the work.
Supports statement
with reference to some
musical elements
Suggests
meaning of
work without
supporting
evidence
Analyze influences and cultural groups that led to
the development of jazz music genres/styles:
Analyzes and defends
statements about the
social and cultural
influences on music
of each of five
genres/styles with
specific reference to
artists and works
Analyzes and
defends statements
about the social
and cultural
influences on
music of four
genres/styles with
specific reference
to artists and works
Explains the social
and cultural
influences on music
of each of three
genres/styles
Lists the social
and cultural
influences on
music of each
of two
genres/styles
Social Influence/Culture->Blues
Memphis as the home of the blues and as the urban
center of the Delta region, place where blues
performers first brought their music to national
attention in the early decades of the 20th century.
Students should recognize that the blues is a highly
sophisticated art form rooted in folk traditions.
Students should consider how the role of the musician
and the social purpose of music might differ in rural
and urban settings. That the blues draws its strength
from hardship and pain, expressing a spirit of
affirmation in the face of adversity, often utilizing the
call and response or question and answer structure
coming from the work song (AABA form and its use
of iambic pentameter).
Social Influence/Culture->Rock „ n‟ Roll
Relate to social revolution at the time, emergence
from the blues and gospel, electrified guitar as pivotal.
165
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Analyze influences and cultural groups that led to
the development of jazz music genres/styles:
Analyzes and defends
statements about the
social and cultural
influences on music
of each of five
genres/styles with
specific reference to
artists and works
Analyzes and
defends statements
about the social
and cultural
influences on
music of four
genres/styles with
specific reference
to artists and works
Explains the social
and cultural
influences on music
of each of three
genres/styles
Lists the social
and cultural
influences on
music of each
of two
genres/styles
Social Influence/Culture->R „n‟ B
Encompasses such styles as jump blues, club blues,
black rock and roll, doo wop, soul, Motown, etc
originating from the massive social, industrial, and
technological change that took place in the United
States just prior to and during World War II.
Social Influence/Culture->Swing
Swing as America‘s mainstream popular music of the
30‘s and 40‘s derived from Dixieland music of the
black culture, now as crossover to popular culture as
dance music.
Social Influence/Culture->Latin
Musical traditions from the Caribbean and the United
States migrated and mixed giving percussionist a new
role in jazz with this new sound. Hybrid form of
integrated music as a result of movement of
individuals through several areas accelerating musical
innovation.
166
Jazz Band CCO V. A. Music History
Core Conceptual Objective V. A. Music History: Students will demonstrate knowledge of jazz music history.
Essential Understanding Missouri State Standards
Jazz musicians understand and appreciate jazz music through various styles and
genres.
FA5, G1.9, G3.3
Content and Skills:
By the end of this grade/course students
should know:
By the end of this grade/course students should be able to do:
How to cite characteristics of the various
styles and genres of the jazz idiom
(swing, Latin, rock, jazz waltz, funk)
Compare a variety of jazz music and
music-related vocations and avocations
Cite well-known jazz performers specific
to student‘s instrument
Specify and demonstrate the 8th
note feel (even or uneven), in context
with the following genres of the jazz idiom (swing, blues, Latin, rock,
jazz waltz, funk, bebop) and pulse emphasis (strong or weak beat)
Compare and contrast characteristics of various styles (listed above)
Cite and reference specific jobs related to jazz performance
List well-known recording artists
Unit Vocabulary: Latin, jazz waltz, funk, ballad, bebop, blues
Pre-Assessment: Student defines music terminology related to jazz music history.
Student listens to and differentiates the various styles and genres of Jazz Music.
Facilitating Activities:
Knowledge/Comprehension
Activity Strategy Assessment
Define terminology related to genres of jazz idiom (T) Lecture Written Test
Application/Analysis
Synthesis/Evaluation
Activity Strategy Assessment
Support the following statement: Rock ‗ n‘ Roll, Modern
Country, and Jazz have been influenced greatly by the
foundations of the blues (T)
Constructed response
essay
Scoring guide
Differentiation Suggestions: Students independently research music history and jazz vocations/avocations based upon their interests.
Application Level Assessment for CCO V. A. Music History: Students will demonstrate knowledge of jazz
music history.
Student Tasks: Specify and demonstrate the 8
th note feel (even or uneven), in context with the following genres of the jazz idiom
(swing, Latin, rock, jazz waltz, blues, bebop, funk) and pulse emphasis (strong or weak beat).
Compare and contrast characteristics of various jazz styles (listed above).
Activity Strategy Assessment
Analyze examples of jazz styles (T) Cooperative learning Scoring guide
167
Music History Reflective Writing Worksheet
Name: Class:
Watch or listen to two performances of music. Based on what you learned in class, complete the chart below to compare/contrast the works.
Who do you think composed Work A?
When do you think it was composed?
Where do you think it was composed?
Who do you think composed Work B?
When do you think it was composed?
Where do you think it was composed?
Which musical characteristics helped you determine the composer, time period, and place where the work was created? WHY? Work A
Work B
Explain how the composer‟s life and times influenced his/her composition
Work A
Work B
On the next page, write an essay comparing the importance of these works in the history of music. Support your opinions with information from the
charts you just completed.
168
Scoring Guide for Jazz Band, CCO V. A. - Music History
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Specify and demonstrate the 8
th note feel
(even or uneven), in context with the
following genres of the jazz idiom
(swing, Latin, rock, jazz waltz, funk)
and pulse emphasis (strong or weak
beat)
Explains and performs
correct 8th
note style
(even or uneven) and
pulse emphasis (strong
beat or weak beat)
Explains and performs
correct 8th note
subdivision with slight
fluctuation of style and
pulse emphasis
8th
note subdivision
is inconsistent and
switches between
even and uneven;
pulse emphasis is not
easy to distinguish.
Does not explain or
perform correct 8th
note
style subdivision, pulse
emphasis is on wrong
beat
Compare and contrast characteristics of swing, Latin,
rock, jazz waltz, and funk.
Swing Characteristics
Swing is defined as a sensation of momentum in which a
melody is alternately heard together with, then slightly at
variance with, the regular beat, or marked by syncopation
and a triplet subdivision of the beat. Count Basie, Nat King
Cole, Benny Goodman, Billie Holiday, Ella Fitzgerald, and
Duke Ellington are all commonly used examples.
Latin Characteristics
Latin Jazz is mainly an instrumental hybrid music defined by
more progressive harmonies used in its corresponding
rhythmic structural arrangement, combined with an
exuberant amount of improvisation, and fused with African
based rhythms that continue to develop from the entire Latin
American Diaspora. Various characteristics describe Latin
Jazz ranging from the avant garde (Emiliano Salvador,
Hermeto Pascual, etc.) to more popular forms (Poncho
Sanchez, Tito Puente, etc.).
Compares,
contrasts, and
evaluates
characteristics of
jazz genres and
styles
Compares and
contrasts
characteristics of
jazz genres and
styles
Explains
characteristics of
jazz genres and
styles
Lists characteristics
of \ jazz genres and
styles
169
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Rock Characteristics
Jazz Rock adds rhythmic complexities to the rock style (not
only individual melodic lines, but in terms of mixed and odd
meters….numerators of 5, 7, etc.), harmonic complexities
(many "extended-harmony" chords, such as 9th, 11th and
13th chords…more than the plain triads and 7th chords of
traditional rock), and melodic blues lines to the rock style.
Some examples include artists: Blood, Sweat & Tears;
Chicago; (Bill) Chase; Paul Butterfield Blues Band, Blues
Project, etc
Jazz Waltz Characteristics
The basic jazz waltz or 3/4 swing feel consists of "one, two,
and-of-two, three" or "ding ding-a ding" on the ride cymbal,
with the hi-hat on count "two". Other variations include
using the hi hat on "two" and "three", or on all three beats;
adding the snare on the "and-of-two" or on the "and-of-one"
and on "three". Some examples are: Someday My Prince
Will Come, Ju-Ju, Emily, Tenderly, Bluesette, Favorite
Things, etc.
Funk Characteristics
The term "Funky Jazz" in the 1950s should not be confused
with "Funk‖, a style of popular music pioneered in the 1970s.
Funky Jazz is characterized by its earthy, "low down,"
soulful, bluesy, and gospel flavored qualities, e.g., Moanin',
Art Blakey and the Jazz Messengers. While Funk also
combines elements of jazz, blues, and soul, it is characterized
by syncopated rock rhythms and a heavy, repetitive bass line,
e.g., Chameleon, Herbie Hancock
Compares,
contrasts, and
evaluates
characteristics of
jazz genres and
styles
Compares and
contrasts
characteristics of
jazz genres and
styles
Explains
characteristics of
jazz genres and
styles
Lists characteristics
of \ jazz genres and
styles
229
Appendix
230
Fine Arts Resource Selection
Evaluation Checklist
Course:______________________________________________________
Title of Text:__________________________________________________
Publisher:____________________________________________________
Copyright:____________________________________________________
Please use the scoring guidelines to assess the following items:
Student Textbook:
1. ______ Objectives for lessons are clear.
2. ______ Objectives represent various levels of Bloom‘s.
3. ______ Includes historical/cultural information.
4. ______ Emphasizes fine arts process skills and inquiry.
5. ______ Develops problem solving and critical thinking skills.
6. ______ Performance assessments with scoring guides are provided and
match objectives.
7. ______ Makes the connection among fine arts and with core subjects,
technology, and society.
8. ______ Appropriate reading level.
9. ______ Is gender-fair, multicultural and disability aware.
Scoring Guidelines:
+ 3 = Excellent
2 = Good
1 = Poor or Not at All
NA = Not Applicable
231
10. ______ Text meets District CCOs (percent covered______%).
Overall Rating
Teacher Resources:
1. _______ Contains clearly written, easy-to-use plans.
2. _______ Includes enough background information for teacher.
3. _______ Provides extension ideas for differentiating instruction.
4. _______ Integrates writing in lessons.
5. _______ Incorporates technology in lessons (provides lesson examples, web
sites, etc.).
6. _______ Provides quality supplemental materials.
Overall Rating
Check one
_____This textbook would be a great choice.
_____This textbook should be considered.
_____I would not recommend this textbook.
Other Comments:
232
Rockwood
Writing Guidelines
While the emphasis of the Rockwood drama program is on the elements of performance and production of dramatic works,
formal writing is a portion of the class grade. At least one formal writing assignment from any of the listed categories will
be a part of the grade of each course. Below are the minimum standards for formal writing assignments:
Content:
Critiques should be based on specific criteria supported by observations referenced to the artwork.
Expository Writing should include a thesis backed by supporting details.
Form:
Critiques should follow organizational pattern as directed by the teacher. Writing will follow grade appropriate grammar,
usage, and mechanics rules per Rockwood scoring guide.
Analyses should follow organizational pattern as directed by the teacher. Writing will follow grade appropriate grammar,
usage, and mechanics rules per Rockwood scoring guide.
Expository Writing should follow multi-paragraph essay format. Students should document sources as necessary. Writing
will follow grade appropriate grammar, usage, and mechanics rules per Rockwood scoring guide.
Six-Trait Assessment for Middle School Writers* 1
EXPERIMENTING
2
EMERGING
3
DEVELOPING
4
CAPABLE
5
EXPERIENCED
IDEAS
- Attempts a story or
to make a point
- Meaning of the
general idea is recognizable
- Some ideas clear but
most still fuzzy
IDEAS
- Writing tells a story or
makes a point with some
but loses control at times
- Meaning is recognizable
with close read
- Some ideas clear but
some still fuzzy
IDEAS
- Writing tells a story or
makes a point
- Idea generally stays on
topic
- Details are present but
not completely developed
or are not strong
- Attempts commentary,
where needed
IDEAS
- Writing clearly tells
a story or makes a point
- Idea and focus stay
on topic
- Concrete details are
important and
developed
- Commentary, when
present, is true
commentary
IDEAS
- Topic is narrowed and
focused
- Presents a fresh and original
idea or complex story
- Develops the main idea with
critical concrete details which is
fully developed
- Uses strong commentary
where needed
ORGANIZATION
- Format is attempted
Beginning is attempted but
no ending (possibly “The
End”)
- Attempts at
sequencing and transitions
- Attempts transitions
ORGANIZATION
- Format is correct
some of the time
- Attempts transition
from sentence to
sentence
- Beginning works well
and attempt at ending
- Logical sequencing
- Key ideas begin to
surface
ORGANIZATION
- Format is correct most
of the time
- Transitions work to
connect sentences
- Strong beginning with
clear ending
- Easy to follow most
times
- Commentary is
connected to the concrete
detail
ORGANIZATION
- Format is correct
- Varied transitions
connect sentences
- Strong beginning
- Ending summarizes
the paragraph
- Easy to follow
- In-depth
commentary
ORGANIZATION
- Format is not needed for
organization
- Transitions connect sentence
to sentence, though to thought,
paragraph to paragraph
- Easy to follow
- Important ideas stand out
CONVENTIONS
- Uses phonetic
spelling
- Correctly spells high
frequency words some of
the time
- Uses capitals at the
beginning of sentences
- Usually uses end
punctuation correctly
- Experiments with
other punctuation
- Longer paper is one
long paragraph with run-
ons
- Attempts standard
grade-level grammar;
sometimes must be re-read
CONVENTIONS
- Transitional spelling
on less frequent words
- Correctly spells high
frequency words
- Capitals at sentences
beginnings and variable
use of other capitals
- End punctuation is
correct and other grade-
level punctuation is
attempted
- Paragraphing variable
but present
- Basic noun/pronoun
agreement
- Some run-ons and
fragments
CONVENTIONS
- Spelling is correct on
most words
- Capitals used for proper
nouns and sentence
beginnings most of the time
- Basic grade-level
punctuation, including
commas, is correct
- Indents consistently to
show paragraphs
- Shows control of
standard grammar most of
the time
- Some run-ons but few, if
any, fragments
CONVENTIONS
- Spelling is correct
- Capitals are used
for proper nouns and
sentence beginnings
- Grade-level
punctuation is correct
and complex
punctuation is
attempted
- Paragraphing is
clear
- Shows control of
standard grammar
- Few run-ons but no
fragments
CONVENTIONS
- Spelling is correct
- Capitals are correct
- Grade-level punctuation is
corrected
- Complex punctuation is often
successful
- Sentences are varied in
length, beginning, and complexity
- No run-ons or fragments
*Used with permission and modified based on the work of the Northwest Regional Educational Laboratory, Portland, Oregon
234
. Six-Trait Assessment for High School Writers
Ideas Organization Conventions Word
Choice
Sentence
Fluency
Voice
4
__Strong controlling idea based
on interesting and meaningful
thesis narrows focus __Clearly addresses topic and
provides specific and relevant concrete details and/or reasons
__Shows complexity and
freshness of thought
__Effective, insightful commentary connects concrete detail to thesis
__Effective beginning, middle, and end;
engaging introduction; strong sense of closure
__A clear, strong thesis statement governs entire essay; the writer skillfully emphasizes
important ideas
__Use paragraphing effectively
__Progresses in a logical order
__Uses effective cohesive devices (transitions,
repetition, pronouns, parallel structure) between and within paragraphs
__Successfully follows assigned format
__Contains few errors in
grammar/usage,
punctuation, capitalization,
and/or spelling
__Intentional or clever use of
atypical sentence structure __Correct pronoun/antecedent
agreement and subject/verb
agreement; consistent verb tense
__Uses precise and
vivid language
__Effective use of
writing techniques
such as imagery and
figurative language if appropriate
__Consistently avoids
redundancy
__Contains sentences
that are clear and
varied in length and
structure __Variety of sentence
beginnings __Natural rhythm,
cadence and flow
__ Shows individual
perspective; personality comes
through
__Clearly shows an
awareness of audience and
purpose
__Writer‘s enthusiasm for the
topic is evident
__Effectively uses writing
techniques (such as humor,
point of view, tone) that evoke
a strong emotional response
3 __Controlling idea based on a
meaningful thesis begins to narrow
focus
__Addresses the topic using
relevant details and/or reasons
__Shows some complexity and/or
freshness of thought
__Strong commentary relates
concrete detail to thesis
__Clear beginning, middle and end with an
effective introduction and conclusion
__A clear thesis statement governs the entire essay; important ideas stand out
__Uses paragraphing appropriately
__Generally progresses in a logical order
__Uses cohesive devices between and within
paragraphs __Accurately follows assigned format
__May contain errors in
grammar/usage,
punctuation, capitalization,
and/or spelling that are not
distracting to the reader
__Fragments or run-ons are rare (unless stylistic)
_Very few errors in
agreement and tense
__Uses precise
language
__Uses writing
techniques such as
imagery and/or
figurative language if appropriate
__Avoids redundancy
__Contains sentences
that are clear and
show some variety in length and structure
__Not all sentences
begin with the same pattern
__Sections of writing
have rhythm and flow
__ Shows some individual
perspective; personality begins
to show
__Shows an awareness of
audience and purpose
__Writer cares about topic __Uses writing techniques
(such as humor, point of
view, tone) that may evoke an emotional response
2 __Contains some sense of
direction, but may lack focus
__Addresses the topic, but relies
on generalities (lists) rather than
specifics (development)
__Limited complexity and/or
freshness of thought
__Weak commentary
__Evidence of a beginning, middle and end
__Thesis statement attempted, but may not
govern the entire essay; some important ideas
begin to surface
__Shows evidence of paragraphing
__Inconsistency in logical order
__Inconsistent use of cohesive devices
__Attempts assigned format
__Contains errors in
grammar/usage,
punctuation, capitalization,
and/or spelling that may be
distracting to the reader
__Some run-ons and/or
sentence fragments __Inconsistent subject/verb
agreement and or verb tense
__May use imprecise
language
__ Attempts to use
some writing
techniques such as
imagery and/or
figurative language if appropriate
__ Some obvious
redundancy
__Contains sentences
that are generally
clear, but lack variety
and complexity
__Some sentences begin
the same
__An occasional section of writing has rhythm
and flow
__May lack individual
perspective
__Shows some awareness of
audience and purpose
__Writer shows limited
connection to the topic
__Attempts to use some
writing techniques (humor,
point of view, tone) to evoke a
response
1 __Is difficult to follow and lacks
focus
__May address the topic, but
lacks details
__Lacks complexity and
freshness of thought
__Attempts commentary
unsuccessfully
__Little or no evidence of a beginning,
middle, and/or end __Thesis statement unclear __Little or no evidence of paragraphing
__Does not progress in a logical order and
may digress to unrelated topics
__Lacks cohesion
__No evidence of format
__Contains repeated errors
in grammar/ usage,
punctuation, capitalization,
and/or spelling that are
distracting
__Numerous run-ons and/or fragments
__Frequent errors with
agreement and/or tense
__Uses imprecise
language
__Shows little or no
evidence of writing
techniques such as
imagery or figurative language
__Obvious and/or
distracting redundancy
__Contains sentences
that lack variety and
clarity
__Most sentences begin
the same way
__Writing is choppy; needs rereading to
follow the meaning
__Lacks individual
perspective
__Shows little or no
awareness of audience or
purpose
__Treatment of topic is predictable
__Shows little or no evidence
of writing techniques to evoke a response
Modified based on the work of the Northwest Regional Educational Laboratory, Portland, Oregon Bold descriptor s= MAP criteria
Missouri Show-Me Standards
The Missouri Department of Elementary and Secondary Education has issued a set of standards that are intended to define
what students should learn by the time they graduate from high school. These guidelines are titled ―The Show-Me
Standards‖.
The Rockwood School District Band Curriculum is referenced to the Missouri Show-Me Standards. You will find the
references explained below.
Example from Grade Six Beginning Band:
Core Conceptual Objective I.A. Playing Skills: Tone-Intonation: Students will demonstrate knowledge of tone and
intonation through musical performance.
Essential Understanding Missouri State Standards
Musicians produce characteristic tone and accurate intonation in order to
perform high quality music.
FA 1, 2.5
FA I refers to the Content Standard for Fine Arts
Students in Missouri public schools will acquire a solid foundation which includes knowledge of
1. process and techniques for the production, exhibition, or performance of one or more of the visual or performed arts
2.5 refers to the Process Standard Two
Students will acquire the knowledge and skills to communicate effectively within and beyond the classroom.
5. perform or produce works in the fine and practical arts
236
Note to Readers: What should high school graduates in Missouri know and be able to do? The Missourians who
developed these standards wrestled with that question. In the end, they agreed that ―knowing‖ and ―doing‖ are actually two
sides of the same coin. To perform well in school or on the job, one must have a good foundation of basic knowledge and
skills. Equally important, though, is the ability to use and apply one‘s knowledge in real-life situations.
These standards (73 in all) are intended to define what students should learn by the time they graduate from high
school. There are 33 ―Performance‖ standards, listed under four broad goals. There are also 40 ―knowledge‖ standards,
listed in six subject areas. Taken together, they are intended to establish higher expectations for students throughout the
Show-Me State. These standards do not represent everything a student will or should learn. However, graduates who meet
these standards should be well-prepared for further education, work, and civic responsibilities.
All Missourians are eager to ensure that graduates of Missouri‘s public schools have the knowledge, skills, and
competencies essential to leading productive, fulfilling and successful lives as they continue their education, enter the
workforce and assume their civic responsibilities. Schools need to establish high expectations that will challenge all
students to reach their maximum potential. To that end, the Outstanding Schools Act of 1993 called together master
teachers, parents, and policy-makers from around the state to create Missouri academic standards. These standards are the
work of that group.
The standards are built around the belief that the success of Missouri‘s students depends on both a solid foundation
of knowledge and skills and the ability of students to apply their knowledge and skills to the kinds of problems and
decisions they will likely encounter after they graduate.
The academic standards incorporate and strongly promote the understanding that active, hands-on learning will
benefit students of all ages. By integrating and applying basic knowledge and skills in practical and challenging ways
across all disciplines, students experience learning that is more engaging and motivating. Such learning stays in the mind
long after the tests are over and acts as a springboard to success beyond the classroom.
These standards for students are not a curriculum. Rather, the standards serve as a blueprint from which local
school districts may write challenging curriculum to help all students achieve their maximum potential. Missouri law
assures local control of education. Each school district will determine how its curriculum will be structured and the best
methods to implement that curriculum in the classroom.
Authority for the Show-Me Standards: Section 160.514, Revised Statutes of Missouri, and the Code of State
Regulations, 5 CSR 50-375.100.
KNOWLEDGE + PERFORMANCE = ACADEMIC SUCCESS
237
GOAL 1
Students in Missouri public schools will acquire the knowledge and skills to gather, analyze, and apply information
and ideas.
Students will demonstrate within and integrate across all content areas the ability to
1. develop questions and ideas to initiate and refine research
2. conduct research to answer questions and evaluate information and ideas
3. design and conduct field and laboratory investigations to study nature and society
4. use technological tools and other resources to locate, select, and organize information
5. comprehend and evaluate written, visual, and oral presentations and works
6. discover and evaluate patterns and relationships in information, ideas, and structures
7. evaluate the accuracy of information and the reliability of its sources
8. organize data, information, and ideas into useful forms (including charts, graphs, outlines) for analysis or presentation
9. identify, analyze, and compare the institutions, traditions, and art forms of past and present societies
10. apply acquired information, ideas, and skills to different contexts as students, workers, citizens, and consumers
GOAL 2
Students in Missouri public schools will acquire the knowledge and skills to communicate effectively within and
beyond the classroom.
Students will demonstrate within and integrate across all content areas the ability to
1. plan and make written, oral, and visual presentations for a variety of purposes and audiences
2. review and revise communications to improve accuracy and clarity
3. exchange information, questions, and ideas while recognizing the perspectives of others
4. present perceptions and ideas regarding works of the arts, humanities, and sciences
5. perform or produce works in the fine and practical arts
6. apply communication techniques to the job search and to the workplace
7. use technological tools to exchange information and ideas
238
GOAL 3
Students in Missouri public schools will acquire the knowledge and skills to recognize and solve problems.
Students will demonstrate within and integrate across all content areas the ability to
1. identify problems and define their scope and elements
2. develop and apply strategies based on ways others have prevented or solved problems
3. develop and apply strategies based on one‘s own experience in preventing or solving problems
4. evaluate the processes used in recognizing and solving problems
5. reason inductively from a set of specific facts and deductively from general premises
6. examine problems and proposed solutions from multiple perspectives
7. evaluate the extent to which a strategy addresses the problem
8. assess costs, benefits, and other consequences of proposed solutions
GOAL 4
Students in Missouri public schools will acquire the knowledge and skills to make decisions and act as responsible
members of society.
Students will demonstrate within and integrate across all content areas the ability to
1. explain reasoning and identify information used to support decisions
2. understand and apply the rights and responsibilities of citizenship in Missouri and the United States
3. analyze the duties and responsibilities of individuals in societies
4. recognize and practice honesty and integrity in academic work and in the workplace
5. develop, monitor, and revise plans of action to meet deadlines and accomplish goals
6. identify tasks that require a coordinated effort and work with others to complete those tasks
7. identify and apply practices that preserve and enhance the safety and health of self and others
8. explore, prepare for, and seek educational and job opportunities
239
Missouri students must build a solid foundation of factual knowledge and basic skills in the traditional content areas. The
statements listed here represent such a foundation in reading, writing, mathematics, world and American history, forms of
government, geography, science, health/physical education, and the fine arts. This foundation of knowledge and skills
should also be incorporated into courses in vocational education and practical arts. Students should acquire this knowledge
base at various grade levels and through various courses of study. Each grade level and each course sequence should build
on the knowledge base that students have previously acquired.
These concepts and areas of study are indeed significant to success in school and in the workplace. However, they
are neither inclusive nor are they likely to remain the same over the years. We live in an age in which ―knowledge‖ grows
at an ever-increasing rate, and our expectations for students must keep up with that expanding knowledge base.
Combining what students must know and what they must be able to do may require teachers and districts to adapt
their curriculum. To assist districts in this effort, teachers from across the state are developing curriculum frameworks
show how others might balance concepts and abilities for students at the elementary, middle, and secondary levels. These
models, however, are only resources. Missouri law assures local control of education. Each district has the authority to
determine the content of its curriculum, how it will be organized, and how it will be presented.
Communication Arts
In Communication Arts, students in Missouri public schools will acquire a solid foundation which includes knowledge of
and proficiency in
1. speaking and writing standard English (including grammar, usage, punctuation, spelling, capitalization)
2. reading and evaluating fiction, poetry, and drama
3. reading and evaluating nonfiction works and material (such as biographies, newspapers, technical manuals)
4. writing formally (such as reports, narratives, essays)
5. comprehending and evaluating the content and artistic aspects of oral and visual presentations (such as story-telling,
debates, lectures, multi-media productions)
6. participating in formal and informal presentations and discussions of issues and ideas
7. identifying and evaluating relationships between language and culture
240
Mathematics
In Mathematics, students in Missouri public schools will acquire a solid foundation which includes knowledge of
1. addition, subtraction, multiplication, and division; other number sense, including numeration and estimation; and the
application of these operations and concepts in the workplace and other situations
2. geometric and spatial sense involving measurement (including length, area, volume), trigonometry, and similarity and
transformations of shapes
3. data analysis, probability, and statistics
4. patterns and relationships within and among functions and algebraic, geometric, and trigonometric concepts
5. mathematical systems (including real numbers, whole numbers, integers, fractions), geometry, and number theory
(including primes, factors, multiples)
6. discrete mathematics (such as graph theory, counting techniques, matrices)
Science
In Science, students in Missouri public schools will acquire a solid foundation which includes knowledge of
1. properties and principles of matter and energy
2. properties and principles of force and motion
3. characteristics and interactions of living organisms
4. changes in ecosystems and interactions of organisms with their environments
5. processes (such as plate movement, water cycle, air flow) and interactions of earth‘s biosphere, atmosphere,
lithosphere, and hydrosphere
6. composition and structure of the universe and the motions of the objects within it
7. processes of scientific inquiry (such as formulating and testing hypotheses)
8. impact of science, technology, and human activity on resources and the environment
241
Social Studies
In Social Studies, students in Missouri public schools will acquire a solid foundation which includes knowledge of
1. principles expressed in the documents shaping constitutional democracy in the United States
2. continuity and change in the history of Missouri, the United States, and the world
3. principles and processes of governance systems
4. economic concepts (including productivity and the market system) and principles (including the laws of supply and
demand)
5. the major elements of geographical study and analysis (such as location, place, movement, regions) and their
relationships to changes in society and environment
6. relationships of the individual and groups to institutions and cultural traditions
7. the use of tools of social science inquiry (such as surveys, statistics, maps, documents)
Fine Arts
In Fine Arts, students in Missouri public schools will acquire a solid foundation which includes knowledge of
1. process and techniques for the production, exhibition, or performance of one or more of the visual or performed
arts
2. the principles and elements of different art forms
3. the vocabulary to explain perceptions about and evaluations of works in dance, music, theater, and visual arts
4. interrelationships of visual and performing arts and the relationships of the arts to other disciplines
5. visual and performing arts in historical and cultural contexts
242
Health/Physical Education
In Health/Physical Education, students in Missouri public schools will acquire a solid foundation which includes
knowledge of
1. structures of, functions of, and relationships among human body systems
2. principles and practices of physical and mental health (such as personal health habits, nutrition, stress management)
3. diseases and methods for prevention, treatment, and control
4. principles of movement and physical fitness
5. methods used to assess health, reduce risk factors, and avoid high-risk behaviors (such as violence, tobacco, alcohol,
and other drug use)
6. consumer health issues (such as the effects of mass media and technologies on safety and health)
7. responses to emergency situations
243
Missouri Department of Elementary & Secondary Education
Integrated (Interdisciplinary/Cross Discipline) Fine Arts Vocabulary
HISTORY STRAND
DANCE MUSIC THEATRE VISUAL ARTS
STYLES:
Ballet – European style of dance;
traditionally performed en pointe by
ladies and having a story line
Folk – native dances of different
cultures
Jazz – dance with African-American
roots performed with soft sole shoes
Modern – style of dance
characterized by freedom of form and
performed barefoot
Tap – dance with African-American
roots performed with steel taps on the
dances shoes
Ballroom/Social – form of dance
used in social settings
Recreation – moving with or without
partners for the sheer enjoyment of
moving through space
Exercise – choreographed
movements designed to build up body
and maintain general health and well-
being
STYLES:
Classical Music – in its broadest sense,
refers to a style of ―art‖ music as
distinguished from folk, jazz, or popular
music
(See Historical Periods for further
definition)
Folk Music – music from a specific
culture
Folk Song – uncomplicated music that
speaks directly of everyday matters
Jazz – a style of American music
originated in the South by African-
Americans; it is characterized by strong,
prominent meter, improvisation, and
dotted or syncopated patterns
Long Ago – music from the past
Modern – music that is current;
generally, 20th
century music
Popular Style (Music) – American
music that has wide appeal, is
immediately communicative and
relatively short
STYLES:
Comedy – a funny or amusing play
with a happy ending
Improvisation – short scenes made
up on the spur of the moment
following generated guidelines
Melodrama – a serious play with
an unhappy ending; the major
characters are predictable
Musical – a play with songs
supporting the plot
Tragedy/Drama – a serious play
with an unhappy ending; major
characters are unpredictable
STYLES:
Abstract – art that exaggerates,
simplifies, or distorts reality
Fantasy – art showing imaginary or
unreal people, places or things
Realistic – art showing life as it is
Non-objective – based on elements of
art rather than on recognizable people,
places or things
Modern – 20th
century art with a focus
on abstraction
244
DANCE MUSIC THEATRE VISUAL ARTS
FUNCTIONS:
Education – dance intended to teach
Entertainment – dance intended for
audience enjoyment
Sacred – dance dealing with religious
themes
FUNCTIONS:
Accompaniment – music that adds
texture to a melody or melodies
Ceremonial – an established custom or
formal actions connected with an
occasion
Functional Music – wedding,
graduation, funeral, parade,
entertainment
Lullaby – sleep song
March – music with a steady beat
suitable for a parade or processional.
Popular Style – American music that
has wide appeal, is immediately
communicative and relatively short
Sacred – religious music
Secular –non-religious music
Spiritual – a sacred song that evolved
from the period of slavery in the U. S.
Waltz – dance in triple meter
Work Song – songs in which the text
describes the task of the worker
FUNCTIONS:
Education – theatre intended for
instruction
Entertainment – theatre intended
for audience enjoyment
Sacred – theatre dealing with
religious themes
FUNCTIONS:
Ceremonial – art serving a symbolic
function in a culture, e.g., flag
Commercial/Popular – art used for
business purposes, e.g., advertising,
fashion design, architecture, product
design, cartooning
Expressive – art that conveys
emotion or feeling
Formalism – art for art‘s sake
Functional – decorated objects for
everyday use, e.g., pottery, jewelry,
fibers
Representational – art
showing real life Sacred – art dealing with religious
themes
245
DANCE MUSIC THEATRE VISUAL ARTS
TRADITIONAL CULTURES:
Asian/Chinese – usually ceremonial;
used during theatrical productions;
uses mime and head and eye
movements; generally, tells a story or
depicts activities in everyday life
African – movements generally low
and grounded, using body
contractions, foot stamping,
percussive and swinging head and
arm movements; always rhythmic,
often energetic; ceremonial; religious
and secular events occurring in
everyday life; may use
costumes/masks
TRADITIONAL CULTURES:
Asian – representational, stylized sound
images of people and nature;
identifiable sound characteristics
include artisan-made acoustical bamboo
and string instruments and drums,
pentatonic scales, narrow melodic
range, and a bright and nasal vocal
quality
African – functional music that is
participatory; instruments include a
variety of bells, drums, and rattles;
characterized by percussive and
polyrhythmic sounds that often use
improvisation
TRADITIONAL CULTURES:
Asian – characters wear white and
elaborately patterned makeup along
with colorful embroidered robes to
perform stylized plays with stories
of long ago, or about family life
African – actors wear carved
masks and perform rituals based on
everyday activities
TRADITIONAL CULTURES:
Asian – superior craftsmanship,
representational, stylized images of
people and nature created to match an
ideal; narrative depiction of history
and culture; may emphasize line and
flat areas of color
African – ceremonial and functional
objects; handmade with natural
materials; masks/sculptures show
exaggerated, stylized features of
people and animals, jewelry and
printed cloth use bright, bold,
geometric designs
246
DANCE MUSIC THEATRE VISUAL ARTS
Native American – dances may vary
in movement from tribe to tribe;
generally, dances affecting people in
everyday life use large groups; use
simple, repetitive steps and
music/singing; women dance for
women‘s activities, e.g., birth,
marriage, planting; men dance for
men‘s activities, e.g., coming of age,
war, hunting; dances usually tell
stories and can be narrated
simultaneously; solo work can explain
a tribal myth or tradition or carry on a
history of the tribe; solos are usually
performed with costumes and make-
up
Native American – functional music
that celebrates the cultural heritage of
the Native American; drums and rattles
are the predominant instruments that
accompany the voice; the only pure
instrumental music is for flutes and
whistles; the steady beat of the drum
does not always match the beat of the
song; there is no harmony
Native American – story
tellers/dancers may wear traditional
Regalia while performing for an
audience; Regalia may include
beadwork, feathers, and body
painting depending on region or
tribal affiliation
Native American – functional art
celebrating the cultural heritage of the
Native American; regional
characteristics: southwest (geometric,
Kachina); plains (narrative symbols);
northwest coast (animal totems)
247
DANCE MUSIC THEATRE VISUAL ARTS
HISTORICAL PERIODS:
American/Colonial – dances adapted
from European culture to the new
environment; examples of dances
include gavottes, minuets, marches,
jigs, circle group dances, and folk
dances
American/Western Expansion –
square and reel dance forms evolved;
the Grand March and the Polonaise
were used at ceremonial balls; the
mazurka and polka were danced in
couples
American/Civil War –waltz and
country dances were popular
Classical – tap and soft-shoe dances
were developed during the 1750 to
1820 time period
Modern – 20
th century dance
characterized by freedom of
movement and performed barefoot
HISTORICAL PERIODS:
American/Colonial–folk songs adapted
from European cultures
American/Western Expansion –
cowboy songs, work songs and folk
songs
American/Civil War – spirituals and
work songs
Classical – specifically refers to
European music composed from about
1750 to 1820 that borrows from Art
History‘s neoclassical period focusing
on unity, balance and ideas of realism
Modern – 20th
century innovative forms
and combinations of sounds
HISTORICAL PERIODS:
American/Colonial – Began with
British companies touring the
colonies with English-style plays;
developed into plays written by
Americans with typically American
characters
American/Western Expansion –
troupes of actors traveled by
wagons and showboats to perform
for people in the expanding
American West
American/Civil War–melodramas
became the predominant theatrical
form; American themes and/or
spectacular plays once again
became popular
Classical – the first formal theatre
came from ancient Greece; Thespis
was the first actor to step from a
chorus of actors to speak individual
lines
Modern – the director emerged as
the dominant force; realism is the
predominant style with most theatre
being very lifelike
HISTORICAL PERIODS:
American/Colonial –Real looking
paintings/sculptures of portraits and
history based on European art.
Architecture: styles brought by
colonists from European villages
American/Western Expansion –
Idealized, symbolic landscapes show
images of American wilderness;
architecture: rebellion against English
styles, Roman domes and columns
symbolize democracy
American/Civil War – realistic
painting/ sculpture/ photography
document current history;
architecture: industrial barons base
homes on European castles
Classical – realistic figure sculpture
based on ancient Greek and Roman
art; architecture: Greek and Roman,
elements: columns, arch, and dome
Modern – 20th
century abstract and
non-objective styles; the subject
matter is the elements and principles
of art; architecture: reaction against
historical styles, form follows
function
248
Criticism and Analysis Strand
DANCE MUSIC THEATRE VISUAL ARTS
Composition – a grouping of
movements to form a dance
Composition – an original work or
―opus‖
Book – play manuscript; in musical
productions the libretto without the
music
Manuscript (Script) – written or
typed play, or the book of a musical
(usually used in rehearsal)
Composition – arrangement of
elements and principles
Forms – methods of choreography; 2-
part form (AB), 3-part form (ABA),
Rondo (ABACA), theme and
variations, free sequential forms
Form – overall structure or organization
of a musical composition may
incorporate repetition, contrast, unity
and variety
Call and response – a song style that
follows a simple question and answer
pattern in which a soloist ―calls‖ out the
melody and a group ―responds‖
Canon – composition for two or more
voices in which one voice enters after
another in exact imitation of the first,
similar to a round
Form – structure of a play, e.g.,
scenes and acts
Form – three-dimensional or illusion
of 3D
Geometric – forms with
mathematical names
Organic – living things forms
Balance – ability to remain upright
Balance – sounds adjusted to create
desired effect
Balance – equalization of stage
picture including placement of
characters and set pieces on the
stage
Balance – arrangement with equal
visual weight on both sides of a
position
Asymmetrical/Informal – two sides
of a composition have the same visual
weight but the lines, shapes and
colors are not the same
249
DANCE MUSIC THEATRE VISUAL ARTS
Space – a dancer moves in and
through space
Space –
a) relationship between sound and
silence
b) lines and spaces on a staff
Space – where the actors are
located on the stage
Symmetrical/Formal – 2 sides of a
composition are identical, mirror
images
Proportion – the size relationships of
parts to a whole and to each other
Space – the distance around and
between things; area that can be filled
with an art element
Perspective – a way of making a flat
surface look as if it goes back in
space; illusion of depth
Foreground – area in two-
dimensional artwork that appears
closest to the viewer, usually
positioned at the bottom of the
artwork
Background – the part of a two-
dimensional artwork farthest from the
viewer, usually closest to the horizon
line
Positive space – the object itself; is
there
Negative space – the areas around the
object; is not there
Dynamics – movements determined
by the amount of energy, e.g.,
sustained, percussive, vibratory
Dynamics –the volume of sound; the
loudness or softness of a musical
passage
Dynamics – relationship of loud to
soft in the actor‘s speech, intensity
Color Intensity – brightness or
dullness of hue
Contrast – the use of different
elements of movement, e.g., high
movement versus low levels; fast
versus slow actions
Contrast – referring to extremes in each
element, e.g., pitch, rhythm, dynamics,
timbre
Contrast – variation used to
heighten interest in dramatic
construction and acting
Contrast – a difference between
elements in a work of art
Tempo – speed of the movements Steady beat – a consistent and regular
pulse
Tempo – speed of the underlying beat
Ritardando/Ritard – a gradual slowing
of tempo; abbreviate as rit
Accelerando – to gradually accelerate
Pace – the timing of lines and stage
business (not to be confused with
speed)
250
(get faster) in tempo
DANCE MUSIC THEATRE VISUAL ARTS
Rhythm – the movement with or
against sound in time
Rhythm – combinations of long and
short sounds and silences that convey a
sense of movement
Beat – change of interpretation in a
thought process; the ending of one
thought process and the beginning
of another
Rhythm – visual movement created
by repetition
Line – linear motion, unspoken (sing
the line)
Line – linear motion, speech to
speeches in a play
Line – path of a moving dot
Melody – horizontal, linear aspect of
music; organized succession of pitches
Movement – stage movement;
blocking; moving from one stage
area to another
Movement – path of viewer‘s eye as
it travels around a composition
Pitch – measured and named number of
vibrations per second; heard as a sound
from high to low; wave lengths in sound
Scale – the series of steps from one
pitch to another
Timbre – unique quality of a voice or
instrument
Tone Quality – dark or light quality of
sound
Pitch – raise or lower the voice
according to the musical scale
Inflection – vocal modulation,
variety in pitch
Acoustics – the quality of sound
transmission within a theater
Quality – unique sound of the
actor‘s voice
Voice projection – control of the
voice so that even those in the last
row of the house can hear and
understand every word
Hue - measured and named qualities
of light
Color - reflected quality of asurface
based on pigment or light,
wavelengths in light
Value – steps from white through
gray to black; value scales are regular
intervals of values
Tint – light value of a color, made by
mixing white with the color
Shade – the dark value of a color,
made by mixing black with the color
Color intensity – brightness or
dullness of a hue
Color Wheel – colors of the rainbow
turned into a circle
Cool Colors – colors around blue on
the color wheel; green, blue, violet
Warm colors – colors around orange
on the color wheel; red, orange,
yellow
Primary colors – the first colors from
which others are mixed; red, yellow,
blue
Secondary colors – colors made
when two primary colors are mixed;
orange, violet, green
251
DANCE MUSIC THEATRE VISUAL ARTS
Texture – the density or scarcity of
movement in a dance; it can also be
used to describe movements such as
rough, smooth, etc.
Texture – the character of the different
layers of sound in music
Solo – one person only plays or sings
Duet – two people play or sing
Trio – three people play or sing
Quartet – a combination of four voices
or instruments; also music written for
such an ensemble
Texture – to add depth and tactile
qualities to scenery pieces
Texture – the way a surface feels or
looks like it would feel.
Symbols – signs for parts of the body
used in dance notation
Notation – written symbols used to
identify the musical elements
Symbols – abbreviations for stage
directions, movement and vocal
inflection
Symbol – an image that stands for an
idea
Harmony – the sounding together of
two or more tones
Harmony – two or more pitches
occurring simultaneously; used in
musical theatre
Harmony/Unity – elements work
together in an artwork
Shape – interesting and interrelated
arrangement of body parts of one
dancer; the overall visible appearance
of a group of dancers
Shape – to perform a phrase musically Shape – design of the structure that
is the set for a play
Shape – two-dimensional or flat
Geometric – mathematical
Organic – living things
Pattern – repetition – principle of
choreographic form based upon using
movements or phrases again in a work
Ostinato – a rhythmic or melodic
passage that is repeated continuously
Pattern/Stage Picture – the
arrangement of actors on the stage
Repetition – repeating a word,
phrase, movement or design
Pattern – repetition of line, shape,
and/or color
Accent – an emphasized movement Accent – the emphasis placed on a beat Accent – use of a dialect
Emphasis – a stressed word in a
line
Emphasis/Center of Interest – part
of a composition that gets the most
attention
Product/Performance Strand
Students will demonstrate the application of knowledge (see terms in History and Criticism sections of this document).
252
Graphic
Organizers
253
Easy Start Herringbone
1. Who is it about? 2. Where did it happen? 3. When did it happen?
MAIN IDEA
4. What happened? 5. How did it happen? 6. Why did it happen?
254
Compare and Contrast
Transition Words: different from, same as, instead of, on the other hand
255
TOPIC: _____________________________________________________________________
MAIN IDEA: ________________________________________________________________
_____________________________________________________________________________
MAJOR SUPPORTING DETAILS
1.
2.
3.
4.
5.
256
Suggested Graphic Organizer for Cause and Effect
Transition Words: because, since, so that, if/then
Cause
Effect
Effect Effect
Effect
257
Chronological/Sequence
Event 1 Event 2 Event 3 Event 4
Transition Words: First, second, then, after, next etc.
258
Problem/Solution
Problem
Transition Words: One answer is, the question is, the problem,
the solution
259
STORY MAP (CHART)
(Isabel Beck) The Character:
The setting:
Statement of the Problem:
Event 1:
Event 2:
Event 3:
Event 4:
Event 5:
Event 6:
Event 7:
Statement of the Solution:
Story Theme: (What is this story REALLY about?)
Values brought out in the story:
260
SEQUENCE CHAIN
261
Essay Organizer - Standard Outline
Thesis Statement:
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
Introductory Paragraph
Topic Sentence:
______________________________________________________________________
Detail_________________________________________________________________
Detail_________________________________________________________________
Detail_________________________________________________________________
Support Paragraph
Topic Sentence:
______________________________________________________________________
Detail_________________________________________________________________
Detail_________________________________________________________________
Detail_________________________________________________________________
Support Paragraph
Topic Sentence:
______________________________________________________________________
Detail_________________________________________________________________
Detail_________________________________________________________________
Detail_________________________________________________________________
Support Paragraph
(Emphasize Thesis)
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
Conclusion
(Note: You are NOT limited to only 3 support paragraphs!)
262
Paragraph Organizer
Topic Sentence:
Concrete Detail
Commentary
Commentary
Concrete Detail
Commentary
Commentary
Concrete Detail
Commentary
Commentary
Concluding sentence:
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Essay Organizer – Standard Outline
Paragraph 1 – Introduction:
Main Idea/ Thesis:
Paragraph 2 – Concrete Detail
commentary: ______________________________________________
commentary: ______________________________________________
commentary: ______________________________________________
Paragraph 3– Concrete Detail
commentary: ______________________________________________
commentary: ______________________________________________
commentary: ______________________________________________
Paragraph 4 – Concrete Detail
commentary: ______________________________________________
commentary: ______________________________________________
commentary: ______________________________________________
Paragraph 5 – Conclusion
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Rockwood School District
Attendance Procedure for Secondary Music Programs
A performance schedule will be announced in a timely manner, usually during the first two
weeks of a semester. Additional performances to the schedule will be announced as far in
advance as possible.
After the performance schedule is distributed, students will be given 48 hours to indicate any
previous commitments that conflict with scheduled performance dates. To request an excused
absence for a performance, the students must have a written parental request. The parental
request should include student name, performance date, and prior commitment. This request
must be submitted within the 48 hour time frame.
Students may be excused from a performance commitment, without penalty, for an excused
absence from school.
Students may be excused from a performance commitment, without penalty, for emergency
reasons. Emergencies will be dealt with on an individual basis.
Students will not be excused from a performance commitment for work.
Students who receive an unexcused absence for a performance may have their quarter grade
affected by no more than 20% of the total points.
In the event of an unexcused absence from a performance commitment, the future eligibility of
the student in the performance ensemble will be assessed.
In the event of multiple excused absences from a performance commitment, the future eligibility
of the student in the performance ensemble will be assessed.
Student Signature: ______________________________________________________________
Parent Signature: _______________________________________________________________
Date: _______________________